CyberGene
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Posts posted by CyberGene
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I'm wondering, those guys that complain about "suitable for funk", what music do they play on a purely analog synth then? There are way too many (around 1 million and 1 billion) demos on YouTube that will demonstrate filter opening and closing with resonance on an oscilloscope and call it a day.
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The demos sound great and the price is unbelievable. What"s the catch? Why is this cheaper than the Prophet 5? BTW I thought it was made in China in order to be cheap but on a picture from Thomann it says 'assembled in USA'.
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I"ve also watched some of Herbie Hancock recent videos where he plays the Kronos. IMHO it sounds rather cheesy and tasteless. Well, who am I to criticize Herbie Hancock, but he"s been my favorite jazz pianist for all my life (along with Chick Corea) and I think I know what a terrific Herbie is. Well, not this one. It"s a no match for his young years when he had multiple real synths, keyboards and effects on stage. I"ve read somewhere on this board that workstations mostly appeal to older folks and as humorous it is, it seems to be true even for the big legends
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When and how much?
Sorry, couldn"t resist.
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Lyle Mays on 'Rainland' by Paul McCandless:
Starts at 2:34
How did they make that piano sound, glorious! I suspect a Lexicon reverb.
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Sounds nice ðð»
However it"s perplexing to me why they use potentiometers and not encoders with that type of interface where you reuse the four knobs for every possible function. It would be a very awkward experience unless I"m missing something.
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I"m relatively new to the forum but having these timeouts 50% of the time. I"m in Bulgaria.
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A new demo from another beta-tester:
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I don't see the problem with Behringer making clones. There is no OB-XA currently being produced (OB-6 is similar but not the same), the license has long ago expired and used OB-XA-s are way too expensive and rare. What's wrong with producing them again and making them affordable?
Behringer are also in the process of creating a replica of CS-80 going to such lengths as reverse engineering chips that are no more produced and have no technical sheets. When you take in mind the CS-80 was so prohibitively expensive that only a few could afford them and Yamaha apparently aren't interested in reissuing it, then what Behringer does is actually pretty awesome. Those were instruments that most people could only dream of. Now everybody can have one of these for a great price and all that is legal. Not ethical? Define ethical.
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"Horse With No Name" - my nominee for Worst Pop Song Ever.
Hehe, horses for courses, pun intended
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I love it when pop/rock songs are two-chords only (or so) yet manage to convey emotion and a gradation. That's what I call a "complex" task. Say, "A Horse With No Name" by America. A granny would know how to use jazz-inspired arrangements and chords to make "most complex" but that's not pop then My two cents.
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See threads like this are like the Classical players who view music like a sport and all about perfection in technique and musical complexity versus musicians in other genre based on Art and Feel. I'll take feel any day over technical perfection.
Not sure where that came from. I didn't say I argue the power of a solo. Any solo. Or the value of improvisation. That was not my point, please read carefully. My point is why this exact solo improvisation is being overhyped. This actually creates a disservice to the improvised music as a whole because I don't think spotlighting a single instance of a solo and overhyping it to such an extent, is healthy for the art of improvisation.
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I've had my Hydrasynth for a year now. Coincidentally I've had my first jam with it only yesterday (due to Covid) and the other band members were wow-ed by it.
Summary: it's a fantastic keyboard for the price and definitely a keeper although not perfect.
When I purchased it I wasn't very familiar with synthesis and was mainly after vintage analog sounds, I play mostly funk/fusion/jazz. I purchased a Roland SE-02 which was faulty and then a Behringer Poly D because I was in love with the vintage Moog sound. I sold the Behringer because although it was great, it was PITA to reprogram it on the fly and I wasn't still very experienced with sound synthesis, besides it's mostly a one trick pony and I needed a polysynth.
And so I ended up with the Hydra. First: this thing is so intuitive, it actually taught me how to make very complex patches with a lot of modulations, FM and stuff and in a matter of days I was able to create at least 10 patches that I still use. Creating very realistic Moog leads is a breeze.
Anyway, it will sound cold and digital by default and requires careful attention and knowledge on how to make it warm and analog. I feel confident now but I was often at the verge of selling it and replacing it with a real analog synth. I'm glad I didn't because in the meanwhile I purchased a Novation Peak which is a much warmer (and mostly analog) synth, however I prefer the Hydra so much more as a layout and interface. The module buttons with the OLED screens and the endless encoders make it so easy to see the entire patch. On the Peak you load a patch and... well, the knobs stay as they were before, so you have absolutely no clue about the current patch. That drove me crazy and I sold it, although it sounded slightly better than the Hydra in regards to analog sounds.
The poly AT is really nice and although I mostly use it in a monophonic mode (for mono patches and leads), occasionally I rely on the poly AT. Besides, even the monophonic AT is very smooth and gradual. I am yet to try an AT-enabled keyboard that has this ultra-smooth and precise aftertouch that makes it feel like a real expressive instrument. Even as a controller it is killer when you take in mind the quality of the aftertouch implementation.
I've been very active on the Hydrasynth Facebook page and people there are very helpful. Even Glen Darcey, the mastermind behind Hydra, participates and recently he helped me nail a Moog lead by providing detailed settings for the envelope slopes, so that they resemble Moog ones.
Here's the result:
It all started with me trying to recreate the original Moog lead from a video by Jamiroquai's Matt Johnson:
(starts from 12:20)Listen to both and let me know if I managed to recreate it well enough. I think it's so close! And then take in mind I was a total noob in synth programming, so I definitely think the Hydra is a fantastic and intuitive synth.
I love it so much now that I pimped it and replaced the cold aluminum sides with pear wood:
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Just for instance (really, just an example) the Herbie Hancock Rhodes solos in the original recording of Chameleon and Butterfly are IMO absolutely perfect, and (I'm biased) so much better musically that Lingus solo. But you could hardly notice any craze going on regarding these two (or any other of the hundreds of mind blowing solos). Yet the Lingus gets the special treatment.
I think part of the popularity of this solo is that it is on video. There is no video of Herbie performing the original recordings you mention. Being able to see music, not just hear it, gets more attention.
Never thought about that, makes a lot of sense, thanks ðð»
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I have never said "I can do that"
I'm not a good improviser, just a good listener. My question isn't why that solo is great. Because it is great. My question is: why of all the great solos out there this one got the attention and everybody nowadays mentions it as though it's something better than the rest of the great solos.Just for instance (really, just an example) the Herbie Hancock Rhodes solos in the original recording of Chameleon and Butterfly are IMO absolutely perfect, and (I'm biased) so much better musically that Lingus solo. But you could hardly notice any craze going on regarding these two (or any other of the hundreds of mind blowing solos). Yet the Lingus gets the special treatment.
No, I will never play even 1% as good a solo in my life, that's a certain
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The fact that you talk about "logical harmonic development" and "mostly technical chops" and "revolutionary or advanced" developments indicates that you're focusing on the 30% of the playing that's technical prowess and completely missing the 60% that are emotional setup and development.
The remaining 10% is Shaun Martin's reactions in the video.
That's actually true since at the time I only used to listen to Lingus as audio and hadn't watched the video, so I missed non-music related context such as that.
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I am a Snarky Puppy fan since the beginning and I remember liking the famous Lingus solo at the time while it hasn't still generated the cult following. I may have listened to this track more than the rest exactly because of that solo, I mean it's a very good one.
Fast forward a few years later and YouTube is full of some enormous craze about that solo and everyone is talking about it as though it's the best keyboard solo in the world ever and forever. And I just can't understand why that is. I mean, it's indeed a good solo with a lot of energy, etc. but to me it's mostly a well-shredded synth solo that starts with semi-random Gospel chords that are there to create an intimidation rather than follow any logical harmonic development, and the actual synth lines are full of mostly technical chops without anything revolutionary or advanced from an improvisation point of view. I don't feel there's any advanced development or musical thought put into that solo but it might be just me, judging by how many people seem to talk about that solo as the best solo in the world.
I know this sounds like a rant and once again: it's indeed a very good solo but why has it become so overhyped? Wondering if I'm the only one.
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The zone control helps indeed, I've been using it with my Behringer Model D. But even after more than a year, I still feel confused by the concepts of the MODX and can never do anything quickly. I purchased this board for gigging but whenever I'm rehearsing with the guys and I decide to make a split or something like that, it's a frustrating and embarrassing experience where people have to wait for me to scr*w around with the interface and I certainly look like I don't know what I'm doing which is kind of true. Maybe the problem is in me though. But then I'm a software developer, tech savvy, I can program synths and I can certainly program the MODX, yet I just can't get accustomed to its peculiarities... To me it seems more like a studio board.
As to Rhodes, I can recommend the free Chick Corea set that can be downloaded from the Yamaha website: it covers all my needs and there are some wonderful performances there too that one can use to further edit and prepare his own sounds.
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Now that we have refaceCP -> CP73/88 and refaceYC -> YC61/73/88, how likely it is to have a full blown virtual analog like e.g. a brand new CS61 in your opinion and will you be interested? Or is the market now overcrowded with analogs and VA-s?
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i listened to the demoes for the Chick Corea rhodes and the purgatory creek EPs , really tough call . does the modx have the memory for both the chick corea rhodes and the
bosendorfer grand ?
They are both slightly below 500MB each and so can be installed together. BTW, the Chick"s one is only Rhodes samples, whereas Purgatory Creek contains Wurlitzer, Clavinet and Pianet samples. If they offered only the Rhodes samples (two types AFAIK) it would have been 200MB and cheaper. I personally don"t care about the other samples, I"m interested only in Rhodes sound, so it"s a bit of waste for me which is another reason to be hesitant. They both sound very pleasant to my ears. But I still have a slight preference towards Chick. Also because I loved the guy and have grown up listening to many of his records and his Rhodes piano.
P.S. Sorry I misread your question, I thought you were asking about installing both Chick and PC Rhodes. To your question, yes, it"s exactly what I have on my MODX: the Bosendorfer and Chick Cores Rhodes and there"s 80-90 MB free space left if I remember correctly.
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I don't see the free Chick Corea's Mark V Rhodes mentioned:
I think it's a great one and is free. Haven't purchased the Purgatory Creek one, so can't compare but judging from the demos I prefer the Chick's one.
I'm not a good improviser, just a good listener. My question isn't why that solo is great. Because it is great. My question is: why of all the great solos out there this one got the attention and everybody nowadays mentions it as though it's something better than the rest of the great solos.
Sequential Take 5
in The Keyboard Corner
Posted
Call me greedy but I can hardly remember when I last played a chord with less than 6 notes 𤣠I"m so much used to the Herbie Hancock style m7/9/11 such as:
A E B C G D
And I often even play another A and B in the right hand, between the G and D, to fully thicken it on my Hydrasynth.
5-note polyphony totally breaks the deal for me. Why not Take-6 or even better Take 8 ð