J. Dan Posted August 19, 2013 Share Posted August 19, 2013 I've been going through the process of reworking a bunch of my sequences from the early 90s for my Kronos - all 80s stuff. Back then I used a Roland Sound canvas (well, initially a JV30, but same thing) and it was amazing what I could get out of it by digging deep. My sequences are full of RPN's, NRPN's, and SysEx that I used to shape every sound. Back then, I didn't store any sounds, I put all the edits into the sequences using the standard palette. The nice thing was I could plug into any Roland GS module and get the same results. I really got to know the limited soundset (including the MT-32 sound set accessed via CC:0=127) so well that there was never any question given any sound that I needed how to get it. Now trying to program sounds for the Kronos and rework the sequences accordingly has been very time consuming. Even having thousands of sounds, modeling engines, sampling...some sounds require a lot more effort to achieve. And the really tough part is that there is no way to really modify a sound within the sequence, so I have to save very slight variations of sounds for all the different songs. The drums have been most challenging and I'm still most unhappy with them. Amazing what I could achieve before with a small handful of drum sets. The Kronos has every weird, way out there, crazy drum sound you can imagine, but try just finding a normal half open hi hat. Or make some small variation in the effects send level on just the snare in a set. You have to go into global and rewrite the whole thing. I guess my point is that there are trade-offs. There are things the Kronos can do that a sound canvas never could, but there is also a price to pay in productivity. Dan Acoustic/Electric stringed instruments ranging from 4 to 230 strings, hammered, picked, fingered, slapped, and plucked. Analog and Digital Electronic instruments, reeds, and throat/mouth. Link to comment Share on other sites More sharing options...
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