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.

I read an article this morning where corporates are already hesitant about using Adobe’s Firefly AI to generate their commercial artwork needs because about 12% of the artwork that Adobe trained firefly on is not royalty free material. So, what transpires when laws catch up to the technology? It’s obvious that suno and udio have been trained on copyrighted material. What that means going forward. 🤷‍♂️

I just "wrote" a song - Silent Mystique

Sounds

This looks like the service manual, which would get you inside and give you an idea about disassembly, reassembly and what the case you envision would need to hold it. But I can't imagine how anything I would build to hold it would come out lighter. Cooler looking perhaps (I'd use wood and tolex), but lighter?

hmm, Seamless sound switching seems to be implemented as we would expect. Voices are allocated for sounds currently happening and other voices are already assigned to the incoming patch. A sample based patch with a larger library has a brief load time. This is more similar to say, Kontakt than a stage piano or synth. And I think that has to do with the size of the library and the read time (processor speed, storage speed, bus speed). to be expected? Mainstage is quite quick, depending on how quick your Mac is.

Realistically speaking, the video creators/YouTubers have to be satisfied with whatever they earn from the number of views and ads on their channel - which apparently isn’t much until you get into the millions of views. So either the creator is independently wealthy and benevolent (which is not likely) or there is a product for sale or it’s simply self promotion for their own lesson studio. There is nothing for free in our world.

A set of big brass buttons?

V2 - or if hot for the patches. Arturia controller and the software. But don’t under estimate Bert’s ability to sell a synth. 🤣 "So get your hands on this amazing performance keyboard, Astrolab" - as I leave you with the vocoder!

Bert is back, bigger and badder than ever.

I haven’t checked on this specific app, but they appeared to be getting away from the elicenser with other products.