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icarusi

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About icarusi

  • Birthday 01/19/2022

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  1. Currently using a Krome, and revisiting sounds I created to emulate some diatonic reed instruments I'd heard. I recently heard Gary Versace and Joao Frade playing single reed jazz based stuff. Gary was using a piano accordion, which could be set to a single reed, and Joao was using a button key accordion/melodion. I didn't hear him do any 2 reed playing on it, at least with the RH. Joao is on Aline Homzy's Eclipse Bandcamp album, in the 'Circa Herself' track, soloing at 3.33. When I checked my existing sound, I'd put a delay on the accordion 2nd reed, so it swelled in after the single reed sound after shorter single notes. On my revisit I found there's a dedicated page, to quick access to each reed. The existing accordion sound has the second reed premixed at a lower level, even with both faders full up, so I reset each reed to be the same level, so I could experiment with various levels of the 2nd reed, and de-tune amounts. I want to put them on CCs if possible. Do any boards currently have anything already set to do this? Is access to each accordion reed unusual, or the norm, for sample player boards?
  2. Just seen a price reduction on the Pinwheel. The Vent is better, but the new Pinwheel price was lower than the Lester K.
  3. I was just messing around with some DAW VSTs today, and needed to liven up some ep tracks. Normally I'd keep the Leslie VST for the organ sounds, but tried it today on the ep. I don't recall hearing it on any keyboards I've tried, unless I didn't know it was that combination, just another sound. Now I've heard it, I'm pretty sure it's used on a Steely Dan track I've heard. The melody and chord tracks were separate so I only needed it for the chords. I think it would have been OTT for both. Are there any keyboards which already have ep+leslie patches?
  4. I was wondering if he's using 2 keyboards, one with a normal piano and one with the sustained version, which doesn't have an attack. If they're pitched the same he could double the 'normal' RH playing with the equivalent chords in same pitch with the LH. There's just a couple of places where the 'normal' note doesn't duck the sustained sound, to some extent. I don't think I've anything with an envelope to get both the long sustain and the very quick release I can hear on this. My stuff would normally overlap on the sustain, so there would be a build up of notes dying away, and a much muddier messier overall sound. The voice stealing of a reduced polyphony can produce this sound, but I don't have anything where you can deliberately limit polyphony, that I know of.
  5. Just listened again, and I think it's a sustained piano pad, using a compressor or time stretching the piano sample, alongside a normal piano, with the pad being ducked by the normal piano using a separate compressor fx, *but* there's a couple of places where the ducking has been manually adjusted (?), so you can't hear an obvious duck, just piano attack with immediate sustained pad following, without a duck. It could also be a user control to alter the duck on the fly for the same effect.
  6. Just wondering if it's doable with what I have. If it's a known preset on something recent, I can check what the elements are. I hear a level riding compressor, but the sustain has got me thinking it's controlled, so that new notes cut existing note more than most polyphony would do, unless it's being deliberately restricted in number, to ensure stealing, but then I would have expected the 'normal' playing sound to be more stunted, which it doesn't sound so. There's also a slow phasing which only seems to be on the sustained sound but not so much on the 'normal' piano, as if it's second sound being 'ducked' very quickly by the main piano sound, rather than just a main sound being compressed and manipulated.
  7. Is this sound a current keyboard preset, or is it a post production or outboard gear effect? KC isn't carrying over Youtube 'start at' info in its embed media tags so goto 2:52 if you click on it. [video:youtube]
  8. When the vibrato is part of the recorded sample, the rate of vibrato will be different on different keys. The Yamaha is essentially "speeding up" or "slowing down" the recording as it stretches a sample over adjacent keys, until you get to a point where it's using a different sample... and then, you're using a different recording, where again the vibrato speed could be slightly different anyway. If you want to control the vibrato speed and maintain its consistency, use a sample where they did not record the person playing a vibrato, and use an LFO instead. Though the human player has the advantage of sounding more like a human player. ;-) One way on a Krome is to 'lock-in' a down pitch bend, using one of the joystick buttons, then transpose the patch to maintain the correct pitch position on the keyboard. There's another way but it's a control on the edit window that I can't recall it's exact name. but it just has a slider which both clocks out slower (or faster) but automatically adjusts the pitch to compensate. All you hear is the vibrato rate change. There's no LFO involved as the vibrato is in the samples. Luke's results were quite extreme in the vibrato rate change, but the keyboard pitching seemed correct. I don't know if he was using an FM sound at the time. I think this is the control. It's called 'pitch stretch', but it's not explained much in the Korg docs.
  9. I'm interested in MODX6. I was at a Luke Juby demo at the weekend and we got to A/B some of the Krome 61 features I use. A few couldn't be emulated but one could, albeit by a different method. It was to clock out an AWM2 sound at a lower rate, but re-tuned or transposed, to be at the original pitch. This was to slow the vibrato rate on sounds where it's part of the sample, and not LFO or chorus derived. Unfortunately we were working through stuff quickly, so I was just checking what was possible and not possible. rather than the fine detail of how. Anyone here have an idea how this was being done? TBH it wasn't quite right as we were getting different rates of vibrato on different keys with the same sound, but the principle seemed to be in there somewhere.
  10. Just played on an 88 today. Was more interested in the 73 for Wurli sounds. Preferred the second Wurli. AFAIK the board was already in a piano preset and the EP section was locked out until I pressed the 'exit' button on the preset panel. Couldn't find a way of switching off the the EP fx, other than turning down the fx level knob(s). The board was under another so very dark and hard to see the controls, working them by 'feel' a lot. Seemed easy enough to dial in fx and drive, although the full lighting of all the knob leds, then just the top led left, didn't help with 'at a glance' adjustments. Don't know if that's changeable in 'setup'. I can now see the fx on/off buttons location on Yamaha's website, but for some reason they didn't 'register' in the dark.
  11. Had a demo of this today from the Yamaha guy and must admit it was a head scratcher as to what this thing is. Reading here, it makes more sense and I haven't seen it yet in 'rock' shops, more the home/school/rock shops who stock a wide range. I kept asking detailed questions about what *I* was interested in, which he answered, mostly, but we seemed to be often talking at odds, like what was 'left' and 'right' referring to. Evidently to sounds more likely to be played with the *right* hand?? In his demos it was more 'background music'/'easy listening' style. When he demoed the strings, it was Kino strings, he described as 'film' strings, but to me sounded like James Last 'Schlager' strings to a 'T'. The auto-accompaniment/styles stuff seemed much more sophisticated in sounding less predictable than the same of yore, but still not like backing tracks of live musicians, yet. This day it was through a large monitor. Previously I've heard it through it's own speakers which have aways sounded seriously lacking. The Yamaha guy reckoned they hadn't been set up properly. I'll double check this next time I see a Genos with it's own speakers. Through that monitor only the drums were lacking, so I'd look to try and get a separate out for those if poss. I liked that the 'styles' included 4 variations of suggested lead instrumentation, selectable by 4 panel buttons, so even if it was an unfamiliar style, the instrumentation wouldn't be too 'set' or to awry. It's not a board I'm directly interested in but I do know players who could use it. As for price, it seems to be pile on the functions and charge for them irrespective of how good or useful they are. I'm more for 'targeted' sounds, so right now having heard the Montage, it's just a good FM section I'm after, to liven up string sounds which never seem 'live' enough from romplers, although good enough for recording, real live strings are much 'grittier' IME.
  12. Got the Synth9, and returned it. Massive 'cracking' noise on retriggering of notes on the Mini Mood on the solo portamento voice. Other aspects were good. Polyphonic tracking of the guitar was near supernatural. It even effortlessly extracted chords after a distortion box, which should have had it glitching. Synth sounds all seemed to be variations on saw/triangle waves. Variations seemed to be 'signature' selections from the existing big EH HOG and MicroSynth pedals with limited adjustment. It has 20ms delay between the synth and dry outs. It's light as a feather and although not battery powered is rated at 100mA so should be easy to do. If they sort out the noise problem, and I subsequently tried 3 all with the same fault, I'll get one again. The underlying tech is good. It also shows the limits of guitar/synth control. Double stop faux steel bends easily accomplished and also demonstrates reasons for not using the Synth9 sounds for that purpose. The Synth9 onboard compressor makes a difference. Haven't like the other *9 pedals with 'touch sensitivity' especially the organ types. I think the EH pitch-to-sound system may include touch/velocity conversion by default, and limited DSP capacity to exnclude a compressor on the organ types, so may be worth trying the organs with an outboard compressor in front. Used it in parallel with a distortion box with a passive splitter at the synth-out with no problems. YMMV on that.
  13. Been reacquainting myself with Air recently as I'm seeing them at a festival this summer and found this live performance from a few years back. The video quality isn't that great, but there's loads of nice gear on stage! Some really good new prog bands on that show and Phil Wilding is good with paylists so you can find them, such as the Von Herzen Bros and Special Providence.
  14. http://teamrock.com/radio/on-demand/the-prog-magazine-show/2016-02-17 http://www.jazzfm.com/player/default/od/4831/
  15. Anything by Howard Goodall's always worth a watch [video:youtube]xw9eef99aSI He did this series on the history of the pipe organ and visited monsters around the world http://www.howardgoodall.co.uk/works/tv-presenting/howard-goodalls-organ-works
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