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uhoh7

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About uhoh7

  • Birthday 11/30/1999

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    Idaho, USA

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  1. Spaghetti!! Now I have enough to annoy the cats. Just a few last modules on the way....."Stages" and "Contour1" Today for first time I used "Pamela's New Workout" as master trigger, and I tuned the Behringer 960 sequencer to run the 2600 oscillators in an old chord sequence, circa 1785. Ran various bits though effects, old and new "Mimeophon". Clones of Marbles and Maths also spicing it up.
  2. Nice looking editor! About the screen. It's hard to get a pic that gives an idea what it's like, but here is the best I've managed which gives an idea: It's daylight about 4pm. Natural light from snow outside...I don't use indoor lights in this room till later. This is the most useful screen for me right now, I pull up a preset and I want to fiddle with the release or something, but I like to know where I'm at. Big giant button near screen: Compare. It's lit. You see the original VCA release at 121, and my twist to 143. Clear as day. I moved all the way left after I took this, standing over the paddles. I could still read it no problem. IMHO it's way easier to read than you might think. EDIT: good user thread here with all kinds of tips tricks: https://gearspace.com/board/electronic-music-instruments-and-electronic-music-production/1419757-behringer-ub-xa-owners-discussion.html
  3. MusicTribe bought the Oberheim name. Then gifted it back, or so I read. That might explain it. Jack is playing a preproduction model above....maybe it was better, I have no idea, maybe somebody will ask him. There is a button on the upper "auto". When you hit that it shows you which voices are firing via lights on the central buttons. This is interesting after you set the spread. Mine came with all voices in the center. The board has three outs, left, mono, and right. I spread the voices and used the stereo jacks last night in my small music/living room, which has lots of carpets and a number of speakers, basically a 5 channel stereo. The effect is nice to my ears. Would be nice on the Hammond between my two Leslies. There are 8 vintage modes (if memory serves) with huge, some interesting, sound changes to the same preset. You can create your own with a wide set of variables. In digital synth it's just some number changes, which is cool. But here its a physical change for the voltage path, cooler The biggest sounds would come from doubling. This guy tries to make the Vox Humana: I don't know if he succeeds, but he gets some big sounds with the doubling, which I want to try
  4. "The keyboard landscape today is bleak. There have been no new innovations for the past 20 years, and today's MIDI controllers and digital pianos feel more like bloated tech peripherals than real instruments." If this was written after 1/1/23....it's either poorly composed or oblivious. Even if you restrict the statement to piano actions, choices have steadily increased. As a general statement, I can't really disagree, and it's great they are having a go. The actions look nice....but what are the midi specs? These boards should be sending MIDI 2.O MPE. Aftertouch? You could make the case pianos don't have aftertouch. On the other hand my old TP10 SL880 has channel aftertouch which is no detriment. Most AT is after a hard stop, with very short range. I don't really feel like using it, though I want it. Nektar T4 and T6 actually have a really nice Channel AT feel. Osmose has an unbelievable Poly AT which seduces a player into regular use. You would not use the Osmose in a piano recital....unless you were going seriously avant guard LOL. Which brings up a stale aspect of pianos today...and I love my upright....it's the highly standardized iron frame and string layout. The result is impressive volume, but great weight and and nightmare to change temperaments. When most "classical" piano pieces were written, the variety of instrument design was great. Iron frames only came into wide use after 1850 mass production in the USA. The largest building in the United States before the civil war was a piano factory. In 2024 the I'd like to see some acoustic innovations, which would include actions. The Harpsichord revival in Europe...creeping into the USA might offer inspiration. A light, easily tunable clavichord with dynamic variation and aftertouch vibrato only lacks TLC to design and market. A harpsichord can be tuned by a player in 20 minutes to any one of a number of temperaments. Which did Bach hate worst? Equal temperment. He was not alone. Our major thirds made them puke. (In Die Kunst des reinen Satzes in der Musik, Bach explains that he doesn't like equal temperament because it reduces the diversity of scales). I always thought "The Well Tempered Clavier" meant the "equal tempered clavier". The 20th century was full of pompous misconceptions in classical teaching and performance which are now really entrenched (EG AP Music Theory), but under heavy attack from some performers and a few schools. "HP" Not the printer. Historical practice. First the older instruments were researched and reproduced. More recently the training, which involved a particular type of improvisation from early age, and a background in the now dead hexachordal solfegge, is being revived. Beethoven became famous because given a surprise theme at a party, with an adversary usually more famous at the time, he could turn it into....something really impressive. No written music involved. Like alot of you guys, actually. Bla bla. Let's see how these turn out
  5. How are your montunos? Seriously. They are alot of fun, many variations, and great for tempo. Is it 2-3 or 3-2? Son or Rhumba? At your level, you can injest a montuno in C at 220, and take it to all the keys in an afternoon. Look up Rick Dior if you have percussion around...I'm sure you do. This stuff: Any style, genre gets stale for mortals with the time it takes to master. There are now a million montuno vids on YT and a great book 101 Montunos. Also totally different you could explore the "new" classical improvisation movement, started after 2007 and a bunch of scholarship. Modern Music theory....is a made-up thing. Hanon...was not a remarkable musician. Beethoven, Mozart, Scarlatti they learned a different system which is not at all unapproachable, and has a better track record in results, arguably. Alot of older players are learning it. Here is the leading professor in Bach's teaching method showing his cheap translation of the most popular music method in about 1830. He's at the Schola Cantorem in Basil....the Julliard of genuine historical practice of music, which is nothing like Glenn Gould, though Gould was certainly a great 20th century player. But his playing is alot more Glenn than Bach, many don't realise- myself either until recently. Nobody knew different at the time. Here's an interview with him: I'm not close to qualified to give any player advice, but I can share what's inspired me after 30 years of Blues, Folk, Pop and Jazz Standards on the Keyboard. First I found Barry Harris, and some of his longtime students lead me to the interview above...there are a bunch more with serious talent on the same channel. Somebody here complained: "what are these friggin harpsichord presets on my nord?" LOL It's because there is a big-time harpsichord revival in Europe based on new studies of the instrument and it's music. The guy below is an Italian Professor who knows more about Scarlatti than any man alive..in word and deed. In Scarlatti's day, you did not write down all the notes, not even close. A score was an outline. How to interpet that outline was very nearly lost in the 20th century. Enrico immersed from childhood in Naples does "get it" (watch on youtube takes you there) For many reasons the USA and UK are behind the curve in this regard, with some exceptions: He started with Prog...
  6. Bill: "Can you read the display from your playing position? I don't care about it being red (something they're going totally apoplectic about in the other forum) but I do care about it being legible without having to scoot over." EDIT: [Bill, it could be an issue if you are filming a youtube video with camera lights. Maybe outside in daylight. I checked this again, it is a non-issue inside my house daytime and after sunset with house lights on, it's super clear. I don't feel the need to move my head at all. Data is very clear, plenty large, compared to any hardware I've used.] This thing was made for kindergarten--in a good way! The screen is way easier than you think and you hardly need it. Look at those monster knobs! You can't miss a button. Some accuse me of being born in 57. I won't confirm or deny. But for an increasingly physically challenged player, like me, it's pretty nice. I've been playing around more. Velocity working "normally". There are so few options you don't even need to read..you soon remember the fuzzy shape. Now you do need it sometimes with the envelopes...you hit compare to see the original setting. It's pretty darn clear, even with two rows of letters. I saw Starsky complaining about that...in the first hour of delivery. I never once thought about it--despite trifocals. Of course there are a million ways the interface might be "improved" to the taste of me or whoever. The paddle section is huge...there is no place for the cat....you might have little LEDs to show you the envelope settings...but actually you get easily used to the way it is. I did some experimenting with effects. My conclusion? Keep them analog. It's a great lesson about the cost of conversion, AD or DAC. I tried the Virus effects and behringer space FX, 24bit reverb, compared the analog Roland 500 series (clone) effects, and B2600 blue marvin spring reverb. No contest. The character of unconstrained electrons is the whole point of the thing...it seems to me anyway. It really does have knarly character in a fully analog signal path, on both the sweet tones and the big saws, but that's fragile, like recording big pianos, good, but not like being there. I haven't even tried the vintage tones. Splits are dead easy. I saw some reference to MPE so it may do some sort of Midi 2.0...for the poly AT I guess. It does split as a controller. Curve options are simple, hard medium and soft. Not like the old days. My SL880 has a really nice selection of options, and 4 layers. Anyway you see the size etc. It won't be to everyone's taste of course, many players trade even the ones they love..but it's very affordable time travel, to keep or just try out. EDIT: The is extra AT adjustment I did not see, looks very nice. He also explains MPE on the UBx-a: it receives, but does not send. This could be a very nice destination for the Osmose He demos MPE in bitwig: Probably Jack's review was linked above...check the last few seconds: At the very end... "It's the most powerful, best sounding synth I've ever had the chance of playin in this room" Jack is a great salesman; nevertheless it's high praise from a guy like many of you, a real player, from a young age. An old wannabe such as myself is certainly going to sell it short in many ways from inexperience. Still 1199 at Sweetwater....the DM12 is 799, I bought mine about a year after it came out for 525, new. The "real deal" OB-X8 is hovering at 5k. I'm sure it's nicer in many ways. But you can't fill one 19" eurorack row for 1200 without some serious selection. Life is getting short...especially for some of us There will be whining, considering the source....extra whining. I watched people proudly sell their Osmose after a day. Less time than it takes to learn happy birthday on the Kazoo. Many more owners are crazy about it.
  7. One interesting aspect is how canny the Beatles were in knowing just how far they could go.....with the BBC. It was their BBC performances in the early days that put them in the public eye and set up their part of the invasion. They had to tone down the Hamburg identity a bit I gather. Not an accident....I remember being really pissed my shows were interrupted by huge strange processions, horses with backward boots...went on forever I thought. Extremely boring. In contrast the civil rights riots in the south, water canon, police beating up unarmed old people...that was transfixing, and inspiring. By 8th grade I had a army jacket and wire-rim glasses. Hot pants, out of the blue, were allowed at school. I still have not got over that.... We had a riot, and occupied the library, after lunch one day. Half the 600 kids. What did we want? Freedom to shoplift downtown if we had a "free period" ie an hour free one day during school. We called it "Open Campus". Our Principal, a diminutive woman named Dr Dolcini, lead us to a ranting session that afternoon. No consequences. Next year: Open Campus. This was a college town, Davis, California. Hot pants, civil rights marches, student riots, long hair, and all kinds ot interesting music that shocked many older people. Staple Singers OMG Take me back there, please. Ed Sullivan reminded me of Richard Nixon.
  8. I found a TI v1 61 a few years ago once I realized the DM12 was not multi-timbral 1100ish. I love the thing. It's quirky, and misbehaves frequently, needing reboot and setting fiddle...then whoom...it's back. This is common behavior apparently. TP9s keybed is as good as it gets for a synth....excepting single channel hard AT. Really gorgeous effects, and you can send anything to them. The last update of the TI....4th I think, each was major, included 4 onboard guitar pedals, which had considerable TLC. You can plug a strat or 335 straight in and with various tweaks and input boost (just for extra distortion), tape delay, chorus, phasing, and a pedal...it's impressive. Kemper said it was his first attempt to clone guitar amp/pedal in the last TI. He realized it could sound good but that engine was not going to really clone like the Kemper amp can. He thought the synth crowd was pretty tough too. He has a great business with the guitarists now. Anyway the VIrus TI might be the best ever VA...as soon after the DAWs took over. Finally I have something in the house to pit it against, a UBx-a, just showed up, and while it's no swiss army knife, it sounds incredible, way better that I expected. Keybed not as nice, but polyAT and it's bi-timbral. Not exactly an Andromeda, but it cost about the same as the virus. Many virus demos involve a computer, but it's really nice without one. Only thing you can't do is some custom arp stuff. Menus and layout are very nice to use. Great knobs. People sometimes pigeonhole the virus...but it's got all manner of oscillators, waves, formants, dual-filters, custom knobs, all in the prophet style interface. Nice screen tells you what the original setting was soon as you move something. A virtual-analog feel but much wider flexibility. No VST is cloning that aspect....real knobs, fast menus, never lags, and no updates
  9. Look what the cat dragged in.... I was going to pass on this one, but when the price dropped in Dec I signed up. Today, a cold Saturday...13F....I heard a thump on the doorstep and some mild cursing. The cat struggled for some time to get it through the door..... Just noodling through the presets, one thing stands out. This thing sounds great, no effects. Has numerous "pianos", and they are much better than I expected. Out of the box it plays with little velocity sensitivity, but reading up, that should be easy to fix. Really nice variety of sounds. Fantastic low end. Very responsive. Despite the tough but budget knob set, it's actually a gorgeous looking thing. The color I guess. Keybed is like a slightly cheaper version of the TP9s fatar. Better than DM12, but....not as nice to touch as the fatar. Of course plenty of much more plastic-like beds EG MOX-F6 play better than they feel. 2" wider than Access Virus, but not quite as deep keys to plugs, 1" less. Virus TP8s keys are longer. I guess it's a bit lighter than the virus, but seems 2x MOXF6. Wish it had a mod wheel instead of paddle, and a bigger display, etc those seem minor annoyances. Anyway, it exceeds my expectations, at first touch. The manual, as usual is quite spare, but to get an idea of the workflow, the video below lays it out pretty well. It's a simple system, and available settings are at hand with at most a shallow menu dive. The "vintage" modes are editable in many aspects, which means you can affect the circuits in unusual ways. The mod matrix has 40 sources and a like number of destinations. As he goes through it, you are thinking "OK that's normal..that's the usual..." The he will hit on a little option, like the negative portamento bend, and you think...."well that's pretty cool...I never did that before" Such a simple, contained workflow means a player might easily grasp the choices and apply a few in the heat of battle. Daniel Fisher pointed out in a Sweetwater video comparing MIDI and CV that analog voltage, if it does not need conversion to digital, is insanely fast. Hence those crazy "glitchy" Eurorrack percussion riffs which retain definition at great speed. This synth feels fast. That could be my imagination, and it may be going through some conversions I don't know about. In that case the DACs are great
  10. The evil Daniel Fisher (always costs me $$) convinced me I need a Niftykeyz, which I found used for a decent price, knock on wood. I'm just getting a rack going: getting my head around CV vs Midi, I found this little video....game over: I've overflowed my GO case above anyway..... Now I'm studying up on CV to Midi conversion, I already have the other direction covered with FH2 and DROID. Daniel debunked my view that CV control is "primitive" compared to MIDI, by noting it's speed and stepless nature. Anybody using a CV to MIDI converter?
  11. Very good point. I was referring Uli's threats to sue others, I should have been more clear. I have no problem with people calling out Uli, sueing him or whatever. But do we usually base our purchases on such things? In music, the politics of musicians seem to matter more at times than their music. I know many nice people with crazy politics. I don't vote for them. But I don't refuse to have dinner, either. One thing I look forward to with this board is it's simplicity. No giant bank of digital effects. No computer required. A lot less to distract me from playing the thing. How can you go wrong for 1100 bucks? It's has to be fun to play around with....I will try to control it with the Osmose at some point....assuming it eventually arrives. When was it first announced? Somebody may have posted this:
  12. Hot off the press. This guy is probably the leading figure in the USA right now in getting folks into action with historical improvisation. Bonus Question...how good a musician was Charles-Louis Hanon? What else is he famous for besides the methods we know? I just learned the answer above
  13. Humans have very limited bandwidth. The more you know about one thing, the less you know about everything else, though the pie can grow a bit. Hence many "geniuses" in all sorts of fields make fools of themselves with opinions and actions...concerning anything else. What are your feelings about Henry Ford? Have you ever owned a Ford? Consider the first line in the list of books by Henry Ford: https://www.thriftbooks.com/a/henry-ford/243704/ Uli is a public idiot, but his cases were thrown out, he has not put anybody out of business, and products like the XR18 have many working musicians glad there is a Behringer. Uli's "oppression" in real life is mainstream, like Amazon, Apple, Yamaha, or Costco. His most offensive speech has hurt his reputation, not anyone else, since it's so blatant. As to his stealing intellectual property....Uli has nothing on Laurens Hammond, or Bob Dylan, in their early days, or so one could very easily argue. But Uli does provide a means to "take a moral stance" in the industry....yet another service, no?
  14. One thing I'm pretty sure of: in 2023 the endless sonic capabilities of acoustic instruments are far less appreciated than any sound coming out of a speaker. You guys know these synths way better than I ever will, though I'm learning more by playing. When I was researching the Osmose, I listened to Professor Haken talking about DSPs. He's been around quite awhile. His thoughts and other conversations I listen to have given me the impression, unqualified, that the meteoric rise of chip speed has benefited synth instruments less than other "users", but this may soon change. AI does not "run" on laptop processors very well. That's why Nvidia stock is so high. Those chips are totally different, and don't process sequentially, but simultaneously. ChatGPT etc has figured out (a bumpy path) how to leverage that to considerable effect. It can take huge reams of unorganized data and return results that sometimes are remarkable. Besides all the downsides LOL, it's given us one of the first new antibiotics in a very long time, recently. So "the future" may be: more articulate control (a la Osmose) + Nvidia style chipsets = richer sounding synths. Of course what we really need is improved reproduction---speaker technology has advanced less than anything, which is not to say they are not much improved.
  15. $20 from the horses mouth: https://www.barryharris.com/music-improvisation-tutorial Sadly we lost Barry, but he taught as Parker and Monk thought, very simple and practical. Many videos about him, but once you have those basics in the short PDF, here are two youtube sources who really know how it works. These guys spend more time gigging than making movies, so excuse production issues. But I spent many hours searching for good information, and these are my favorite two. and This guy below is incredible, despite low production quality. He lays it out as Barry might have in a simpler world, without a roomfull of students every day. I recently relented and subscribed to Apple Music, and Parker now sounds incredible in my living room. His lines inspired me to buy my first instrument in 1981, a Clarinet. I learned about him by sheer accident in Alaska.
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