ElmerJFudd

If you have a strong bass player, it’s a blessing of course for him/her to free you up for other tasks. But yeah, if you take that job it certainly gives you a lot of control over how things are going to go!

Oh nice, then it’s a required paid firmware upgrade. 😂

Ideally you’d want to find a standard Fantom that the seller has already updated with EX firmware. 😏 Is the new model a price increase over what the previous was selling for last month?

I imagine that many Fantom owners must have gone for the paid firmware update? Perhaps this is where the concept was first tested and how we arrived at a stripped down RD-08 with a paid firmware update to RD-88 features.

“the EX Upgrade (plus any previous upgrades like multisampling and 2022’s Virtual Tone Wheel Organ) now comes standard in the new FANTOM 6 EX, FANTOM 7 EX and FANTOM 8 EX synthesizers.” “New for 2024 is the JX-3P ACB Expansion. Similar to the plugin version but retuned for the FANTOM EX, this adds the classic ‘80s poly to the FANTOM workflow. This means that not only can you play it as a single tone but you can layer it with ZEN-Core or Multi-Sample tones. (You cannot use it V-PIANO or another ACB Expansion, unfortunately.)” - free download for EX owners.

Additional engines might be forthcoming, more possibilities for those that can edit on the software version. And I wonder if they’ll do a 73/76 or an 88k weighted (not a stretch from their controller offering).

I’m late today. Not much times for keys. 😫

As mentioned, N-Track Studio is up to version 10. ntrack.com/ios-multitrack-studio.php Logic Pro for iPad https://www.apple.com/logic-pro-for-ipad/ FL Studio for iOS https://apps.apple.com/us/app/fl-studio-mobile/id432850619 Cubasis is up to version 3 https://apps.apple.com/us/app/cubasis-3-daw-music-studio/id1207839273

I have a suspicion that this particular advancement, as opposed to digital instruments and sampling (which has been embraced largely due to lack of access to all the analog and acoustic instruments it can sound like) will usher in a big musical luddite movement. A marketing point (as mentioned above) “made without AI” both in recordings and live shows. Social media clearly shows there are more people than ever in the world who are playing instruments, making art, writing books, etc. entirely without AI. Do they/we really have any interest in filling our minds with robot art? This type of material seems more inclined for commercial use in advertising, low budget soundtracks for video. How hard will it become to tell the difference a year or three from now. That remains to be seen.

That’s true - particularly obvious in popular music. So - what’s the answer to that? Maybe there is no answer. Recording and publishing aren’t a viable business. Back to concerts and merch.

I think that’s what I am trying to ascertain. Is there a difference between recycling compositional elements and recording anew vs. sampling and actually reusing the inspired by recording? For example, Taylor owns her re-recorded albums. The original masters are owned by Scooter Braun. There is some confusion there between mechanical and publishing rights.

Non GMO music. When we learn from recordings or from a teacher or from watching, listening, etc. we sit down a record ourselves, ya? Or use royalty free or licensed samples for building arrangements, making a new recording. I’m wondering how much of an AI generation is newly recorded or if samples used are being licensed. But these are ideas that we are familiar with in our culture and governance. There are plenty of regions in the world where IP isn’t a thing.

I’m not exactly sure how it works, but I believe the AI is “scraping” the recordings it was “trained on”. In that sense it is akin to sampling.