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The Keyboard Corner
Synths, pianos, software, analog, digital, modeling, virtual instruments, programming tips - this is the place on the web for discussions, debates, opinions and assistance...and the occasional sports thread.
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Trending posts on MPN
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Those patenta are really Stanford's and the work of Scott A. Van Duyne and Julius O. Smith, III, covering waveguide technology. They deserve the bulk of the credit. Yamaha paid for the rights and controlled it for a period of time. And everyone that explored that field had to pay their license fee. -
By Michael Wright · Posted
I agree . I love my 01w. I have had several, and had my present one all cleaned and an LED screen put in it. I think it's a great synth. -
By harmonizer · Posted
I had a very similar experience, going to some store in NJ (a store recommended by my band director; don't recall which it was). The store had 3 Mark VI altos in stock, and all 3 felt very different from the student sax (Bundy) I had played until then. I was 14 and I really didn't know what I was doing, but I chose the one that "spoke" the best. I can't imagine a sax player picking their first pro-grade horn without comparing multiple horns via in-person play testing. -
VL-1 is one of a kind. The Anyma Phi & Omega synths might be interesting along this vein but I doubt they are as advanced. Any patents have expired by now for the Stanford/Yamaha kind. They were being licensed through Sondius XG. Korg also was a licensee, as some other companies - Seer Systems by Dave Smith too I believe. Software-wise, I heard good things about SWAM, Pianoteq for classical sounds but to me, the more interesting outputs of the original VL1 and VP1 were the Syncoustic sounds. It is not just the tone generation, it is the expressiveness that is a big draw for me, as is the Uncanny Valley effect of hearing what is definitely an Instrument that has Acoustic Expressiveness, but one that clearly doesn't exist. I'd love to see Yamaha make new VL1s or new VP1, especially since the latter are unobtainium: there are probably less than 20 worldwide is what I've read. -
I didn't see this in the thread so hopefully it's not re-asking an already answered question. Does the new Logic for iOS take care of one of our main gripes about Cubasis - the ability to recognize tempo changes? Or was that already taken care of in the original Logic for iOS?
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In MPN’s GEARLAB
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I remember seeing the ads in Keyboard and a picture of the Odyssey on the Musicians Friend catalog. I really wanted one but ended up with the MiniMoog because it was available. In the late 70's you didn't have a lot of choices in a small rural town. Was very interested when this came out but reviews of the horrible touch pads scared me away. Wish it had more jacks for interfacing with the Behringer 2600. Still, maybe someday. Wonder how it compares to the Korg version? -
Carlo, you make that Oddy sound fabulous! I have a black-face Oddy and Axxe in my garage, have had both since the '80's, and both need new sliders, probably new caps, and a ton of cleaning. But hearing you play it made me feel nostalgic for that sound! Given the price of the Behringer, it'll probably be cheaper to just buy a new one than to fix mine. -
By John Tweed · Posted
OT - just a comment on the original white face Oddy - I modified mine so I had an octave up/down switch. Also changed the pitch knob to one which had a notch sticking out so that I could curl my little finger round it and be confident that I could return it to the neutral position. And I managed to rewire the modulation slider on the first oscillator so that the second oscillator modulated too. It was all very ambitious of me, with not much real understanding of what I was doing, but it worked nicely. i hung onto it for years, only selling it off about 10 years ago. Nowadays I occasionally use the app on the iPad. It’s close enough for me.
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