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Hydrasynth
Old 18th December 2019
  #2371
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Musicncars's Avatar
 

Quote:
Originally Posted by Gomjab View Post
FANS FANS FANS!

Oh sorry. I thought this was the Moog One thread!

It is interesting how early labels can haunt something forever. Sorta like getting a bad nickname as a kid.

I haven’t unboxed mine yet to determine if my ears will be fatigued.



[EDIT] I missed @ Musicncars post above mentioning the One
Nor have I. I look forward to finding out if my ears get frazzled after a short playing experience. I also look forward to your thoughts as well.
Old 18th December 2019
  #2372
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apessino's Avatar
Quote:
Originally Posted by Musicncars View Post
Nor have I. I look forward to finding out if my ears get frazzled after a short playing experience. I also look forward to your thoughts as well.
Why even unbox it? Apparently watching YouTube videos while carefully monitoring your ear fatigue levels works just as well.
Old 18th December 2019
  #2373
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DStep ATL's Avatar
 

Quote:
Originally Posted by SandyKipper View Post
"Listener fatigue (also known as listening fatigue or ear fatigue) is a phenomenon that occurs after prolonged exposure to an auditory stimulus. Symptoms include tiredness, discomfort, pain, and loss of sensitivity. Listener fatigue is not a clinically recognized state, but is a term used by many professionals." (Wikipedia Dec 2019)

It’s good to know that YouTube is capable of filtering out those harsh and ear exhausting frequencies. Well, there’s a workaround, instead of EQing or running it through professional third party gear, one can run their Hydrasynth through YouTube.

I'm more than happy to identify listener fatigue as a subjective phenomenon, and yes, I am definitely getting ear fatigue from the YouTube and Soundcloud uploads (in spades).

By the way, for those complaining about this topic, please remember that it's not just contributors who read these threads, it's potential buyers, so let them decide whether the varied contributions in this thread are useful or not.
That is all well and good, and I know what ear fatigue is. What I’m not sure I believe is that you are listening for long enough or at enough of a loudness level that you are being effected by it.

I do think it is certainly capable of causing fatigue with the high end it can put out, if let untamed. Loud levels would almost certainly cause issues if you listened for long enough to it’s unfiltered raw osc’s.
Old 18th December 2019
  #2374
Gear Nut
 

Quote:
Originally Posted by SandyKipper View Post

By the way, for those complaining about this topic, please remember that it's not just contributors who read these threads, it's potential buyers, so let them decide whether the varied contributions in this thread are useful or not.
absolutely, but there's also a point where it starts running away from itself without any sort of relative benchmark and just becomes a pissing match.

the first person who brought up ear fatigue was using the benchmark of a balloran the river and the sequential circuits px. both are obviously great machines, but with different tone goals than the hs.

one could surmise that there is an implicit favored tone in there. (not casting aspersions here, just noting a possibility.) not hearing the river in person, i listened on youtube . . . obviously a very good thing for what it does—which is not to my taste from the bits i heard. now, does that mean it's a pos? no. but my opinion might be taken with a grain of salt . . .
Old 18th December 2019
  #2375
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Rezisehtnys's Avatar
Quote:
Originally Posted by apessino View Post
Why even unbox it? Apparently watching YouTube videos while carefully monitoring your ear fatigue levels works just as well.
YouTube is a valuable tool for shopping and comparing when you can find multiple synth demos from the same users, a lot better than going off specs alone or someone's opinion anyway.
Old 18th December 2019
  #2376
Gear Nut
 

for sure. i got a lot out of watching the in-depth hs demo/programming vids. the preset walkthroughs, not so much.
Old 18th December 2019
  #2377
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tjontheroad's Avatar
I hope they add the ability to save the Pad modes with the presets. It’s best to keep the pads on fretboard mode when I’m playing a bass sound. Not so much when playing a string pad.

Also, please have the synth boot up with the last preset used. Its no fun looking for where you left off when programming a set of new patches.
Old 18th December 2019
  #2378
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Musicncars's Avatar
 

Quote:
Originally Posted by apessino View Post
Why even unbox it? Apparently watching YouTube videos while carefully monitoring your ear fatigue levels works just as well.
True. Then I can just send it back for a refund.
Jk. From what I’ve heard, it sounds great. I just need to buy the YouTubeEQ.vst
Old 18th December 2019
  #2379
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draig's Avatar
 

Quote:
Originally Posted by DStep ATL View Post
That is all well and good, and I know what ear fatigue is. What I’m not sure I believe is that you are listening for long enough or at enough of a loudness level that you are being effected by it.

I do think it is certainly capable of causing fatigue with the high end it can put out, if let untamed. Loud levels would almost certainly cause issues if you listened for long enough to it’s unfiltered raw osc’s.
I don’t have ear fatigue from listening to YouTube videos of HS.

However, I did hear some digital harshness in a number of demos that I find unpleasant. That harshness would make my ears resistant to the sound and that leads to a kind of fatigue.

Also, it is not just a matter of having a lot of high frequency content. If there is aliasing or other digital artifacts that will lead to a much different experience for me than the same amount of high frequency content that is artifact free.
Old 18th December 2019
  #2380
Here for the gear
 

Does anyone know if there's a way to turn off clock out on the Hyrdasynth? Digitakt is my source clock, the HS is set to midi clock in, as is the NDLR, all connected through a iConnectivity MIDI4+. When the HS midi out is connected the NDLR clock is doubled. When I disconnect it, all clock rates are normal.
Old 18th December 2019
  #2381
Lives for gear
Quote:
Originally Posted by draig View Post
...
Also, it is not just a matter of having a lot of high frequency content. If there is aliasing or other digital artifacts that will lead to a much different experience for me than the same amount of high frequency content that is artifact free.
That's also my opinion.
It's not just a matter of high frequencies. They can be filtered.
It's the thing with digital simulations.

They can produce sounds that have unnatural elements. Eg. they can go from very high to zero by one sample. That's not possible with a real instrument or real analogue synth.

The second "bad" element is that digital simulations have no "natural" memory behavior. Again real instruments and to some extent real analogue synths have this. They memorize for some time the sound that was played before. The actual new sound is generated by a smooth transition from the last sound to the new sound. Digital simulations can instantly generate a new sound.

best regards
Old 18th December 2019
  #2382
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string6theory's Avatar
So, as promised, I gave the HS a break, but decided to come back to it tonight after time with the Prophet-X, and determined to get to the bottom of what I was experiencing after 3 days and many long hours on the 8+8 (which was physically and ergonomically so nice that it facilitated these long sessions... that’s a huge plus for me too).

Ok, so this time I took my little Yamaha M5 monitors out of the chain (the ones GC used to use in all their keyboard departments as demo monitors) and went straight into my “full range” Sennheiser HD800s off the Korg’s HP out. I was thinking that with the full frequency range the HS puts out, perhaps it was the Yamys that were giving off some bad upper frequency resonances, with their small speaker cones and smaller horn tweeters. And, now I think that pair was part of the problem - and which didn’t present a similar problem with The River (And, I just started playing the Prophet-X through them and not 3 days in a row over many hours).

Playing back all the HS presets I saved (and there are really many fantastic ones from the contributors) and which I previously made filter tweaks on many, I immediately recognized the filter resonance I described earlier as being somewhat “hard”. It is, but, listening very carefully through the HPs, it is also very precise, detailed and cutting - in a good way. Yes, I need to tame those upper resonant frequencies for my ears and my taste, but I also don’t have any other synths that sounds so “full range” in a way that may be growing on me.

Earlier, someone mentioned fitting the HS sounds into a mix, and I think they may be on to something. I started thinking about the sounds from that standpoint and began hearing the HS in a new light. A very precise and controlled presentation of the synth’s frequencies is a good thing overall, and something that I can now envision a little better in terms of my usage of the HS in my music.

The other incredible features on the HS are the vocal filters. These are really, really cool, and I want to explore these a lot more. I’m very much into vocal and format-like synth sounds, as for example on the Roland V-Synth XT (my only other all digital synth besides some E-mu ROMpler synths and, of course, soft synths).

Anyway, with just scratching the surface in terms of my own HS sound design, I believe I was selling the HS short with my previous early impressions tainted by my later “sleepy ears” (sounds better than ear fatigue). I do need to give this new synth more time to sink in, more time to learn its intricacies and sound shaping features. It derserves this time and I should have realized that before jumping the gun, as I did. So, I sincerely apologize for that to all and especially ASM!

I’m going to take my time with this deep synth and see how it plays out. As, I mentioned, everything about my HS experience has been positive except for the “tired ears” I experienced. I’m going to blame that on both myself, too long of sessions and the old, small Yamaha M5 monitors, perhaps not the best “demo” speakers for such a full range synth, along with just realizing that this is an open frequency spectrum synth, so care needs to be taken when playing and designing sounds.

The other thing is that this is my first PAT keyboard and pad controller combo, and THAT seriously rocks. So, for now, I’m firmly back in the Hail Hydrasynth camp and the cool Cult Of 8+8.

Old 18th December 2019
  #2383
Lives for gear
 
Rezisehtnys's Avatar
Quote:
Originally Posted by string6theory View Post
So, as promised, I gave the HS a break, but decided to come back to it tonight after time with the Prophet-X, and determined to get to the bottom of what I was experiencing after 3 days and many long hours on the 8+8 (which was physically and ergonomically so nice that it facilitated these long sessions... that’s a huge plus for me too).

Ok, so this time I took my little Yamaha M5 monitors out of the chain (the ones GC used to use in all their keyboard departments as demo monitors) and went straight into my “full range” Sennheiser HD800s off the Korg’s HP out. I was thinking that with the full frequency range the HS puts out, perhaps it was the Yamys that were giving off some bad upper frequency resonances, with their small speaker cones and smaller horn tweeters. And, now I think that pair was part of the problem - and which didn’t present a similar problem with The River (And, I just started playing the Prophet-X through them and not 3 days in a row over many hours).

Playing back all the HS presets I saved (and there are really many fantastic ones from the contributors) and which I previously made filter tweaks on many, I immediately recognized the filter resonance I described earlier as being somewhat “hard”. It is, but, listening very carefully through the HPs, it is also very precise, detailed and cutting - in a good way. Yes, I need to tame those upper resonant frequencies for my ears and my taste, but I also don’t have any other synths that sounds so “full range” in a way that may be growing on me.

Earlier, someone mentioned fitting the HS sounds into a mix, and I think they may be on to something. I started thinking about the sounds from that standpoint and began hearing the HS in a new light. A very precise and controlled presentation of the synth’s frequencies is a good thing overall, and something that I can now envision a little better in terms of my usage of the HS in my music.

The other incredible features on the HS are the vocal filters. These are really, really cool, and I want to explore these a lot more. I’m very much into vocal and format-like synth sounds, as for example on the Roland V-Synth XT (my only other all digital synth besides some E-mu ROMpler synths and, of course, soft synths).

Anyway, with just scratching the surface in terms of my own HS sound design, I believe I was selling the HS short with my previous early impressions tainted by my later “sleepy ears” (sounds better than ear fatigue). I do need to give this new synth more time to sink in, more time to learn its intricacies and sound shaping features. It derserves this time and I should have realized that before jumping the gun, as I did. So, I sincerely apologize for that to all and especially ASM!

I’m going to take my time with this deep synth and see how it plays out. As, I mentioned, everything about my HS experience has been positive except for the “tired ears” I experienced. I’m going to blame that on both myself, too long of sessions and the old, small Yamaha M5 monitors, perhaps not the best “demo” speakers for such a full range synth, along with just realizing that this is an open frequency spectrum synth, so care needs to be taken when playing and designing sounds.

The other thing is that this is my first PAT keyboard and pad controller combo, and THAT seriously rocks. So, for now, I’m firmly back in the Hail Hydrasynth camp and the cool Cult Of 8+8.

Hey it happens; how you listen to a synth makes a HUGE difference, and this is something I've been reminded of personally in the last week. For me headphones give the best detail in listening and programming, though I prefer external speakers due to my sensitivity.

Side note; I have a lot of respect for those that can admit fault and give honest feedback.
Old 18th December 2019
  #2384
Here for the gear
 

Quote:
Originally Posted by jcgam View Post
Does anyone know if there's a way to turn off clock out on the Hyrdasynth? Digitakt is my source clock, the HS is set to midi clock in, as is the NDLR, all connected through a iConnectivity MIDI4+. When the HS midi out is connected the NDLR clock is doubled. When I disconnect it, all clock rates are normal.
Why don't you just filter out the clock (RealTime) messages from HS on your iConnectMIDI4+?
Old 18th December 2019
  #2385
Lives for gear
 
oldgearguy's Avatar
 

Quote:
Originally Posted by jcgam View Post
Does anyone know if there's a way to turn off clock out on the Hyrdasynth? Digitakt is my source clock, the HS is set to midi clock in, as is the NDLR, all connected through a iConnectivity MIDI4+. When the HS midi out is connected the NDLR clock is doubled. When I disconnect it, all clock rates are normal.
Interesting; might be a bug because on page 87 of the manual the implication is that if you select MIDI in for clock sync, the Hydrasynth transmits sync out of USB and cv (and not MIDI). So if you're talking about connecting the Hydrasynth MIDI DIN out and getting the feedback loop, that might be an issue to report.
Old 18th December 2019
  #2386
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tjontheroad's Avatar
Quote:
Originally Posted by string6theory View Post
So, as promised, I gave the HS a break, but decided to come back to it tonight after time with the Prophet-X, and determined to get to the bottom of what I was experiencing after 3 days and many long hours on the 8+8 (which was physically and ergonomically so nice that it facilitated these long sessions... that’s a huge plus for me too).

Ok, so this time I took my little Yamaha M5 monitors out of the chain (the ones GC used to use in all their keyboard departments as demo monitors) and went straight into my “full range” Sennheiser HD800s off the Korg’s HP out. I was thinking that with the full frequency range the HS puts out, perhaps it was the Yamys that were giving off some bad upper frequency resonances, with their small speaker cones and smaller horn tweeters. And, now I think that pair was part of the problem - and which didn’t present a similar problem with The River (And, I just started playing the Prophet-X through them and not 3 days in a row over many hours).

Playing back all the HS presets I saved (and there are really many fantastic ones from the contributors) and which I previously made filter tweaks on many, I immediately recognized the filter resonance I described earlier as being somewhat “hard”. It is, but, listening very carefully through the HPs, it is also very precise, detailed and cutting - in a good way. Yes, I need to tame those upper resonant frequencies for my ears and my taste, but I also don’t have any other synths that sounds so “full range” in a way that may be growing on me.

Earlier, someone mentioned fitting the HS sounds into a mix, and I think they may be on to something. I started thinking about the sounds from that standpoint and began hearing the HS in a new light. A very precise and controlled presentation of the synth’s frequencies is a good thing overall, and something that I can now envision a little better in terms of my usage of the HS in my music.

The other incredible features on the HS are the vocal filters. These are really, really cool, and I want to explore these a lot more. I’m very much into vocal and format-like synth sounds, as for example on the Roland V-Synth XT (my only other all digital synth besides some E-mu ROMpler synths and, of course, soft synths).

Anyway, with just scratching the surface in terms of my own HS sound design, I believe I was selling the HS short with my previous early impressions tainted by my later “sleepy ears” (sounds better than ear fatigue). I do need to give this new synth more time to sink in, more time to learn its intricacies and sound shaping features. It derserves this time and I should have realized that before jumping the gun, as I did. So, I sincerely apologize for that to all and especially ASM!

I’m going to take my time with this deep synth and see how it plays out. As, I mentioned, everything about my HS experience has been positive except for the “tired ears” I experienced. I’m going to blame that on both myself, too long of sessions and the old, small Yamaha M5 monitors, perhaps not the best “demo” speakers for such a full range synth, along with just realizing that this is an open frequency spectrum synth, so care needs to be taken when playing and designing sounds.

The other thing is that this is my first PAT keyboard and pad controller combo, and THAT seriously rocks. So, for now, I’m firmly back in the Hail Hydrasynth camp and the cool Cult Of 8+8.

Nice. Give it time and it’ll grow on you more I think.

I did the same full circle with HS when I first played it. I didn’t think it was harsh, but I did (still do) think it was unworldly in being able to have such a full frequency spectrum. Much of that being within the same patches that start rather calm and then evolve into a high harmonic storm when using the poly aftertouch. I was getting clipping in my system and didn’t realize it at first. I was running it through my Event Project Studio 6 monitors. I then ran it into my DAW and recorded a couple things. After I looked at an EQ graph, I confirmed was going on.

I later moved to running it through my big Turbosound Flashline monitors and it sounded much better. There is a lot of detail once you get gain staging right both internally and externally with HS. It definitely can find it’s own place in the mix. I’m looking forward to pairing it with my MatrixBrute and other all analog synths.
Old 18th December 2019
  #2387
Lives for gear
 
Bach666's Avatar
 

It sounds like the perfect plugin to pair with this synth would be Gullfoss.
Old 18th December 2019
  #2388
Lives for gear
 
string6theory's Avatar
The Hydrasynth Prophecy - by string6theory

Wow, I had so much fun recording this track! It's long cause I didn't want it to stop.

I have the Prophet-X setup with the Hydrasynth Module, got a sample drum loop going on the X and brought in the HS, having fun with the vocal filtering. I realized as I was recording the track that THE HYDRASYNTHS STAY DAMMIT! (sorry Tom p)


Yeah, this is a fun machine. And the X is no slouch either :D (thanks Dave & Co. for including MIDI out for the sequencer, which makes for one awesome combo and I suspect many more future tracks).


Recorded to my Korg MR2000S hard disk recorder at 5.6MHz/1-bit DSD, converted to 48khz/24-bit Wav for PT HD, then bounced to 48khz/320kbs mp3 for GS.


Attached Files

The Hydrasynth Prophecy.mp3 (15.75 MB, 1531 views)

Old 18th December 2019
  #2389
Lives for gear
 
string6theory's Avatar
Quote:
Originally Posted by Rezisehtnys View Post
Hey it happens; how you listen to a synth makes a HUGE difference, and this is something I've been reminded of personally in the last week. For me headphones give the best detail in listening and programming, though I prefer external speakers due to my sensitivity.

Side note; I have a lot of respect for those that can admit fault and give honest feedback.
It absolutely does matter and make a huge difference. Unfortunately, I’m stuck in the atrium of our house while it’s being renovated, and so it’s all very temporary, especially the Yamaha monitors. But, I’m also enjoying just focusing on one (or two) synths at a time plugged straight into the recorder and capturing everything live. It’s a great way to learn a new synth and get some of that initial honeymoon vibe.

Thanks for the kind words, I appreciate it!




Quote:
Originally Posted by tjontheroad View Post
Nice. Give it time and it’ll grow on you more I think.

I did the same full circle with HS when I first played it. I didn’t think it was harsh, but I did (still do) think it was unworldly in being able to have such a full frequency spectrum. Much of that being within the same patches that start rather calm and then evolve into a high harmonic storm when using the poly aftertouch. I was getting clipping in my system and didn’t realize it at first. I was running it through my Event Project Studio 6 monitors. I then ran it into my DAW and recorded a couple things. After I looked at an EQ graph, I confirmed was going on.

I later moved to running it through my big Turbosound Flashline monitors and it sounded much better. There is a lot of detail once you get gain staging right both internally and externally with HS. It definitely can find it’s own place in the mix. I’m looking forward to pairing it with my MatrixBrute and other all analog synths.
Yup. Hey, MxB and it’s sequencer sounds like a GREAT partner for the HS! (I’ll try them out together at some point too).
Old 18th December 2019
  #2390
Lives for gear
 
string6theory's Avatar
Btw, that oscilloscope screen is a TRIP when in vocal mode and playing the filter knobs as it opens, closes, and makes human mouth movements as your playing. It’s so frikin cool!


Btw-2, if you play my track “The Hydrasynth Prophecy” above, watch this emoji at the same time for another trippy bit of fun.

Or this one...

Or this one...

Or this one...






Hydrasynth Raps the Rhythm of Gearslutz (watch the band and rapper on the mic)!

This is all the video for the track, hehe.

Old 18th December 2019
  #2391
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tjontheroad's Avatar
Be sure to try the Random function. It actually makes some very cool patches.
Old 18th December 2019
  #2392
Here for the gear
 

Quote:
Originally Posted by tjontheroad View Post
Be sure to try the Random function. It actually makes some very cool patches.
This is one of my favorite features because it can be targeted to very specific functions. It's fun to use.
Old 18th December 2019
  #2393
Here for the gear
 

Quote:
Originally Posted by joris.roling View Post
Why don't you just filter out the clock (RealTime) messages from HS on your iConnectMIDI4+?
That's what I ended up doing. The full name of the filter is "Realtime Events" for future reference.
Old 18th December 2019
  #2394
Here for the gear
 

Quote:
Originally Posted by oldgearguy View Post
Interesting; might be a bug because on page 87 of the manual the implication is that if you select MIDI in for clock sync, the Hydrasynth transmits sync out of USB and cv (and not MIDI). So if you're talking about connecting the Hydrasynth MIDI DIN out and getting the feedback loop, that might be an issue to report.
Yes I'm using MIDI DIN. If it is a bug I'm surprised no one else has noticed it. The setup is simple: external clock source, HS set to MIDI IN clock sync, and another device on the chain with MIDI clock in.

How do we report bugs?
Old 18th December 2019
  #2395
Lives for gear
 
tjontheroad's Avatar
Quote:
Originally Posted by jcgam View Post
This is one of my favorite features because it can be targeted to very specific functions. It's fun to use.
It's addictive like a "crack' button lol.
Old 18th December 2019
  #2396
Welcome to GS electronic music instruments subforums where every synth announcement is like the 2nd coming of Jeebus, until it actually arrives then it's horrible because it's not like the next new shiny thing that hasn't been released yet but everyone thinks is perfect until that one is also released.
Old 18th December 2019
  #2397
Here for the gear
 

Quote:
Originally Posted by bkbirge View Post
Welcome to GS electronic music instruments subforums where every synth announcement is like the 2nd coming of Jeebus, until it actually arrives then it's horrible because it's not like the next new shiny thing that hasn't been released yet but everyone thinks is perfect until that one is also released.
Then we sell the first Jeebus to fund the purchase of Jeebus2. The cycle continues.
Old 18th December 2019
  #2398
Here for the gear
 

Hi all, this is my first GS post but I have been following this thread since the beginning and felt I needed to jump in an share my thoughts on this amazing instrument!

I've had the keyboard Hydra since Saturday and most of my free time since then has been dedicated to getting to know the synth. Firstly, I want to mirror everyone's sentiments on the build quality and overall user experience. I won't rehash what has already been covered but I want to emphasize that the Hydra is of top notch quality and is an absolute pleasure to navigate.

The discussion over the Hydra's sound is what lead me to want to make this post. I have to respectfully disagree with the opinion that the Hydra is too harsh or has a sonic signature that simply cannot be tamed. This is a deep synth, the most complex piece of hardware I own when strictly speaking of features. It will always be very very easy to make bad sounds on any instrument with this much flexibility.

With that being said, the sweet spots are everywhere. I take the time to slowly sweep through my wavetables, filter cutoffs, etc. and there are tons of interesting sounds oozing out of this thing. I start with a simple wavetable, add a bit of modulation, and before I know it, I spent the last hour building a patch that can be drastically transformed at the press of a single macro button.

Sure, there is plenty of high end coming out of the Hydra and I've spent 20 or so minutes on a patch only to realize that it sounds shrill and just generally unpleasing but I don't fault the Hydra for that. I don't fault the Hydra for giving me the ability to make any sound I can imagine, even if that means I sometimes stumble into unpleasant territory.

I am at work right now but I will try and post a couple of my patches at some point in the near future. I have been able to create OB-ish style pads, old school Roland style string patches, nice sonorous bell sounds, etc. In short, the Hydra sounds excellent and I do not find it difficult to tame the high end, nor do my ears feel fatigued, tired, or whatever else you want to call it. I respect other's opinions on this matter as this is a personal determination, but I have had a very positive experience with my Hydra.

Wish List:

I wish it was possible to decouple ENV/LFO 1&2 from the filter and amp modules. I have been enjoying making pseudo-multitimbral patches by controlling each sound source with its own envelope. The current problem as pointed out by DemonDan earlier in this thread, you have to treat the amp envelope like a global envelope which effectively means you lose an envelope when building these types of sounds.

For example, yesterday I made a patch where oscillators 1&2 are routed to filter 2 and create an OB style pad with a slowish attack/decay and a lower sustain. Oscillator 3 is routed to filter 1 and I wanted to make a bell sound with an instant attack, quick decay, no sustain, and a bit of release. Because one sound needed a slower attack with some sustain, and the other needed an instant attack with no sustain, I had to sacrifice the amp envelope and use envelope 3 and 4 to control my two sounds. I wish I could just dedicate the amp envelope to a specific sound source and then freely assign another envelope to other sound sources. Making multitimbral-esque patches is already very easy but it is a bit of a bummer to sacrifice one of my modulators to facilitate this kind of patch design.

Okay that's long enough for a first post. I look forward to seeing how this discussion progresses as more people get their hands on this great new instrument!
Old 18th December 2019
  #2399
Gear Nut
 

decoupling: yes!

i also feel that a wave shaper capability on the oscillators (if you know peak) would both be beneficial for sound design and provide some ability to tame some waves.
Old 18th December 2019
  #2400
Lives for gear
 

Great idea indeed, I'd really like also being able to choose note off, as well as min/max range aftertouch values, as trigger/gate sources for the envelopes.
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