Artomas

Beyerdynamic DT series are extremely comfortable. The downside is, those comfy foam earpads also will function as sweat sponges. I wear the open-backed model DT990 for hours, no problem. DT770 is the closed-backed version, if noise bleed in either direction might be an issue. I've also got V-Moda (Roland, basically) M100. Those aren't as comfortable. I can tolerate them for hours, but the Beyers sound and feel better. They come in different versions with different impedance values. I haven't had any problems with the 250 ohm ones, but I have to turn the volume up more than with the other headphones... so, if that's a concern, you could get the version with less impedance. Or a different brand - there are other good options. Guitar Center used to have a station to try out a dozen or so different types, with their musical selection, but hey.

I like Oberheim and I like fusion - it's amazing that we haven't mastered fusion yet, despite it seeming so promising back in the 1970s. Speaking for myself, mostly.

There are new sounds in analog synthesis all the time, due to people with modular synths patching with or without intent. Buchla stuff doesn't seem to distinguish between audio and control signal paths?! It's a recent phenomena to have available fixed architecture polyphonic analog synths that offer parameter morphing (e.g. Polybrute, One). There are trends, including the parameter morphing I mentioned, and "pulsar" synthesis and "thru-zero FM" spring to mind from recent times. Krell patching had a recent resurgence, online at least. Modulating a modulator that's modulating another modulator, and feedback paths. We've had fully modulatable synths like Norand Mono and Implexus (which is part of the "East Coast meets West Coast synthesis" trend also seen in 0-Coast and Taiga, and others. But as far as new sounds from a simple synth... I don't know how much territory can be left to explore on a Minimoog. As far as digital synths being able to analyze audio and resynthesize a patch for you, based on it... or even, for a synth to create a patch based on your text prompt... yeah, that's on its way. There's stem separation and additive resynthesis right now, so it's not the most shocking idea to try and combine those. Another option, instead of additive resynthesis, is to have a massive database of presets, and a system that matches your source to the nearest preset, and then automatically modifies that preset further (envelopes, timbre, modulation, etc) to match your source even better. Maybe by 2030, programming a synth will be like listening to music on vinyl is in 2023... technically obsolete, but still a thriving community of aficionados and a small but healthy support economy. As far as Roland removing some Zencore features from each of their hardware products towards the goal of product differentiation and "buy them all!" mentality, or the Yamaha CK not including their one good Leslie sim, as one more probably-not-a-technical-or-dsp-cost constraint reason that they can use to upsell me on a YC73 instead of CK88... no, no, manufacturers would never do that! (J/k) At least Yamaha gave good pianos to the YC, instead of trying to make you buy both a YC and a CP. And with synths, Sequential ported their improved "vintage" knob from their flagships to their relatively less expensive 6-series of synths... I can name plenty of situations where manufacturers were very generous with features on lesser synths and keyboards compared to their flagships, including Roland and Yamaha. It would be unusual if their WASN'T some marketing hijinks going on. Luxury level products are usually priced so that they're aspirational... so if the companies want to sell those, it helps if they reserve their best tech for that level, even if it doesn't cost any extra to implement that tech. Hey, that's like 5 different topics mangled together, but when in Rome...

In addition to a guitar fretboard, it's similar in layout to the default layout of the hardware Linnstrument, the most recent product from the guy who made the Linn Drum and the MPC. IOW, Geoshred Control is sort of like a software Linnstrument. So, most of the music theory info you find that pertains to Linnstrument will also be valid for Geoshred, unless the Linnstrument tutorial specifies that it uses a custom layout. I'm not so personally interested in playing vertically stacked rows that are each a 4th apart, so I'm not the best person for giving practical playing advice. I looked into the Linnstrument before getting a different layout mpe synth, and I remember seeing some music theory and playing advice information (videos and a pdf with color illustrations of useful chord shapes and scale patterns) pertaining to the Linnstrument specifically and that layout in general. Check the links on this page https://www.rogerlinndesign.com/support/support-linnstrument-chord-and-scale-shapes Also, obviously, guitar theory would be relevant, but playing techniques will be different there. Same goes for the harpeji.

plutonium for audio rate?

The SE has the same keyboard as the Kronos 61. OTOH, the smaller Wavestates have the same keyboard as the Kross but fewer keys. Besides much better keys and aftertouch, supposedly the encoders and knobs are better quality than those on the small Wavestates (SE vs mk 1 and 2). So, it's more than just a few extra keys. There are extra voices too, but voice stealing probably does this sustain pedal addict good, and I already have a mkI.

If the crowd was going to be snooty enough, it would almost be... I'd definitely want to get my money's worth. If I'm paying $75, I'd want somebody good playing after me in a crowded general admission, so the people in front would be reluctant to leave. And I'd want a confederate on the sound board. I should probably have some lyrics prepared in case tgis type of opportunity arises around here. The problem is, it's the type of thing where I would cancel if I thought about it, at all, so it would need to happen quick, like maybe if I subbed for someone last minute, and agreed to split the fee and reimburse them $37.50 after the gig

At first, I was maxing out my Kronos' internal headroom, but didn't realize it. That's possible. My suggestion for checking the gainstaging on the Kronos: go to the mfx and tfx sub-tab in the fx tab. Check those meters when the audio-in synths are playing. If you're pegging them, turn down the audio inputs on the K, balance the other synths' gains at your submixer or via each synth's output, and then bring up the Kronos audio inputs' volume so that those meters don't max out. That's a simplification tho, because you might have something between the inputs and outputs (modulation or ifx, or an internal sound, for example) causing a headroom issue. I found that out the hard way, too. Specific to the Polybrute, it offers a much better control surface except for the keyboard action itself, IMO. But the big ribbon, morphee, knobs, and matrix should make sound design much more intuitive. The parameter morphing between 2 layers is something I don't know how to do on the Kronos. Fast modulation, feedback, filter response and resonance, all will sound different. I think, if you don't like "playing the knobs", so to speak, and if you like 2 handed chords, then it's probably not the best choice. If you like starting from good presets, then one option is to try one or more of the commercially available preset packs (after checking out what's available to download for free from Arturia first). Fwiw, I passed on the Polybrute, but am interested (so far) in the UDO Super Gemini for this type of synth (not VCO, but for analog style "knobs explorations"). It's possible that the Polybrute just doesn't do it for you, but it's also possible you're just on edge lately for whatever reason... I think what you do next somewhat depends on when the return window ends!

I could tell which was which, mostly by the way the 1st example was panned, as if you used 2 mics above a soundboard, with the left ear's mic more towards the bass end, and vice versa. It reminded me a little of how the CFX samples are panned in my Yamaha DP (EDIT: I always use the Yamaha's line outs into fx into a mixer and then headphones from there, but I think the Yamaha's headphones outs are supposed to be panned differently from the line outs?). My preference is the first Pianoteq example, the one with all the fx. I know. I think that's because, even though I don't really play "ambient" music, I use fx as if I were playing it twice. (I'm an amateur, usually solo noodling on a P-115. I don't play classical, and haven't played an acoustic in a while, for your statistical reference.) In the revised demo, I think it could go either way... but I'm very likely going to add delay and reverb, and sometimes even filter and distortion etc... so I'd prefer to start with a fuller and punchier piano (in this comparison, Pianoteq) before adding those fx which tend to push the instrument further back. IOW, I think the more natural, and clear but thin, nature of the samples would get smeared anyway. The reason I say it could go either way is, I think I could use EQ to thicken up the samples or help tame the modeling, for any need I'd have. I agree with the observations of the people who chose example 1, and yet I'd slightly prefer 2, based on hearing the same things. Maybe I just like fx?

It's a series, not a movie, and animated, but I like the way Rick and Morty would have hundreds, maybe thousands, of timelines slopping together, sometimes to the point of ludicrous mundane drudgery.

I was in one of the many drug stores in my small town, and I only wanted a few drugs, so I paid in cash... and the cashier actually said, "I hate cash". I was like, "Don't let them hear you say that!" but really I was thinking, you know you applied to be a cashier, the job with "cash" right there in the name, right? So I started paying attention to how people payed money, and I saw people pay with their phones. Your phone and their cash register work it out together, and they don't even have to ask your permission. At the Dunkin Donuts drive-thru, they stick a chunk of black plastic out the window, and you wave your phone in front of it like Harry Potter with a wand, and they give you coffee. I watched it happen. I felt like I did the first time I saw someone use an ATM. It was magical. If cheques are for the luddites, then credit and debit cards are for the philistines. Soon, we'll all get microchipped, and they'll need a surgeon in order to mug you.

Here's audio, with a couple pics, of a Model D Reissue patch that shows how overdriven and essentially compressed yet full it can get when you crank the oscillator levels and the "external input" (it's hardwired to a switch and knob in the mixer section on the Reissue). It was like "yes Yes YES YES... ooooo, no" so those levels aren't quite dimed, maybe 3 o'clock-ish. If it can get too overdriven for me, then it probably has more drive than it needs for just about everybody. I included a pic of the waveform in Audacity (which was used to amplify and merge the clips, no other fx), towards the end, so you can see what you hear. The 2 instrument pics only show one variation of this patch... I think it's the main one that leads off the set, but IDR for sure when I stopped and took them! There are 6 or 7 examples of this patch, starting with the fullest one, and then queued from electric bacon to only bass, and after that, I tacked on a transient example with a mis-timed filter envelope, like you'd have outtakes at the end of a DVD, I guess. I'm a complete and total hobbyist and also have a habit of adding a mis-timed filter envelope example to my posts, metaphorically, so I mostly lurk here when I visit, which is fine. This is the only Model D example I've uploaded, unfortunately. Anyway, you'd want to adjust many of the parameters for a specific song context. Likely, the 1st thing I'd do is shape the notes to fit, starting by tightening the amp envelope. Well, before ANY mods, I'd tune it to the other instruments. Even solo, if I'm planning to overdub something else. Thanks for this site! I learn much, and enjoy it when I visit, even though there isn't usually much I can add.

How can I tell when a song is "outsider" or "naive" art? Is it the lyrics? The only similarity I hear with Wesley Willis is a "confessional" style with subjects people usually don't want to talk about. Naive implies that they don't know what they're doing. Even some people who say they like him... then they still feel the need to qualify it as naive or outsider. Maybe "outsider" carries ancient fears, from the days of tribes and then walled cities. You're curious, but also scared, of the outsiders. What is it that these artists are naive of? What is it that the "insiders" are curious of and a little threatened by? Here's some more intermission music:

My first thought was, "there's a digital synth layered in there with that analog low-cut pad!" The chime-y layer and chorus riff kind of remind me of Walk of Life by Dire Straits, which seems to be an FM patch (right after the Hammond intro). Then I thought, "What am I, nuts? Young Turks was 1981!" But, I guess the GS-1 and Synclavier were available back then, to people older and richer than I was. So, it might not be 2 analog synth sounds layered. There definitely seems to be a low filter-cutoff analog pad, but is it layered with an early Yamaha FM or Synclavier preset (or modified preset)? Beats me, but I thought I'd bring up the possibility.