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I'd be interested in the case if it includes a power supply, but the rest is stuff I already have.  E: though I suppose I could find a use for another mixer module... But the thing I need the most right now is a second case/PSU.
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Apr 4, 2014 02:11
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It includes the PSU.
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Apr 4, 2014 02:32
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A local-ish music shop has a used JP 8000 for under $400. Should I go for it? I'm a big fan of early-2000s trance and UK hardcore. I may be able to exchange my Nocturn keyboard for credit toward it too, as long as I can use the JP as a general MIDI keyboard. Dunno if that will work that way or not, I haven't looked into it. I traded in my 25 SL MKII for a Nocturn since I didn't need that many knobs in practice and wanted more keys, but of all things I didn't notice the Nocturn can't toggle automap off like the SL MKII can. It's kind of a problem, since automap doesn't always play nicely with FL Studio. It also is frustratingly stubborn about remembering my velocity curve settings.
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Apr 4, 2014 03:58
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My synth kit came and I am pleased to report it is everything I thought it would be. This is the future! It's absolutely amazing. I will upload something for you tomorrow but till then, my cat is enjoying the toys as well. 
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Apr 4, 2014 04:03
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I decided what I need to burn all my money doing: It'd be the best setup for never making anything ever.
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Apr 4, 2014 05:37
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Looks like a good start but idk I can't help but feel like you could use another analog mono or two. You know, just to cover your basses. Do you have the inputs for like a x0xbox and maybe a BassStation 1 on the rack? Or maybe a Volca Bass going to the Line In on the laptop? A Microbrute?
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Apr 4, 2014 07:21
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Get a Waldorf Pulse 2. 
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Apr 4, 2014 08:32
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Whole buncha stuff I've got to catch up on in this thread, but important things first… What's this kitty's name?! What's this bunny's name?!
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Apr 4, 2014 08:35
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Here's the schematic of the Yamaha BC1 breath controller: (The whole set of CS-01 user & service manuals are here for the curious. Lots of interesting circuit optimisations and tricks in its design.)
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Apr 4, 2014 09:00
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WAFFLEHOUND posted:I decided what I need to burn all my money doing: No no no no no. Replace the MOTU with a Mackie CR-1604 and a standalone CD-burner (or DAT recorder if you're particularly masochistic), and the shiny fancy speedy laptop with an Atari 1040ST. Replace the TB3 with an Akai S3000XL. If you're going to do nothing, at least do nothing with hipster cred 
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Apr 4, 2014 09:07
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ynohtna posted:What's this bunny's name?! Since it's really neat having a tiny speaker when you just want to sit down with a synth and do some noodling without wiring everything up, I've decided on the name Noodles Speaking of wiring things up, I've ended up in a situation where I have too few USB ports. My new MIDI keyboard only outputs from its MIDI port when it's powered by an AC adapter and not through USB. I have a Roland 9V adapter which in theory should be exactly what it wants, but it doesn't even turn on with it. It's also a pain (and expensive) to get a new one. This means that all the synths I connect have to be through USB, so that I can route MIDI from the keyboard, through the DAW, to the synths. Add the audio interface which also connects through USB, as well as mouse, keyboard and external drive(s) and there simply isn't enough USB ports Am I correct in assuming that connecting the synths (i.e. several) through a USB hub would introduce unacceptable latency?
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Apr 4, 2014 09:54
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Your Computer posted:My new MIDI keyboard only outputs from its MIDI port when it's powered by an AC adapter and not through USB. When set to off, playing on the keyboard will send notes (and other midi) to both the keyboard's DIN midi out and the keyboard's USB midi out, but you won't be able to route notes from your DAW to the synth connected to the keyboard's DIN midi out. When set to on, playing on the keyboard, notes will be sent to the keyboard's USB midi out only and the keyboard's DIN midi out will output whatever it receives on the keyboard's USB midi in. Are you with me? Here comes the important bit. The I/F switch ON is what you likely have and what you want, because it enables you to record what you play and then play it back to something connected to the DIN midi out. However it requires you to loopback the midi going out of the keyboard back into it if you just want to play the synth without recording it. For that you will have to create a track in your DAW that monitors the "A-PRO 1" input (from the perspective of the computer) and route it to "A-PRO MIDI OUT". I know it's pretty confusing, but just look at the diagrams in the manual. The things labeled PORT 1 and PORT 2 are the signals your keyboard generates. Just follow the arrows. You'll see that in OFF mode there's no path from the computer to the DIN midi out. In ON mode there is no direct path from the keyboard to the DIN midi out, but because the path is broken inside your computer, you can draw your own arrow using software. This is completely sensible; it means you can play a vst with the keyboard or a synth connected to the DIN midi out and all you have to do is switch which midi track in your DAW is set to monitoring (or whatever that's called in Live). Your Computer posted:I have a Roland 9V adapter which in theory should be exactly what it wants, but it doesn't even turn on with it. It's also a pain (and expensive) to get a new one. Your Computer posted:Am I correct in assuming that connecting the synths (i.e. several) through a USB hub would introduce unacceptable latency? e.: You'd probably need a powered hub though. Flanky posted:A local-ish music shop has a used JP 8000 for under $400. Should I go for it? I'm a big fan of early-2000s trance and UK hardcore. I may be able to exchange my Nocturn keyboard for credit toward it too, as long as I can use the JP as a general MIDI keyboard. Dunno if that will work that way or not, I haven't looked into it. e2.: It isn't a simple local mode switch, but you can play external gear with it, see p93 in the manual. I love the idea and the sounds that thing makes, but I don't know how good or bad the workflow actually is. Flipperwaldt fucked around with this message at 12:13 on Apr 4, 2014 |
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Apr 4, 2014 11:56
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Your Computer posted:Am I correct in assuming that connecting the synths (i.e. several) through a USB hub would introduce unacceptable latency? I just had this problem in setting up a new workspace. Fwiw, I ended up picking a decent usb 3 hub and it's working great with no noticeable latency. I'm using 6 controllers with it and it works fine, just don't put your soundcard on the hub. Someone else might be able weigh in too though.
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Apr 4, 2014 12:12
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Somewhat old news, but goddamn I'm so excited about the Korg reissue of the Arp Odyssey. Hope they will announce more news and a target price soon, so I can just end my on and off again relationship with the Bass Station. http://www.synthtopia.com/content/2014/02/17/korg-is-bringing-back-the-arp-odyssey/
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Apr 4, 2014 12:43
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Flipperwaldt posted:THINGS  You're a friggin wizard. Absolutely everything you said is spot on (and so quick!) and I got everything working perfectly now. I tried ctrl-f'ing the manual (it being 90 pages long) with several keywords to try and find this info, but somehow it eluded me. Thanks a million!  As for the power supply, you're absolutely right on that too. I might have a similar model, as I just checked and mine's 500 mA as well. I've checked all the shops I can think of here and it's hard to find something with 9V that has even 1A though (and I've yet to find a single place selling 9V 2A). Probably won't need that anyway now that you fixed the problem for me though! 
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Apr 4, 2014 13:00
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ynohtna posted:Here's the schematic of the Yamaha BC1 breath controller: Awesome! Thanks for that, I really appreciate it. I've really warmed up to the DX7IIFD. When I initially got it I was unimpressed. It sounded clean and bright, and I only really liked the sound of struck (marimba, vibes, etc) and plucked instruments. The envelopes and dynamics of FM really shine there, and it was something that subtractive synth could not do well in my experience. It seemed like a one-trick pony. Then I picked up a new mixing board with a sweepable mid on the EQ, and spent some time dialing out some of the brightness. This managed to really improve the sound to my ears. The past few nights I have been playing the preset voices. I initially wrote off most of these as uninteresting, but having switched back and forth between the Yamaha and the KingKorg, I was able to appreciate the innate nature of the motion of sound with FM. Without even considering the LFO, it's easy to make a sound that moves. And the motion is far more interesting and has much more character than oscillator detuning. I have a bank of voices exclusively for 90's sci-fi / Sega Genesis soundtracks and metallic pads evolve beautifully. That said, for all of the sounds that I've been exploring, I can't stop playing the String Bass preset, which is a shocking reversal to the yawn it initially elicited. I just set up a swing beat on my groovebox and walk up and down a minor scale for hours. If I ever get a chance to play a Motif, I'm sure my impression of the old FM sound will change, but my conscience tells me that samples are cheating.
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Apr 4, 2014 13:12
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Your Computer posted:
To add, I use a USB hub with no latency issues. The USB bus on your computer is already shared. That's how the bus works, unless you buy a separate USB card, all of the USB ports are using an internal hub, and expanding that with a quality(important) external hub should introduce no more latency. If the hub is lovely, or you are flooding the bus with constant high volume of MIDI messages, then you might run into problems. These are the same problems you'd run into if you had 8 USB ports on your machine, though.
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Apr 4, 2014 13:38
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Your Computer posted:
The neat thing about powering the controller from a power supply means that you can still play the synth with your computer powered off. You don't have to do anything for that. When the controller doesn't sense a connection over usb, it will revert to the mode that sends the notes to the DIN midi out automatically. This functionality may or may not be worth it to you to look into (eventually) getting a power supply anyway. This feature is what made me buy the Roland. I knew it'd work like that, because it was the same on my old Edirol. renderful posted:These are the same problems you'd run into if you had 8 USB ports on your machine, though. Also daisychaining hubs can give you problems because power and bandwith is assigned to ports as a percentage of what is available. It isn't simply first come, first served. A single, powered, good hub plugged into a usb port shouldn't give you problems with a couple of midi devices as latency is concerned though, I don't think, unless maybe they're all constantly dumping sysex through it. What is indeed important is that you don't cheap out on the hub. A very great deal of hubs are terrible. Don't let my malinformed pedantry take away from that. Flipperwaldt fucked around with this message at 14:04 on Apr 4, 2014 |
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Apr 4, 2014 13:44
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https://www.youtube.com/watch?v=9eigT6DvHJo
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Apr 4, 2014 14:50
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Awesome studio, and a truly inspiring artist, to me at least.
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Apr 4, 2014 15:28
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A few days back I posted that the only thing holding me back from selling the Virus was that I wasn't sure I could find a replacement for its wide, fizzy "hypersaw OSC" sound. Based on suggestions from here and KVR I spent some time with a number of plugins, and actually found several that get close enough for me that the Virus is hitting eBay this Sunday. I recorded a MIDI chord progression and designed a bare-bones supersaw patch on the Virus and six different plugins. Every patch had only a few elements: single-OSC, 2-pole LP filter (wide open as saved in preset), fast attack/smooth release ENV, whatever detuning/stacking features the synth offered. I ran each patch through the same delay and reverb and posted the results to SoundCloud: https://soundcloud.com/ultimateoutsider/sets/supersaw-comparison
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Apr 4, 2014 15:45
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Radiapathy posted:I recorded a MIDI chord progression and designed a bare-bones supersaw patch on the Virus and six different plugins. I prefer Alchemy the most, then Spire, for thickness and high frequency sparkle. A lot of this is comparing filter implementations in the plugins just as much as what the supersaws sound like. Especially Alchemy's filter has a nice low rumble with the filter closed. To me, these two just sound better than the Virus, in fact. The fairness of the comparison depends somewhat on how close you got the settings to each other though.
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Apr 4, 2014 16:07
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Radiapathy posted:A few days back I posted that the only thing holding me back from selling the Virus was that I wasn't sure I could find a replacement for its wide, fizzy "hypersaw OSC" sound. Based on suggestions from here and KVR I spent some time with a number of plugins, and actually found several that get close enough for me that the Virus is hitting eBay this Sunday. Just so you know, one of the goons here was looking for a Virus TI and they wanted me to bring it to Tokyo. You might consider sending Flanky a message, then everyone wins. JamesKPolk posted:Looks like a good start but idk I can't help but feel like you could use another analog mono or two. You know, just to cover your basses. Do you have the inputs for like a x0xbox and maybe a BassStation 1 on the rack? Or maybe a Volca Bass going to the Line In on the laptop? A Microbrute? I thought about another few monos but then I remembered that the A4 counts as four of them. e. So clearly I need another A4 Your Computer posted:vvv Watch me do it again Kill your posting and then yourself. <  >WAFFLEHOUND fucked around with this message at 18:42 on Apr 4, 2014 |
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Apr 4, 2014 16:22
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Kinda sad that didn't include DCAM. I prefer FXpansion DCAM: Synth Squad for.. everything  Once you get good at using it, it's a VA "more-or-less-modular" beast.Even using Strobe, the (at startup) mono synth, if you up the amount of voices and add some detune and unison fine-tuning modulation you can get the most insane super/hyper/gigasaws. At that's without touching any of the chorus effects (like the several modeled after different string synths) or polyphonic synth(s). ....I love DCAM, all right?  e: I have more VST's than I'll ever need though, with DCAM, Tremor, all the Arturia VST's, Korg Legacy (Polysix, Wavestation, etc.) and... a bunch more. vvv I really dislike more or less all the presets, including the several free packs, and it does take a bit of work to get used to it. Once you begin mastering Fusor though... man. vvv vvv Watch me do it again  vvve2: Meta-posting in the synth thread. Your Computer fucked around with this message at 17:26 on Apr 4, 2014 |
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Apr 4, 2014 16:36
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DCAM is mindblowingly good, Strobe is slowly replacing Massive as my go-to bass synth. I find it sounds less fantastic right out of the gate though, and needs a little more tweaking. e. Just buy Z3ta and embrace the worlds best pads/saws. Your Computer posted:vvv I really dislike more or less all the presets, including the several free packs, and it does take a bit of work to get used to it. Once you begin mastering Fusor though... man. vvv Arrrgarhgahrgahr don't reply in the post someone already replied to. 
WAFFLEHOUND fucked around with this message at 17:08 on Apr 4, 2014 |
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Apr 4, 2014 16:48
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Is anyone interested in a Doepfer Dark Time sequencer for $550? Pretty useful step sequencer with MIDI, dual CV everything, and USB. Will probably eBay it this weekend unless a goon wanted to taste the rainbow
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Apr 4, 2014 17:30
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Flipperwaldt posted:The Massive one is extra chorusy, which makes it stand out somewhat. As far as the filters go, those do play a major role. The sequence is 16 bars total and bars 6-8 and 14-16 have the filter wide open so you can hear the raw oscillator. I had a huge pain of a time automating the Sylenth1 filter because of its separate Filter and Filter Control sections. I read the manual several times, but what I experienced did not match what the manual described. That's why its filter seems to open up way before the other ones do. This was as much about programmability as it was sound, for me. I always found the Virus a breeze to program, and it's one of the reasons I've used Massive so much, despite my biggest complaint with it. I don't know if you can hear it (it doesn't seem to come out on my computer speakers but is pretty obvious on my monitors), but Massive always seems to have poppy/clicky attacks. Even if you ease up on the attack to the point of audibly fading in, there's almost always this little pop that I've rarely been able to eliminate from my patches. If they do a 2.0 I'd like to see that addressed (and also like to see actual parameter values somewhere in the UI when you're changing them).
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Apr 4, 2014 17:42
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Alright I actually made music with my synth pile for once: https://soundcloud.com/snowcloud/electrojoe Bass and lead is Shruthi, strings is Yamaha An1x, drums are Drumatic. Strings and lead were recorded live.
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Apr 4, 2014 17:51
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I just calculated what it would cost to buy the synths that I really wish I had (in Norwegian prices of course), and it came out at about $10.000. Suddenly a modular doesn't seem that expensive 
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Apr 4, 2014 17:59
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I think mine is like 8900. 
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Apr 4, 2014 18:04
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I'm only at like, 2500 right now, assuming SH-101s don't skyrocket. And I'm on a handspan waiting list so I don't have that money. 
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Apr 4, 2014 18:08
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I've seen SH-101's go here for 1200 Euro's. gently caress that.
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Apr 4, 2014 18:28
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Well, thank you for encouraging me to pick up one in North America while they're still <1000.
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Apr 4, 2014 18:32
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Radiapathy posted:This was as much about programmability as it was sound, for me. And for science  , since you've now got the comparison material at hand, I'd be very interested in how close you can actually get with Curve using this general technique to fake a supersaw: https://www.youtube.com/watch?v=S0a-OPbCI88 If you don't care for trying yourself, could you give me some more clues as to what values you used to create the patch?
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Apr 4, 2014 18:36
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it will be at least 800 for an sh 101
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Apr 4, 2014 19:13
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He said Euro.
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Apr 4, 2014 19:34
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Sjoewe posted:I've seen SH-101's go here for 1200 Euro's. Said the guy who paid full price for a Juno 60.  I also should have gotten one when they were still 450. Lots of fun. (I paid 800 for mine)
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Apr 4, 2014 19:48
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I'll admit the 60 wasn't cheap, but it had a full service and a MIDI upgrade
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Apr 4, 2014 20:11
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Radiapathy posted:I recorded a MIDI chord progression and designed a bare-bones supersaw patch on the Virus and six different plugins. Every patch had only a few elements: single-OSC, 2-pole LP filter (wide open as saved in preset), fast attack/smooth release ENV, whatever detuning/stacking features the synth offered. I ran each patch through the same delay and reverb and posted the results to SoundCloud: Thanks for doing this. I'd never heard of Alchemy before and now I really want it.
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Apr 4, 2014 22:18
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Flipperwaldt posted:Is there one other than Massive that jumped at you in a positive way as far as that is concerned? I appear to have Plugin Acquisition Syndrome (ended up buying Diva, MUX, and Spire this week) and I fear looking into any others will eliminate any financial gains the sale of the Virus might bring. However, tonight or tomorrow I'll zip up the FXPs and a MIDI clip of my sequence and put it on Dropbox or Onedrive. Basically, I just started with an init patch, turned off everything except for one OSC and one filter, set key tracking on the filter so that frequencies were consistent across the board with filter applied (this was the hardest thing to get consistent across all synths, they all use different metrics and ranges), and set up an envelope with zero attack, gentle decay to a sustain of 80%, and just a little bit of a release tail. Then I'd adjust the voicing/stacking/detune settings of the OSC and any separate unison feature, and adjusted stereo width where available. With the automation, I'd start with filter cutoff at 50%, building to 100% open by the end of bar 5 of each of the 8-bar sections. Oh I used Waves Manny Maroquin stereo delay custom patch as an insert on each track and had them send to an FX channel in Cubase that had one of the NI Reverb classics plugins, RC 24. EDIT: Oh, and I used WaveLab's "loudness normalize" feature to bring all of the clips to -18 LUFS, with a peak ceiling of -0.3dB. (WaveLab did this non-destructively, with no limiting or compression.) Radiapathy fucked around with this message at 22:21 on Apr 4, 2014 |
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Apr 4, 2014 22:18
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