|
MockingQuantum posted:Does the GAS never end? search your heart and you will find the answer (it never ends  )
|
#
?
Jan 28, 2016 21:42
|
|
|
|
| # ? May 20, 2024 17:59 |
|
|
I play with the Odyssey nonstop. It's nasty. I love it, and I'm always finding a new sound with it. If you don't want to buy it, do NOT watch this video: https://www.youtube.com/watch?v=bacxgzseUvo
|
|
#
?
Jan 28, 2016 21:42
|
|
|
BonoMan posted:Damnit, the yellow is too bright for the new post background colorsssss! Yeah, I hosed up. Should have outlined it in black. 
|
|
#
?
Jan 28, 2016 22:21
|
|
|
MockingQuantum posted:Does the GAS never end? No, although it does subside for a bit. I'm fine on synths, but the avalanche run looks loving amazing, and I might sell my timebender to pick it up.
|
|
#
?
Jan 28, 2016 22:31
|
|
|
I've had my Mother 32 for a few days now - its incredible. If you're into retro-soundtracky Carpenter stuff it will make every noise you've wanted within the first 30 minutes of playing with it. I'm trying to sync the box to my eurorack via an ES-4 but am having some difficulty with the clock. Basically, the Mother keeps playing with tons of swing, but I've got all that off. Master clock is Ableton, and ES is set to  Mother is set to Tempo CV.
|
|
#
?
Jan 28, 2016 22:32
|
|
|
magiccarpet posted:I've had my Mother 32 for a few days now - its incredible. If you're into retro-soundtracky Carpenter stuff it will make every noise you've wanted within the first 30 minutes of playing with it. Me too. It's been a lot of fun. Looking forward to learning how to use it even more. For the price point, it's pretty powerful. Will be even better when I get it set up with MIDI so I'm not limited to the sequencer. Is there such a thing as patch cable that have a built it bypass button? I've had a lot of success mostly putting the patch cable in various ins and outs in a rhythmic way but that might be a good way to wear out the jacks. I'm not plugging it in all the way helps, but still. I thought it would be nice to have a built in button so you can leave it patched but just do that to bypass/activate the patch in an easily rhythmic way. If not, let's patent it and then I can justify more euro gear.
|
|
#
?
Jan 29, 2016 21:06
|
|
|
Fors Yard posted:Me too. It's been a lot of fun. Looking forward to learning how to use it even more. For the price point, it's pretty powerful. Will be even better when I get it set up with MIDI so I'm not limited to the sequencer. There's the attenuator cable; not quite a bypass button though: http://koma-elektronik.com/?product=koma-attenuator-cable
|
|
#
?
Jan 29, 2016 21:34
|
|
|
My dad just bought an EWI ( http://www.amazon.com/Akai-EWI-USB-Professional-Instrument-Controller/dp/B001MTKAD0/ref=sr_1_1?ie=UTF8&qid=1453920675&sr=8-1 ) and the software synthesizer it came with is loving amazing, breath sensitive, great sound simulating a ton of instruments, the attacks on the brass instruments are so realistic. He's looking for ways to make music with relatively few hassles. What I'm looking for is a box he could run the USB out from this into, and go directly from the box to an amp, no computer needed. Does anyone have a recommendation for a hardware synth that's relatively portable and ideally has some kind of breath sensitivity?
|
|
#
?
Jan 29, 2016 22:32
|
|
|
You'll need a USB midi host. Most of the breath capable synths that are great are racks. I loved the Alesis S4 and TX802 when I played the Yamaha wx. The JV1010 is cheap as chips these days and would do the job in a very small form factor. Novelty suggestion- korg volca FM. I don't know that it responds to breath cc but it eats DX7 sysex and it's korg so...
|
|
#
?
Jan 29, 2016 23:42
|
|
|
I've got nothing, but a further question would be how willing is your dad to dig in and make presets? I'd wager a lot of synths that aren't aimed at wind players (or any other kind of performer really) would require some fiddling to do what he wants.
|
|
#
?
Jan 30, 2016 00:04
|
|
|
KhyrosFinalCut posted:My dad just bought an EWI ( http://www.amazon.com/Akai-EWI-USB-Professional-Instrument-Controller/dp/B001MTKAD0/ref=sr_1_1?ie=UTF8&qid=1453920675&sr=8-1 ) and the software synthesizer it came with is loving amazing, breath sensitive, great sound simulating a ton of instruments, the attacks on the brass instruments are so realistic. I have an EWI. It's super cool, but I don't use it much. Thinking about shifting to one of those Tec controller thingies. Not at all what you asked for, but if your dad wants another software synth that is as good as (if not better than) the one that comes with it, there are user libraries for Reaktor that are very good. http://www.native-instruments.com/en/reaktor-community/reaktor-user-library/all/all/all/all/breath/latest/1/all/ Particularly all of the stuff by Chet Singer that I've tried is absolutely fantastic. Trig Discipline fucked around with this message at 00:29 on Jan 30, 2016 |
|
#
?
Jan 30, 2016 00:17
|
|
|
Startyde posted:You'll need a USB midi host. Most of the breath capable synths that are great are racks. I loved the Alesis S4 and TX802 when I played the Yamaha wx. The JV1010 is cheap as chips these days and would do the job in a very small form factor. Re: USB Midi host -- he'd need a separate box to go between the USB and the hardware synth? at the point where we're taking 2 standalone boxes in addition to the amp, a laptop running the software synth seems like it's an easier option... LOVE LOVE SKELETON posted:I've got nothing, but a further question would be how willing is your dad to dig in and make presets? I'd wager a lot of synths that aren't aimed at wind players (or any other kind of performer really) would require some fiddling to do what he wants. He has a fair amount of programming experience, but not in this specific area, AFAIK, so, I'd go with "Moderately." especially if he found something that was almost right, and could be modified, he'd probably be willing to spend an afternoon or so on it.
|
|
#
?
Jan 30, 2016 00:18
|
|
|
KhyrosFinalCut posted:Re: USB Midi host -- he'd need a separate box to go between the USB and the hardware synth? http://www.kentonuk.com/products/items/utilities/usb-host.shtml http://www.juno.co.uk/products/mode-machines-cerebel-usb-to-midi-serial/564328-01/ Just fyi. If going with a laptop seems viable, more power to you. You're never going to get that kind of response from a hardware synth anyway, unless it was specifically made for it or it would require a lot of fiddling.
|
|
#
?
Jan 30, 2016 01:34
|
|
|
Thanks. He's a longtime musician who's played the bassoon his whole life, but it's huge, heavy and reeds are a PITA. We're trying to create a situation where he can carry around something more efficient around and just go places and make music. Laptop and good bluetooth speaker seem like it's about right, then.
|
|
#
?
Jan 30, 2016 01:46
|
|
|
Fors Yard posted:Is there such a thing as patch cable that have a built it bypass button?  ***And there _are_ midi controllable patchbays like the Peavey MAP 8x4, and I imagine a lot of digital mixers can do the same. That attenuator cable would work, but you could just solder a low voltage toggle switch in line with the cable for pins 4 or 5 (I think just one is fine because the midi-in diagram looks like a loop) that'd get you the same effect, just more instantly. Otherwise you'd want a midi patchbay. I can do this with my DMC MX-8 by making 2 presets and sending a midi program change command to switch between them. The Edirol/Roland um880 and other similar units probably can do the same. Patchbays also do other cool stuff and it's a shame nobody makes them anymore. krysmopompas fucked around with this message at 02:19 on Jan 30, 2016 |
|
#
?
Jan 30, 2016 02:10
|
|
|
Hey, so I'm trying to get something going with some friends and it's like half a dozen guitars and me. Given the midrange is pretty crowded I'm finding my space on the bass end of things. Does anyone have advice or any references for playing (not sequencing) synth bass? I've seen the two playbassnow.com videos on youtube where they discuss ghostnotes and such. That's the sort of thing I'm looking for--advice/exercises for bass focused articulations and expressive patch design. I know it's kind of a broad question but given how little practical info I've found on the topic I'd love to see what you guys might know about that I can work into my practice routine.
|
|
#
?
Feb 4, 2016 17:13
|
|
|
What are you using (if anything) for drums? Your primary role from a bass playing perspective is to complement the "drummer", lock in with them. When I'm playing bass to more chord focused guitar lines I will use "lead in" notes so if its 8ths of G then C I would possibly put a B in just before the C.
|
|
#
?
Feb 4, 2016 23:11
|
|
|
Bolange posted:Hey, so I'm trying to get something going with some friends and it's like half a dozen guitars and me. Given the midrange is pretty crowded I'm finding my space on the bass end of things. Does anyone have advice or any references for playing (not sequencing) synth bass? I've seen the two playbassnow.com videos on youtube where they discuss ghostnotes and such. That's the sort of thing I'm looking for--advice/exercises for bass focused articulations and expressive patch design. I know it's kind of a broad question but given how little practical info I've found on the topic I'd love to see what you guys might know about that I can work into my practice routine. Channel your inner Geddy Lee. The answer is, of course, pedals.
|
|
#
?
Feb 5, 2016 02:59
|
|
|
Bolange posted:Hey, so I'm trying to get something going with some friends and it's like half a dozen guitars and me. Given the midrange is pretty crowded I'm finding my space on the bass end of things. Does anyone have advice or any references for playing (not sequencing) synth bass? I've seen the two playbassnow.com videos on youtube where they discuss ghostnotes and such. That's the sort of thing I'm looking for--advice/exercises for bass focused articulations and expressive patch design. I know it's kind of a broad question but given how little practical info I've found on the topic I'd love to see what you guys might know about that I can work into my practice routine. Victor Wooten's Groove Workshop is excellent and your whole band should watch it.
|
|
#
?
Feb 6, 2016 00:38
|
|
|
So I asked you guys a couple of weeks ago about the Yamaha AN1X. How programmable it was etc. Well I was still looking around a bit, and then found a little thing called FM Synthesis. Apparently I just bought a Yamaha DX7, in the end I did not care much about programmability, I guess. It also came with a SuperMax and a Backlit LCD screen. He hadn't built them in yet, so I know what I'm going to do this weekend.  I don't know if it is an original SuperMax or a new one. I personally doubt that it is original, because it looks really new. I also don't think it is a SuperMax+ because the pcb is green, and the thing on his website is purple.
|
|
#
?
Feb 6, 2016 14:03
|
|
|
Hello I'd like a round roast Well, it was a busy week all I've got left is this giant lobster Sold!
|
|
#
?
Feb 6, 2016 14:16
|
|
|
Both are totally different things, but both are awesome! Installing the backlit LCD and Supermax wasn't as hard as I imagined it being. You do have to press pretty hard on that expansion board to make it work.
|
|
#
?
Feb 6, 2016 18:19
|
|
|
I got the Minilogue a few days ago and I really really like it. I'm relatively new to synths (I got the MicroBrute about six months ago) but I'm really digging this thing. For the price it's pretty impressive. It's funny, I spent like a good five years occasionally messing around with VSTs and I absolutely could not figure out how any of it worked. Dealing with the analogue nature of the MicroBrute forced me to understand what each part of it did and I feel like I actually "get it" now, so if you put me in front of something more full-featured I can actually use the damned thing. Also GAS is real and it is scary. Anyway that's my fun synth story!
|
|
#
?
Feb 7, 2016 08:38
|
|
|
Organelle is now available. Multi-use music device powered by pd on linux. I like the concept but wish the thing had at least a dual-core ARM. User demo.
|
|
#
?
Feb 7, 2016 15:20
|
|
|
Sexy Randal posted:It's funny, I spent like a good five years occasionally messing around with VSTs and I absolutely could not figure out how any of it worked. Part of it is because plugins aren't really simple because a bunch of people will really get up in arms when there's no 6th envelope or 9th LFO or something so lots of features are crammed in there. The hardest thing to learn are dependencies: "why is this not doing anything". This is really easy to figure out when you're dealing with modular synths (usually with "you did not connect the cable") but those have their own share of issues that make them unsuitable for a complete beginner, and fairly easy with simple hard-wired synths (there are no more switches or submenus). Something like a Juno-60 is ideal to begin with; all the sounds it makes are pretty much good/OK, you can't mess up stuff completely, and you can play chords. Thing is, those have gotten kind of expensive, and I don't think we're going to see single-oscillator analog polysynths anymore since the cost of making one would not differ much from a dual-oscillator polysynth (a good chunk of the cost goes to case, motherboard and knobs) and because back then they also were a compromise - which is why they put chorus and ensemble effects on the Polysix and Junos. Also, with adding a second oscillator you greatly increase the range of possible sounds. Laserjet 4P fucked around with this message at 16:40 on Feb 7, 2016 |
|
#
?
Feb 7, 2016 16:38
|
|
|
Why don't we just make modular softsynths? That way we can keep the UI amenable to newbies, no one has to use the complicated features if they don't want to, and people can still do their funky bullshit all they want. Anyway. As a total synth newbie, having just messed around with free softsynths and gone through enough of How to Make a Noise to do a beepy, should I be looking at physical gear like the Microbrute or Minilogue? Or should I be holding off on that until I'm a Real Robot Farter? I also am only really familiar with the basics of subtractive synthesis so far, but what I really wanna do is make FM tracks in the style of old PC-98 and Genesis games. But I looked into the basics of FM synth and wow is it complicated  I don't know how anyone understands it well enough to make new patches instead of using ready-made ones. It's just so much to keep in your head. Is it just time, or is there a trick to making something you want? How do you even know what you want?
Pollyanna fucked around with this message at 14:59 on Feb 9, 2016 |
|
#
?
Feb 9, 2016 14:47
|
|
|
Pollyanna posted:Why don't we just make modular softsynths? That way we can keep the UI amenable to newbies, no one has to use the complicated features if they don't want to, and people can still do their funky bullshit all they want.  Honestly, for newbies my biggest advice is pick a synth and stick with it. The more basic, the better (that way your experience transfers to other synths more easily). Personally I started with Synth1 and spent a good time learning the ins and outs, what the different waveforms sounded like, what I could do with the filter, how the envelopes effected the sound etc. You mentioned FM in the other thread and if what you want is to understand FM then I'd just pick an FM synth and start there instead. They might be less intuitive than subtractive synths, but there's a very clear logic and when you understand the theory of modulating a waveform with another waveform (etc.) you can start playing around with it and get a feel for what different routings sound like. People learn things differently, but in the world of synths experimentation can lead to a lot of discoveries. You should also try looking into how classic sounds were made, I've learned a ton from articles discussing how certain sounds were achieved and presets. e: didn't see your edit; Pollyanna posted:Anyway. As a total synth newbie, having just messed around with free softsynths and gone through enough of How to Make a Noise to do a beepy, should I be looking at physical gear like the Microbrute or Minilogue? Or should I be holding off on that until I'm a Real Robot Farter? The only reason to get hardware is if you want hardware, is my opinion on the matter. Having physical knobs to twiddle can make it easier to understand what's going on, and it lets you play without sitting in front of your computer. Other than that, everything is both cheaper and easier on the computer. Hardware takes up space and you need an audio interface to record it, you're also usually limited in things like presets and modulation unless you pay crazy amounts. Some say "it sounds better" but in TYOOL 2016 I honestly believe they're dumb. That said I have several, including a Minibrute When it comes to softsynths I would recommend FXpansion DCAM Synth Squad and all the synths from Arturia. Also, get a nice MIDI-controller if you haven't! I'm using a Roland A-500PRO and it works great. Your Computer fucked around with this message at 15:19 on Feb 9, 2016 |
|
#
?
Feb 9, 2016 15:09
|
|
|
If you want to learn FM you may as well stay in the box, its a lot easier with a decent GUI.
|
|
#
?
Feb 9, 2016 15:55
|
|
|
Caustic has a really basic FM synth and a good video in the help file that really helped me understand what FM synthesis actually does. https://www.youtube.com/watch?v=1ovPfJECnVk
|
|
#
?
Feb 9, 2016 16:17
|
|
|
NonzeroCircle posted:If you want to learn FM you may as well stay in the box, its a lot easier with a decent GUI.  Get Dexed and just start with only two operators, nr 2 modulating nr 1. Explore what the envelopes do and try them at several ratios, not just whole numbers. Also take your time with studying the concept of keytracking. It's all patiently experimenting and if the patches sound boring, run them through chorus, delay or reverb first instead of making things more complex. Then add a third and repeat. Congrats, you now know enough to start thinking in terms of components - FM patches can be seen as 2 groups of 3 operators or 3 groups of 2 operators, each with different envelopes and tuning. Starting with a 4-op is no problem but Dexed is free and good.
|
|
#
?
Feb 9, 2016 18:34
|
|
|
Pollyanna posted:Why don't we just make modular softsynths? That way we can keep the UI amenable to newbies, no one has to use the complicated features if they don't want to, and people can still do their funky bullshit all they want. You absolutely should not get a hardware synth. You specifically, I mean. You need to spend more time just learning and experimenting. Week 2 of learning synthesis isn't the time to start considering how much money to throw at a hardware synth, or how dissatisfied you are with the state of softsynths. Just learn. All of this is a factor of time and experience and I think you are constantly expecting to know more than you have any reasonable expectation to know at this point in your learning and experience. Just make noise, try lots of different softsynths until there's no longer any uncertainty in your mind how settings on one translate to another, and you're able to identify what actually differentiates one softsynth to another. If you start throwing more money at this you're only going to get more frustrated and bitter about the process.
|
|
#
?
Feb 9, 2016 19:43
|
|
|
Pollyanna posted:Why don't we just make modular softsynths? quote:As a total synth newbie, having just messed around with free softsynths and gone through enough of How to Make a Noise to do a beepy, should I be looking at physical gear like the Microbrute or Minilogue? You can always look at that gear, and always buy it. That's not the problem. The problem is what you expect of it. What do you expect it to do? If you expect the sound of just an analog synth by itself to completely blow away any plugin out there, that's not going to be the case. Most plugins, by virtue of having built in effects, usually get more ooh and ah. The fun is mostly in the interface - as in you move a slider and you hear the sound change and you know only that particular slider makes the sound change in that particular way, so it's something you can develop muscle memory for. The machine will only make music. It's only you vs the synth so if the end result sucks it's entirely your fault. Tracking, as you know, is different. Classic tracking is microscopic editing, trying to cram a track full of clever changes and automation and trying to keep as much of a composition as possible given a set of constraints (re-usable patterns, polyphony limits, memory). The kind of tracking you're talking about didn't have EQ so your existing material should be sculpted (in terms of sound design, loudness and arrangement) as much as possible to allow instruments to co-exist in the mix. It does not have effects so you have to simulate these by means of MIDI-delay (delay), slight detuning (chorus, flanger) and volume automation (reverb). Most hardware synths are pretty poorly equipped for that kind of thing. Console hardware can basically make it so that there's no difference between an LFO, envelope and automation since it's all just data controlling a microprocessor. Whether you just instruct the tracker to fade out or program a release in the envelope doesn't really matter if it's high-resolution enough. If you want to buy, see if you can find a Minibrute or Minilogue secondhand so you don't take as much of a hit when you try to sell it - lots of folks that chase the new stuff only to have it end up as an expensive paperweight 2 months later. Test it, figure out what you want to get out of it, and realize that just getting the signal in and out of the computer so you can record it adds its own kind of hassle. It's a different spending curve and for every device you add you may have to add more infrastructure; 2 synths means adding a mixer, 4 synths means adding a MIDI patchbay of sorts, effects, sequencer, etc.
|
|
#
?
Feb 9, 2016 21:02
|
|
|
Yeah, as cool as the physical machines look (and I'm a sucker for cool tech), I never really thought I could justify actually buying one. I also forgot that you need to feed the signal into the DAW, which sounds like too much of a pain in the rear end to bother. I am happy to save hundreds of dollars and not bother with a physical machine. Still looks neat tho 
|
|
#
?
Feb 9, 2016 22:50
|
|
|
Pollyanna posted:hundreds of dollars yes, hundreds of dollars...right. (oh god, please don't tell my wife)
|
|
#
?
Feb 9, 2016 22:55
|
|
|
Pollyanna posted:I never really thought I could justify actually buying one quote:I am happy to save hundreds of dollars and not bother with a physical machine.
|
|
#
?
Feb 9, 2016 23:29
|
|
|
Laserjet 4P posted:Yeah, and for some reason you then end up with 20 plugins that would've costed as much as one high-end synth But at least the plugins retain their resale valueahahahahahah
|
|
#
?
Feb 9, 2016 23:46
|
|
|
Trig Discipline posted:But at least the plugins retain their resale valueahahahahahah   
|
|
#
?
Feb 9, 2016 23:53
|
|
|
Trig Discipline posted:But at least the plugins retain their resale valueahahahahahah HIlariously, this is legitimately one of the reasons I started buying hardware synths. LOL. And then I ended up not selling any of the synths I've bought to this point so... I guess it's worked out?
|
|
#
?
Feb 10, 2016 00:00
|
|
|
Yeah it's one of the reasons I look at good hardware as an investment but software as a consumed good, budget-wise.
|
|
#
?
Feb 10, 2016 00:05
|
|
|
|
| # ? May 20, 2024 17:59 |
|
|
Trig Discipline posted:Yeah it's one of the reasons I look at good hardware as an investment but software as a consumed good, budget-wise. Yes exactly. I learned this the hard way when I started out, bought a bunch of softsynths and sample libraries I didn't need, then found out the EULAs on nearly all of them prohibited resale.
|
|
#
?
Feb 10, 2016 02:12
|
|