psionic11
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Posts posted by psionic11
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TC Helicon VoiceSolo is a great piece of kit.
https://www.sweetwater.com/store/detail/FX150--tc-helicon-voicesolo-fx150
It's a powered FRFR speaker with built-in FX geared towards vocalists.
But it can do double duty as a nice sounding keyboard or even a light duty bass amp.
Its built-in mixer will grow with her needs, especially if she sings.
- phantom power, bypassable vocalist FX (de-ess, comp, gate)
- 3-band EQ per channel
- 2 combo XLR / 1/4" inputs
- 1 mini stereo AUX input
- built-in TC quality reverbs
- dual XLR outputs (bypass/thru and normal mono out)
- set it vertically on mic stand as mini PA
- or use the mic clamp to horizontally mount it
- or use it as a desktop / floor wedge
I've used mine mounted on a mic stand as my "more me" vocal and keyboard monitor on stage.
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So here's a sample scenario for the kind of thing I'm talking about. You've got a string pad under your left hand, organ on the right. You're coming up to a part of the song where you want to hold the pad, but you want to switch the organ to piano. How do you switch just the right hand sound, without switching the left? And for bonus points, not cut off your held string sound when you make the switch? And for more bonus points, quickly make the piano louder if you need to, without affecting the volume of your strings? And for even more bonus points, shift the piano up (or down) an octave part way through playing your piano part (since {on a Kronos 61} you've only got about 3 octaves' worth of keys available for your piano)? Even if you set up your string+piano and string+organ splits ahead of time and saved them as Combis, I don't think you can do this. And if this was a song that someone called out on the spur of the moment and you hadn't set up the Combis in advance, it would be even harder to get anywhere close to being able to do this, right?
Now, if you have two boards, ALL of this is a cinch. String pad on one board, switch from organ to piano on the other. You automatically have no sound cutting out, independent volume controls, plenty of keys for each part. But if you're trying to do this on one board {some boards} will let you do this reasonably well. Most boards do not.
Not everyone needs to do this, I know. But this is an example of something which I personally find valuable that wasn't in Elmer's initial list oif potential swiss army knife boards... being able to treat the left and right sides of a single board practically as if they were two separate boards. Usually the best answer for this kind of scenario is to use two boards. ;-) But there are times where the benefits of a single board are significant, some combination of things like small stage space, difficult load-in, short setup time, traveling via public transportation, whatever. But again, people will have different needs.
Those on the fly sound switch scenarios are all possible on the Kronos using the method I described above. And including while sustaining. You can edit octaves, levels, FX while playing. The bonus is that by doing this in the context of a Combi that already has keyboard zones set is that you preserve those zones, and their FX chains, while switching sounds. Level adjustment is easy â just use the appropriate slider. Octave switching requires tabbing over to the Timbre /Pitch page, highlighting the part"s transpose box, then typing in +12 enter. Alternatively, you can use a SW to change octaves, or a MIDI foot switch, and probably KARMA.
There is often more than one way to get a task done on the Kronos, which I believe is a testament to its powerful flexibility. I just got a K2500RS, but it seems to me VAST is also powerful and flexible. The Stage 2 is less so, but the most important parameters to a live performer have been thoughtfully made very accessible. I could sell off all my studio gear but keep just the Stage 2 and the Kronos and still be very satisfied. Probably explains why I"m on them 90% of the time while neglecting a dozen others.
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You can still get the results you're looking for...The only prerequisite is that you be in Combi (or Sequence) mode. If you're already playing a LH / RH split, then most likely you're already in Combi mode. Now if you decide on the fly you want to change the RH sound, no problem. Just touch the very top dropdown arrow in the column of the sound you want to change. This presents you with all the sounds of that particular category. You can then select the sound you want, while still playing the LH part, and you're good to go.
If you want a sound that's not in that particular category, then with the window still open, you can simply change the category from the list presented, and then you can see all the sounds of that new category. It's pretty straightforward.
Are you sure that works? I really think I tried that, and it didn't work. I think changing my right hand sound not only cut off my previous RH sounds (no seamless transistion), but even cut off my LH sound. Am I misremembering?
Yes, I test the methods I suggest before I post them. The LH synth bass was sustaining while the RH brass sustained, which kept sustaining while I changed the RH to strings. So three sustaining sounds while only 2 timbres were on MIDI channel 1.
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Here's a method to use KARMA to achieve what you want. It won't cut off sustained notes when you switch to a different sound (or group of sounds). Of course, you'll probably want to make a template combi full of likely sounds you'll be switching on and off. But once prepped, it's easy after that to make new splits on-the-fly.
I watched the video and don't see how it's easy to make new splits on the fly, it looks like all the combinationsneed to be set up in advance. Which is okay, lots of people work that way too. But what I'm talking about is on some of these boards, you can be playing a LH bass, and decide on the fly that you want some other RH sound, and you can actually navigate to any other sound in the board and call it up for your RH, without glitching your LH sound and usually without cutting off any decay from your previous RH sound. Not just from a delection of 5 or 10 or 15 sounds (though you may have arranged fast access to your favorite possibilities), but from any sounds that are in the board (without setting stuff up in advance, which is a way you can do it with many more boards). I believe this is an area where Kronos lags the majority of the other boards on the chart. (Which doesn't necessarily mean it matters to lots of players...)
You can still get the results you're looking for. You really don't even need to use KARMA if you don't want to go through that preparation. The only prerequisite is that you be in Combi (or Sequence) mode. If you're already playing a LH / RH split, then most likely you're already in Combi mode. Now if you decide on the fly you want to change the RH sound, no problem. Just touch the very top dropdown arrow in the column of the sound you want to change. This presents you with all the sounds of that particular category. You can then select the sound you want, while still playing the LH part, and you're good to go.
If you want a sound that's not in that particular category, then with the window still open, you can simply change the category from the list presented, and then you can see all the sounds of that new category. It's pretty straightforward.
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Also, you mentioned earlier in the post that it was a bit difficult to do splits and layers on the fly. I'm not sure you're aware, but around OS 3.0.2 the Kronos has 2 new easy split / layer buttons on the screen. It's a snap to set up now.
Not the way I use them it isn't, unfortunately. I was really looking forward to that update, but it doesn't do what I wanted. Korg's apprach is a designed to simplify programming basic combis, and it's great for that, but doesn't appear to have really been designed to facilitate working with splits live on-the-fly. For example, let's say you use the quick split function to split bass and piano. Now you decide you want to switch your RH sound from piano to Rhodes. Despite Kronos being know for its seamless sound transitions, switching to Rhodes will cut off any held piano notes. But worse, it will also silence your bass line when it makes the switch.
Here's a method to use KARMA to achieve what you want. It won't cut off sustained notes when you switch to a different sound (or group of sounds). Of course, you'll probably want to make a template combi full of likely sounds you'll be switching on and off. But once prepped, it's easy after that to make new splits on-the-fly.
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Ah, missed the NC2X. Otherwise, looks good, thx.
Also, you mentioned earlier in the post that it was a bit difficult to do splits and layers on the fly. I'm not sure you're aware, but around OS 3.0.2 the Kronos has 2 new easy split / layer buttons on the screen. It's a snap to set up now.
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Finally, for around $700, the Numa Compact 2X is fairly decent Swiss Army Knife. Probably best to augment it in 2 ways for a cheap, portable, and beer-tolerant solution for those non-safe gigs -- extra MIDI controller to access the 2 additional sound sources, and an iPad for its audio / MIDI in for access to soft synths, virtual pianos, drums, and / or backing tracks.
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Fatar Studiologic Numa Compact 2X
https://www.studiologic-music.com/products/numa_compact2x/
Manual: https://www.studiologic-music.com/support/numa_compact/
Action: 88 semi-weighted aftertouch TP/9
Engines: samples, organ (from Numa), VA (from Sledge)
splits/layersâ¦: 4: 2 layer/split + 2 sounds via MIDI
â¦upper and lower organ engine split: yes
â¦total internal (count organs as 1): 2
â¦external: 2
high trigger: yes? (dual switch detection system)
â¦when playing organ+other
â¦over MIDI
Synthâ¦
...pitch/mod controls: yes
â¦editable envelopes, filters, etc.: yes
â¦portamento: no
# parts with own effects: 4
drawbar type: normal
splittable outs for organ or LH bass: yes (headphones as AUX out)
user edits/combinations: yes
â¦recallable without scrolling: yes (sounds chosen via Bank, 4 per)
â¦recallable over MIDI: yes
user samples (keyboard playable): no
weight: 15.6 lbs / 7.1 kg
iPad/VST integrationâ¦
â¦send specified Program Change: yes
â¦sliders send MIDI CC: yes
â¦audio in: USB
Additional:
Speakers: 2 x 10w elliptical
Trigger pads: no
Backing tracks
...16 track MIDI sequences: no
â¦algorithmic accompaniment: no
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Here's a few minor additions / corrections to the Kronos features, if you want. Just me being a fanboi
Engines: samples/sampler, organ, VA, FM
# parts with own effects : 12+ (organ and EP have own FX)
iPad/VST integrationâ¦
â¦audio in: USB, line
Trigger pads: 8 virtual onscreen*
* pads can trigger notes, chords, or samples
* Korg NanoPad is plug and play
* I have 2 extra NPs if anyone wants
* can use FCB1010 to trigger pads (prog rock style)
Backing tracks
â¦algorithmic accompaniment: KARMA, drum track
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Here's a chart, based on your wish list and a bit more. It doesn't capture all the subtle differences in some of the features (or list some other significant differentiating features), and there are a few things I'm not 100% certain about, but maybe you and some other folks will find it useful...
https://docs.google.com/spreadsheets/d/1Fr9cObRaep37A9Y1PZtRkVWxKKDsXUGPk9ubfhYgoSk/edit?usp=sharing
Great compilation there, Scott. Very handy having a comparison chart. One suggestion for you that I like to do with my spreadsheets: freeze the main header column or row with the labels. This way the other data portions can be scrolled, while keeping the labels in view so the user doesn't have to go back, thinking, "ok this cell says 'yes' but yes for what?" In your case this would be View => Freeze => column A.
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You could also subdue the vibrations at the source. Underneath the keyboard, on top of the keyboard stand arms, place some items to absorb the shock vibrations from your playing. Thick foam, rubber mats or feet, new sponges, folded up socks, what have you.
That in combination with carpet under the stand, and the ways others are suggesting to stabilize the tripod should all work together to minimize having to fix it in post.
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- for rock, I find 2 layered uprights to sit in the mix the best. Thunderous 9' grands sound out of place to me when banging out the R&R. The naturally weaker bass of the upright stays out of the bass player's way. Layering does not sound chorused or phased - it sounds like a piano tuned with looser unisons, which is both authentic to an awful lot of rock songs, plus helps it cut without having to jack the treble unnaturally.
I use the ancient Rain Piano sample for the bite, and the Blue Swede for the body. The Rain gets a tiny treble boost and is mixed lower than the Swede.
- certain songs with exposed piano (typically ballads) do sound better to me with a single unlayered grand sample. But if you find yourself having to EQ a lot, something else is amiss.
After watching a few videos on the Stage 2, I found this pop up in my YT recommendations. As the live keyboard player on The Voice, David Tench sure loves his Nord. Here he quickly shows how he"ll sometimes layer an upright with a grand when he needs a thicker piano sound on the fly.
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I've said this before...
Until the pandemic, I played a Nord Stage for years in a classic rock band. Here are a few of my observations, FWIW.
- amplification fidelity is unusually important with Nord pianos. I went thru some increasingly nice speakers - EV, Accugroove etc - before finally arriving at a pair accurate enough to sound as good as my headphones (TT08a). Once I switched to in-ears,
- for all the agonizing getting Nords to sound great on stage, they sound far better to the audience. I've listened to others playing my rig and when I step out front it sounds quite real.
- for rock, I find 2 layered uprights to sit in the mix the best. Thunderous 9' grands sound out of place to me when banging out the R&R. The naturally weaker bass of the upright stays out of the bass player's way. Layering does not sound chorused or phased - it sounds like a piano tuned with looser unisons, which is both authentic to an awful lot of rock songs, plus helps it cut without having to jack the treble unnaturally.
I use the ancient Rain Piano sample for the bite, and the Blue Swede for the body. The Rain gets a tiny treble boost and is mixed lower than the Swede.
- certain songs with exposed piano (typically ballads) do sound better to me with a single unlayered grand sample. But if you find yourself having to EQ a lot, something else is amiss.
Now I wish they could fix the notorious finger to ear problems of the TP-100.
I do like the way the Nord pianos cut thru, more than the Kronos pianos. I don't like the way the Kronos pianos "top out" at high velocity levels.
I'll have to load up the Nord sample editor and see if I can make room for the Rain and Swede uprights. I'll assume you kept them both in the center to cut better, instead of using stereo separation to fill the field with color. I had to do a bit of juggling, math, and sacrifice to get the APs I wanted into the Stage 2's smaller memory. I ditched all the EPs and clavs, but I think I can boot one of the APs now that I'm using the same Silver White combo all the time.
When I was researching which DP to get, those TP100 stories made me more aware of different types of keybed action available. I knew that I just didn't get along with many keyboard actions (Roland FA), and it also explained why I wasn't fond of the Acuna 76 I had with the TP100 action (although it felt slightly better than my other TP100 board). Action and velocity response really play into response and feel. Velocity response you might be able to tailor if there are internal settings to adjust; but the hardware is what it is. Playing a Kronos piano through the Casio PX5S keybed feels much different than playing that same Kronos piano via the Stage 2 keybed.
I'm sure the Kawai keybeds are top notch, but there comes a time when good enough is good enough. Stage 2 does that for me.
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You'd only get phase shifting happening if you have the exact same waveform interacting with itself unnaturally. Different pianos won't phase shift against each other anymore than two violin or two trombone sections would phase shift.
"Phase shifting" might not be 100% accurate in terms of the textbook definition - but I'm assuming anyone reading this knows what I mean. Two pianos layered, no matter their sound quality, are not a substitute in a situation that explicitely calls for a single good-sounding piano. It can sound fantastic, blend well, be inspiring, a one-of-a-kind sound, etc... but it wouldn't be a go-to if someone asked me what to do about a poor-sounding digital piano. Assuming the rest of the listening chain was up to snuff, I would tell that person to 1) try EQing if it's the tonal character that needs work, and 2) try a different piano sample if #1 fails to fix things.
Generally, layering pianos is not very desirable. About a year and a half ago, I started comparing all the pianos I had in my hardware. I A/B'd and layered the Kronos SGX as well as various of its rompler pianos, the pianos in an Integra, a Casio Privia PX5S, the MODX pianos, and the Kurzweil Forte. Most combinations didn't work so well, and the frequencies fought it each other. I ended up returning the Forte when I found a great deal on a Stage 2.
Many of the Stage 2 pianos played pretty decently (keeping in mind live stage work, not for recording purposes), but I still experimented with layering to see if there was any improvement. Nord pianos layered with its own was also hit and miss, but it just so happened that the White and Silver I found to be a nice combination that didn't become phase shifty or overly boxy or unnaturally chorused. I thought maybe the OP might have had a Stage 2 and simply gave him an *additional* suggestion as something to try.
However, if you go back and take a look at my posts in this thread, most of my suggestions have been pretty bog standard recommendations -- EQ out the mids or the bass, try different piano samples, EQ your speakers if you can (he can't), and try better speakers if possible. I never meant to suggest that layering be a go-to solution, just as I did not recommend trying multi-gigabyte software pianos or buying another hardware DP.
Just trying to help someone out, and I'm one of those individuals who will suggest things that are sometimes "outside the box." I like the motivational signs at various jobs I've been in that suggest that one shouldn't fall into the trap of "but that's just the way we've always done things here." Experimenting can be productive, like the invention of Reese's peanut butter cups (chocolate and peanut butter? whodathunk?). Sometimes experimenting can also produce some duds, like most piano layering combinations, or chicken and waffles for breakfast.
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Maybe you missed where Charlie said he had a pair of EV-ZAX1-90s. Perhaps not on the same level as K8.2s, but everything I've read about them suggest they should be fine for his needs. I seriously doubt the speakers are a factor in his disappointment with the sound. I don't recall specifically listening to any, so maybe they're really poor speakers? I doubt it though.
I recommended more modern powered speakers *because* he mentioned he had EV-ZAX1-90s.
I'm not a Nord guy and TBH have been pretty underwhelmed by their pianos â the one's I've tried, anyway â but then again I've used nothing but multi-gigabyte software piano libraries for almost 20 years. As others here have noted, cutting lows and low mids can take energy out of the "mud" or "boomyness" frequencies. IMO, close-miked piano samples (which most if not all DPs use) do not sound realistic when amplified on a gig through a "full-range" speaker. Close-miking accentuates the bass frequencies and NOBODY listens to an acoustic piano with their head inside the piano inches from the strings â which is likely where the microphones that recorded the samples were placed. AAMOF you could probably put a high-pass filter with a gentle (12db/oct) set around 200-400Hz and the sound will clean up considerably. This has the additional benefit of allowing you to push your level in the band mix higher without encroaching on the bass player's turf. Try it!Agreed, cutting low end can definitely help clear up the sound up. Should be able to that with the Nord's built-in EQ as well.
1). Try different pianos with no EQ. Choose the best two. Then put one of the pianos in slot A, and EQ it if needed. Do the same with the other piano, but in slot B.2) Now turn on the Auto Pan for slot A piano. If you set the rate to zero, you can then Pan completely to the right, without it moving. For slot B piano, Pan it completely to the left.
3). Now you can layer slot A and B. Press and hold slot A button, then also press the slot B button. Enjoy a richer, wider layered piano Experiment with layering different pianos. â certain pairs of piano compliment each other while others don"t mesh well. I like layering the Silver and the White Grand.
This might work to give one an interesting sound appropriate for special situations, but IMO is not the right way to make a better-sounding "regular" acoustic piano. When two different pianos are layered, I can't see how you'd avoid phase shifts that would color the sound. I'm not saying it would sound bad or even "wrong" â just that I'd know I was listening to two pianos, not one. If it works in the context you use it in, great. I know it wouldn't work for me.Indeed, certain combinations of pianos don't work well together, especially if they're both boxy, like the Bosie. The Silver and the White blend well because they are more glassy than boxy... and hard panning them away from each other also adds a nice spaciousness, a different and more natural blending than a chorus on a piano. It's a blend that keeps me inspired, so I thought others might try and see for themselves. It's all a matter of taste anyway.
You'd only get phase shifting happening if you have the exact same waveform interacting with itself unnaturally. Different pianos won't phase shift against each other anymore than two violin or two trombone sections would phase shift.
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I have a Nord piano 4. Unless I am mistaken its not possible to layer pianos - you can layer a piano with something from the synthesizer layer. This is kind of a bummer because the sound of piano+Rhodes is pretty cool. If there is a way I would love to know it.
Looks like you're limited to just piano / synth layers.
I see that the Piano 4 has 2 equalizer sections. And re-reading your original post, I see you're having trouble with the octave just above middle C, which is C4. The frequency of C4 is 261 Hz, and so the C5 above it is about 522. If that octave is harsh, then you'll want to cut there:
1) on the far right equalizer, set the Frequency knob halfway between 300 and 500
2) set the Mid knob to -5 or -10 or whatever sounds best
3) go to the Equalizer section on the left (under the Piano Level)
4) try the Bright or Soft setting, see which you like best
5) go back to the EQ on the right, and make small adjustments as needed
Hopefully that helps. But keep in mind you really want a pair of FRFR (full range flat response) speakers for decent quality keyboard amplification. Modern powered speakers are head and shoulders above anything pre-2010. They have built-in DSP computer chips to really fine tune the frequency response to be as flat as possible. They also often have different "profiles" you can call up. So if you use your speakers as the main tops in a PA, there's a setting for that. If you use your speakers more as an onstage monitor amp for yourself, there's another setting for that. And so on.
Something like the QSC K.2 series, or even the CP8..
If you do decide to upgrade, try to bring in your Nord Piano to decide which size you like best. The K8.2 might be lightweight and punchy to your liking. Or you might prefer the K10.2 for more balanced mids while still being fairly portable. Then again, you might like the K12.2 best for its bigger bottom end. Point is, if you've invested $$$ in a high quality keyboard, you should follow through and get quality speakers as well.
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I like using the mid EQ fix method. Boost the mid gain knob up to max, then sweep the mid frequency knob, hunting for the nastiest tone, and leave the mid EQ frequency knob there, but dial back the mid gain knob to cut out that nastiness. Of course you want to do this fix with the speaker facing you from a distance, at the same distance the audience will be.
That"s a standard way to fix with EQ. Here"s a couple more suggestions.
1). Try different pianos with no EQ. Choose the best two. Then put one of the pianos in slot A, and EQ it if needed. Do the same with the other piano, but in slot B.
2) Now turn on the Auto Pan for slot A piano. If you set the rate to zero, you can then Pan completely to the right, without it moving. For slot B piano, Pan it completely to the left.
3). Now you can layer slot A and B. Press and hold slot A button, then also press the slot B button. Enjoy a richer, wider layered piano Experiment with layering different pianos. â certain pairs of piano compliment each other while others don"t mesh well. I like layering the Silver and the White Grand.
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I agree that the Hydrasynth has a certain digital quality that is hard to shake. Here are 3 versions of 1984, on the Hydrasynth, on the Prophet Rev2, and on the Kronos. Notice how on the HS version the low note rezz sweeps cap out at the top (couldn't get it to go any higher). Also notice when the song gets to the high E major chord on the analog strings, how it's harsh and a bit unpleasant to listen to... there's just something about the intonation of the HS that is harsh.* Because the HS doesn't restrain the sound designer into just sweet spots, there are plenty of yucky sounds you can get out of it, and the full spectrum, piercingly high digital end is one of those danger zones.
In this HS demo, I tried to tame the high end by putting the Lo-Fi Decimator at the end of the chain (low pass filter, 6.9kHz cutoff, 22kHz sample rate). That gives it the slightly boxy effect, but believe me, the high end sizzle of the low rezz part is now much easier on the ears.
Personally I wouldn't use the LoFi Decimator for taming the 'edge'. I've found the Hydrasynth 'analogs up' better using warm mode & the Drive pre-filter (in the range of 50-75), then using the EQ at the end of the chain. With a little wrestling I can get it very close to the Montage in filter character.
Also I tend not to use the Analog Feel parameter much, I prefer to 'roll my own' starting by varying all the Osc detunes and the Pitch Keytrack. I don't think I have the pitch keytrack set at 100% for any of my 'analog' style patches. Then a little slow, smoothed S/H LFO for pitch drift on one Osc, and a slow Sine LFO to another Osc, the rates and depths of both controlled by a little keytracking and velocity. Doing that kind of thing with a PWM string pad & the LP 3-Ler filter can give some pretty lush results:
Manny
Those strings sound excellent! Very present and yet no harshness whatsoever. Thanks for the tip on the 50-75 for pre-filter Drive.
Agreed it's probably a better idea to use EQ instead of the Decimator. I'll go back and change that now.
As for the Warm Mode, I slap it on because it's there, but I prefer another method for rounding off the edge.. If I have a mutator to spare, I found using the FM-lin with 0 Depth and 50/50 Wet/Dry really warms up the tone, and is clearly visible on a spectrograph as well. The Feedback parameter then boosts the the low mids in a way I like (beefs it up), but probably not good in a mix context.
By the way, I listened to your podcasts on your FM tutorials, your approach is much appreciated! They helped me decide to get a TG77 knowing how fond you were of your SYs. I wanted to have another point of reference for comparing FM between my MODX7 and MOD7.
Anyway, the Hydrasynth really is a great synth, esp for a first release. It's got a lot of unique abilities, and covers a lot of ground. And for a decent price.
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I agree that the Hydrasynth has a certain digital quality that is hard to shake. Here are 3 versions of 1984, on the Hydrasynth, on the Prophet Rev2, and on the Kronos. Notice how on the HS version the low note rezz sweeps cap out at the top (couldn't get it to go any higher). Also notice when the song gets to the high E major chord on the analog strings, how it's harsh and a bit unpleasant to listen to... there's just something about the intonation of the HS that is harsh.* Because the HS doesn't restrain the sound designer into just sweet spots, there are plenty of yucky sounds you can get out of it, and the full spectrum, piercingly high digital end is one of those danger zones.
In this HS demo, I tried to tame the high end by putting the Lo-Fi Decimator at the end of the chain (low pass filter, 6.9kHz cutoff, 22kHz sample rate). That gives it the slightly boxy effect, but believe me, the high end sizzle of the low rezz part is now much easier on the ears.
Now for a direct comparison to another digital synth, here's 1984 on the Kronos. The upper analog strings were almost an afterthought here, as I wanted to emphasize the low end rezz part. But notice how overall there is a sweetness to the sound that the HS lacks.
Finally, here's an analog version on the Prophet Rev2 doing the low rezz part. Even though it has the same Curtis chips as the original OB-Xa had, it doesn't quite nail the sound, much as I tried.
Here's the original for reference. Notice the voice count cutoffs due to polyphony.
[video:youtube]
* Although the new microtonal options are great (and you can import your own!), they didn't include what I'd consider to be more common sense tunings -- like Just major or minor chords in any key other than C, stretch tuning options, and any of the well-tempered tunings like Werkmeister. There's something about the raw, loud tones that are grating and ultimately fatiguing to the ear. Thankfully the Hydrasynth is such a deeply programmable and flexible synth that you can work to minimize the tuning issues and instead focus on its strengths.
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Qapla!
(Qo'nos theme is in 7/8...!)
[video:youtube]
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There was the Triton, a Korg workstation. Also, a Greek god of the sea.
And there is Kronos, Greek god of time. Also, a Korg workstation.
Close, but no cigar.
Poseidon is the Greek god of the sea. Trton is his son, I believe.
...and I don't think there is a Greek god of time, per se. You may be thinking of the leader of the Titans, who was more the god of the harvest if memory serves.
I was big Greek mythology fan growing up.
dB
Fair enough, it all gets jumbled about thru the ages. Five years of Latin here, props to old school education. The annual Latin conventions were a blast (first kiss, first dance, first crush, first place in Etymology and Derivations).
As you know, the ancients had many gods and goddesses, and they were often patrons or protectors or villains of any given natural phenomena or human endeavor. And they were not exclusive. And so there any numbers of gods of the sea or harvest or fertility or sky or underworld or of the hunt or partying. E.g. Dionysus / Bacchus being patron of winemaking, ecstasy, and fertility, and madness (funny how excess in one leads to excess in the next).
Poseidon was 'the' sea god, but his son Triton was also a sea god, a messenger, a trumpeter of the sea.
More technically, Triton was the eldest of the Titans, and Cronus was the youngest. Chronos, the personification of time, has gotten mashed up with Cronus, god of seasons and harvests, and time. Both are alternately spelled Kronos.
Zeus killed his father Cronus.
Lol. Stuck in the dark without electricity during a severe thunderstorm, trying to cool off with beer on ice. Unwanted mythology lesson on iPad ensues.
/end nonsense
Maybe Korg"s next-gen Kronos killer ought to be called the Zeus.
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There was the Triton, a Korg workstation. Also, a Greek god of the sea.
And there is Kronos, Greek god of time. Also, a Korg workstation.
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In order to track your addiction to it, there's a Kronos website tool devoted time management. True story, at my last place of employment, I had to log into this daily to fill out my time sheets.
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If you focus on just the classic analog waveforms (saw, pulse), the Hydrasynth can get very decent Roland and Oberheim sounds.
It naturally has a bright, strident, confident sounds, but there are plenty of tools to make it what you want. Sound designer's paradise.
But if you need sounds now, there are quite a few preset packs available. Major OSC has done some nice ones, among others.
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Mouthpiece really does make a huge difference, not only in sound but also playability of the instrument to you as the player. Always, ALWAYS, try out a mouthpiece before you buy.
Here"s an example. A mouthpiece can improve a $200 horn, but really only so far.
I"ve been on Monette trumpet & flugel mouthpieces for maybe 8-9 years and their LTJ trumpet the past 6. I"m a little biased. ð It"s all about the musician not the tools.
[video:youtube]
The Monette mouthpiece on the cheap Jean Baptiste sounded much improved. Of course the Monette horn was a pleasure to listen to. I winced every time he switched to the Bach was played, except on that last common jazz lick.
What is your favorite interval and favorite chord?
in The Keyboard Corner
Posted
Favorite interval: 5th
Favorite chord: add2