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The Keyboard Chronicles • Podcast

A podcast that covers the life of a keyboard player, both amateur and professional. 

 

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  • Trending posts on MPN

    • There's certainly a lot of moving forward in the software realm, which is where I live for any home/studio stuff.  Sure there are lots of emulations and copies of hardware, but there are also a lot of synths/sample libraries that defy definition.   I personally have little interest in some copy of old hardware, I just like something that sounds good and brings good features (e.g. the "lock" feature in Omnisphere where aspects of a patch can remain when you change patches, this is fantastic). If you limit by genre, maybe things are stagnant, I don't know.  I know for my classic rock cover band needs the progress has been steady in most ways but I mostly use organ and piano so that might not count. Edit: Like Elmer said!
    • I don't see any stagnation from synth developers, it's just shifted to software.  Most of these devs would love to bring their synths to hardware, but it is challenging for a variety of reasons.  Firstly, programmers are not necessarily skilled at hardware so they need a partner - especially if they intend to use custom DSP (which also requires additional programming skills and work).  Most people would need backers or a kick-starter to make more than one.  There's always the option of using a rasberry pi, and I think this happens often.     As far as patches - there are millions of patches.  wild stuff that most would ignore for song writing, but they might be just the thing as sound fx or the right vibe for film scores.  The reason why there are so many sound-alike bread and butter patches is because of the market.  It's what the majority of players and producers need.  But any synth with a variety of oscillators to choose from and a capable modulation matrix can sound like anything your imagination conjures.  It's figuring out how to program all these synths that takes time.    
    • So if I were a modern day synth manufacturer, and I hope to sell my synth to many buyers, it makes sense to me to name my synth something would-be buyers are familiar with and have positive associations with.  So I can understand why Roland rebrands "Jupiter" and Korg rebrands "M1".   It also makes sense to me that music producers will call for the same sounds that made up other previously successful songs: it should be no surprise that a modern synths will have lots of sounds that were famous from earlier hits.   We see the same thing in the move business: lots and lots of remakes and sequels to hit movies, and only rare attempts to go outside the box.  And for the same reason: the ticket-buying public wants more of what it already likes, and it is more difficult (and too often less profitable) to risk a new thing that the public might reject.    Unlike the guitar - which will always make sound by amplifying the vibrations of strings - modern synths employ a large variety of mechanisms to make sounds: analog control voltages, sampling, digital modeling, frequency modulation, additive and subtractive synthesis, and so on.  A better analogy would be if guitars started to include strings and pickups, AND a mouth-piece and folded tubing to produce standing waves for sound production.   I am not really bothered by names that get recycled or modern synths that have lots of "old" sounds among the patches.  I am surprised that guitarists never got excited about using synthesizers the way keyboard players have.  Obviously, the excitement of keyboard players for synthesizers drove a lot of synthesizer development in keyboard-friendly ways; guitarists ignored synthesizers and synth manufacturers largely ignored guitarists.
    • Anybody have any suggestions about synth sounds for Robert Plants In The Mood? I know the original keyboardist was Jezz Woodruffe and he use Jupiter 8 keys. I’ve been searching high and low and can’t find much. I’ve been working with my Arturia Jupiter 8 but keep coming up empty.
    • Mac/PC have demo version. Even if your goal is to use it on iOS, you could demo it using the Mac/PC version.
  • In MPN’s GEARLAB

    • And I just tested it, unfortunately it's not working like that, a bit sad, that would have been intelligent!
    • I have one of these, the 2408, since a couple of years, but never really used the AUXes, do you guys have any idea how AUX 3 and 4 are dealt with on the stereo channels? Can the "musician mix" outputs be used for actually sending stereo signal from a stereo channel on either of AUX 3 or 4, using a TRS cable, and by this actually being able to feed a stereo effect with actual stereo signal?   I could try this of course, but after reading this review I figured I'd throw this out to start with!      
    • Yes, the three synth engines are freely assignable to the fixed splits.  
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