kelp

I do have some pad/FX one-shots, but I mean multi-sampling to the keyboard. I'm on a PC so I've just being doing it manually (as opposed to Auto Sampler on the Mac). I see that the Fantom 0's have a lot less memory (than the Fantom) for that kind of activity. It's a bit of busy work, but it's worked really well for the few things I've tried.

Most tones seem fine. It's a few synth/string type leads. That makes me think the QSC is fine. I've been rolling off the high shelf on the zone EQ, but I think I need to try the mid-band and try to target the offending frequency more. I'm also having a blast starting to sample sounds from our multi-tracks (as I usually record with soft synths).

Thanks. Not sure I was aware of that. The sounds seem OK to me in headphones.

Yeah, thanks. That's been my approach so far. I might also break out my Lounsberry Tall&Fat and see if that helps.

It's been great adapting my Fantom 06 to be the only keyboard in my setup. I'm finding that live, monitoring through a QSC K10, some of the lead tones are piercing. I've been dialing back cutoff frequencies and reducing highs in the EQ section. I've also found that adding saturation helps a bit. I'm wondering if I should try reducing around 2k - 4k on the whole board EQ. Anybody experiencing this? [As a side note, I had a Nord Lead A1 in my setup previously.]

I had to prep for a show recently and went for a demo of Steinberg's SpectraLayers Pro. It's an expensive program but I got what I needed out of the demo. I'm excited to try Demucs GUI, which I've been reading/seeing good things about. Free. Open source.

Thanks. I can't confirm this though. I see a "Switched On Bach" entry but it's by various artists.

Say a person doesn't own Switched-On Bach. The original Carlos version. It doesn't appear to be on streaming services. Or YouTube. Where could one hear it? "Asking for a friend." (Ah, I do see there are now re-issue CDs available on Amazon.)

But if I wanted to multi-sample sounds from recordings I've made using VST instruments, this would be the board, yes? I currently have a Fantom 06, which I understand actually has limited memory for this purpose.

First time I heard a string patch on a Juno-60 with that chorus! (circa '82) Bought a second-hand Virus KB. Fantastic build and great keybed. Sounded great. Yamaha CP-4. That sound. That action! Bought a used Hammond SK-1. Oh, man. Finally a great organ sound! All are sold. Why? WHY?!? LOL

I can't seem to find a way get a scene to respond to the actual position of Wheel 2 when switching INTO another scene. Here's my use-case: I'm playing a lead sound and have modulation active via Wheel 2 being halfway up. Now I switch to a new scene and keep playing (with the same sound as the previous scene), but there's no modulation despite Wheel 2 still being halfway up. If I move Wheel 2 just a bit then it jumps to that value (I'm intentionally set to jump, not catch) and modulation kicks in. Is there a setting that tells the scene to read actual controller values when the scene is entered? I do have Scene Remain set to on, but the behavior is the same with it off. Thanks!

I'm always very excited by a new Cubase release but usually wait for at least one maintenance update before taking the plunge. The new channel tab might be worth the price of admission alone. I haven't made up my mind on the new mixer look yet. I usually get a "I must have this!" feeling. It's not as strong this time. @CHarrell, what's exciting for you?

I CANNOT confirm what is being asked about the 9th drawbar. When I assign it to CC 78 it doesn't work. In fact, no CC assignment has any effect on the behavior of the wheels (even turning them off!). Wheel 1 always speeds up or slows down the tonewheels while Wheel 2 stops/starts up the toneweels. That's what's on Roland's site (the document is for the Fantom, but I assume it's the same). I'm guessing the VTW engine is different from the ZenCore in control as well as sound generation and those CC 70-78 messages are for external controllers to send?

@CyberGene! Thank you! Your reply led me to dig deeper. If you just assign cutoff (CC 74) to the wheel it seems to affect all partials. However, the Matrix Control per Tone applies to each partial (the flexible case you describe above). In the Matrix Control I assign the source as some unused CC and the destination as Cutoff. Again, that can be done per partial. In my case I made the assignment to both partials but made the sensitivity (the depth of the control) +63 for the one with the LPF and -63 for the one with the HPF. So now when I use the wheel the cutoff is modified in opposite directions per partial. Very cool. [Note that you also have to adjust the starting cutoff values per partial to get the desired effect, and in my case I reversed the min and max values for the wheel such that pushing the wheel up decreases the CC value). Loving this board so far. Very different from the Nord. The last Roland I owned was a Juno 60 - about 40 years ago! So I had no previous experience with Roland architecture or terminology. Given that, I was able to program 17 songs (and twice as many scenes!) in about a week to get ready for a rehearsal. Judging by the first paragraph of your reply, I'd say it won't be difficult for you to figure out. There are usually a few ways to do things between the controllers and the touch screen. You have to pay attention to what zone is being edited, which trips me up from time to time. You also have to know that tones are shared by all scenes, so editing one tone could affect another scene (this is the opposite of the Nord where each program had four independent slots that were not shared by any other program). The board is good about warning you when you're about to leave a scene with an edited tone in it, which requires a separate tone save or the changes will be lost. I wish it didn't take four actions to save a scene. And I wish there was a zone copy/paste function. It can also be tricky to turn off velocity sensitivity (there are many velocity parameters to consider). And velocity sensitivity cannot be adjusted for SuperNatural tones. The sounds are great. So, so many! I didn't pay much attention to the "find" and "favorites" functions at first, but they are huge time savers. I also thought I was going to use the pads in "Switch Key Group" mode to turn zones on and off within a scene. But those pad assignments are global so I decided to just stick with different scenes. I instead either assign Scene Up or Scene Down to the S1/2 switches or to a pedal. Combine that with Scene Remain and this board is doing exactly what I had hoped. My question about the ability to control IFX is still open though. IFX are applied at the Scene level. I don't see the equivalent of Matrix Control at that level.

I'm wanting to control filter cutoff with the wheel. I set it to the CC for cutoff. It kind of works, but the tone I want to use it on has one partial with a LPF and one with a HPF, so the effect isn't quite right. The MFX is used for delay, so then I thought I'd use the Super Filter in IFX. However, it doesn't look like IFX can be controlled in real time. Can anyone confirm or deny? If not, the alternative is to use MFX (and maybe use IFX for delay) or change the HPF in that one partial to a LPF. [Loving this Fantom 06, but I'm coming off a Nord Lead A1, which made wheel assignments to anything very easy.]