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A forum for manufacturers to let us know about their new product offerings, both hardware and software.

 

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    • Trying my luck here, see if this thing doesn't crash . . .   Couldn't watch the video, so my apologies if I'm also going over things that are obvious.   Quick take - PC (Program Change) Commands should be among the simplest and most direct forms of MIDI communication, even more so than Note On/Note Off. CC (Continuous Controller) Commands are generally more complex.   Start out with the two devices disconnected from one another, and check which MIDI Channel each is set to, and that MIDI PC Commands are enabled in both. for simplicity's sake, you might as well set them both Send and Receive MIDI data on Channel 1, then turn them off, for the moment. If you're using a MFX as your Master Controller, connect the MIDI Out from the MFX to the MIDI In on the Catalyst, turn the Catalyst on first, then the HX. (Admittedly, this is an old-school approach to powering up a MIDI rig, where the Master Controller is the last thing you power up.)   Ideally, when you switch Presets on your MFX, you should see that the Catalyst is also changing Presets.   You may have to dive into MIDI re-mapping, making sure that Preset #1 on your MFX brings up Preset #1, so that your Patches line up with one another. If you've been busy tweaking Presets and moving them around within your devices, you may find that their PC #'s don't correspond to their position in your User Preset banks: the Preset you've stored in #1 might be sending a very different PC#, depending on where the original Preset was.   You can, of course, set things up so that Preset #1 on your MFX brings up Preset #13 on the Catalyst, I find that it's somewhat easier to manage your Presets if the numbers align, as well. It also helps if your MFX has a good legible display, so you know that you're dialing up the Surf Safari Preset, instead of trying to remember which # is which Preset.
    • Not sure it's a choice.  You have to deal with people in a band and have some sort of interaction. 
    • Check out Rolands FP30x action ...same on the their FP60x also.... I'm a diggin it.... not exactly totally light but very nocely balanced and tuned well to the soundengine.  
    • The logarithmic nature of our hearing is always confusing.    We think adding a second powered speaker on stage will double the volume. No, it adds 3dB of volume, which slightly increases volume, but gives us the opportunity to spread the volume over a wider expanse.    I worked in  telecommunications test firm for 20 years. Rather than pull out a calculator, I ended up just using a handful of useful short cuts.    Here’s one…   Ten times the power = two times the volume. Or, +10dB doubles perceived volume.   An example is,    If you want to double the volume of 10W amp, you need 100W. (All other things being equal.)    
    • Those original SD cards seem to be very prone to fail. Maybe is related with the battery getting depleted and, at certain voltages, causing havoc to them 
  • In MPN’s GEARLAB

    • I just bought one used two days ago.   I had in the past (a very past) the original ARP Odissey and an Avatar (the guitar version of the Odissey). They sounded quite differenti, and now I understand why: two different version of the filter. A friend of mine still have the all black one with coloured sliders, which Is again different, maybe two poles filter?   Anyway the Behringer sounds good but a bit differenti too.   My ARP had a ring modulator I used to build fabolous bell like sounds: metallic, full of harmonics.    The kind of sound you can hear on Japan Tin Drum or Oil on Canvas albums.   Until now I couldn't recreate this sound.    Neither the Avatar did. Just my ARP Odissey I sold for little Money :(
    • In V.A.S.T., be it the original V.A.S.T. or the newer vaster V.A.S.T. with Cascade and Dynamic, there are several ways you can use internal DSP sources with Samples:   1. Samples only 2. Internal DSP Oscillators only without any Sample 3. Samples mixed with internal DSP Oscillators   In the new V.A.S.T., you can certainly use a multi-sampled Keymap, alongside an internal anti-aliased DSP Osc, e.g. a 2-block SINE+ for a single Layer, or even an aliased one like the old SAW+.   For larger AA DSP Oscs, e.g. the 4-block SAW, you'd need to use Cascade Mode, a passthrough signal and a Mixer ALG.   So these aren't mutually exclusive. Instead, what the manual seems to indicate is that if you want to do a traditional analogue subtractive synth, then you'd rather not use a Keymap, which makes sense since analogue subtractive synths don't use them at all.   You can  still use a Keymap's sample Envelope if it is set to Natural, even if the Sample itself isn't sounding via the Layer, say, if you have simply a 4-block AA DSP SAW. That SAW block effectively cuts off any of the Sample signal. However, as the AMPENV mode is set to Natural, it is the factory AMPENV for that multi-Sampled Keymap that is applied to the Layer.   The Natural envelopes have more details than can be produced with a User AMPENV.   The thing that happens with setting the Keymap to Silence is that it sets each key's amplitude to the same maximum amplitude. Maybe that's what you need in a certain program, but sometimes, if you are doing an emulative program, you could be better off actually referencing the emulation's Keymaps Sample although the latter isn't heard, with the corresponding Natural Envelope, or of course, you could just go into User Mode and make your own envelope.   Hope this helps.
    • Sweetwater might accept to deliver to Canada, but you will be charged transport accordingly and as anything going USA to Canada your item will go through customs and it is always possible to end up with extra fees - sometimes very expensive. I personally had a very bad experience about 10 years ago and promised myself to never import again from the USA unless the seller confirms on paper he pays for all possible customs and duties extra fees.   Buying Kurzweil products in Canada has always been complicated. In the 1990s a few stores in the province kept a couple of them, but if you wanted something they didn't have you had to order sight unseen and wait months to get your purchase. That is how I bought my MIDIboard, K1200 and finally, around 2000, a PC2X. I hated the Fatar action on the PC2X from day one and swore to never buy a keyboard sight unseen ever again.
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