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Korg M3!!!!


Post Posted Sun May 06, 2007 6:36 pm
Equinoxe


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Posts: 871
Location: "Between the Satellites"
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Its not disturbing,its a sort of etiquette,the DX piano is a synthetic sound per se,so its kind of the law in some respects,that any synth will contain either ROM of it or patches designed to emulate it,like a handful of the bass patches in most synths will have names leaning towards the TB303 or MiniMoog,with the sounds lending more than a passing resemblance to the classic units,its what people familiarise with,because there cult Electronic instruments or Trophies from which to aspire with.if it was full of Les Paul's,Rickenbackers or Stratocaster's than thats a different matter,I do agree in that from what synthesis can achieve manufacturers are still looking back to emulate what was essentially old hat with newer technology,I mean we have granular,Modular,FM,Grain table synthesis methods yet there still filling there patches up with Moog or DX emulations,I've alway seen that as like people who use samplers to play a sax or flute...Why???You have the option to create something totally unique,yet they still want to play a straight sax sample!!

Those sounds of the emulations of past synths in my eyes are perfectly passable,even though most of them I probably never use at all and are only in there for reference really,to show what it can do...but that is what people expect,because they are also electronic instruments,Acoustic stuff on the other hand isn't,I can recall when there was an uproar with the Musicians Union in the 80s in that they were worried that the Japanese synthesizers,were putting traditional Musicians out of jobs,and would eventually cause Orchestras to collapse which is a total farce,if that was the case there would be no traditional Orchestra's around today look at the amount of musical tools we have today,yet no-one has even so much as been threatened by the Synth manufacturing,and Guitar based bands are more prevelant now than they were in the glamrock or prog rock era synths were few and far between back then ,ut now we have more choice,and freedom due to cheaper technology,but a synt hstill can't replace the guitarist or Violin player,yet synthesizers are closer now to the real things than they were in the beginnings of synthesis experimentation,Romplers give more of the impression of a sound,but no more the reality..
Post Posted Wed May 09, 2007 8:31 pm
Velodynamic


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Posts: 3472
Location: Sweden, far north
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Hmm...I just can't find the thread about Radias anylonger...
Oh well...anyway, I just found a link on a Korg forum to an unmixed, unmastered, live recorded thin piece of music made with 1 (ugly?) Radias & Cubase sx3.

I just thought it sounded soo fönny :pwned: , so here is the link:
http://www.soundclick.com/bands/page_mu ... dID=699296

"digital passpied"

sorry 'bout that. :wink:
"The worst thing in any form of art is to be betrayed by your own habits."
- JEAN MICHEL JARRE
Post Posted Sun May 13, 2007 2:19 pm
Velodynamic


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Location: Sweden, far north
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Stephen Kay have made a new video -a short guide and a little about how to operate the M3. :)
This is part 1 :http://www.karma-lab.com/vp/klvp2.html?playID=42

Part 1 (length 10:16) covers:

1. Basic Navigation
2. Control Surface
3. Reload Factory Data

(It can take a while to load and make sure to have shockwave flash installed) :wink:
"The worst thing in any form of art is to be betrayed by your own habits."
- JEAN MICHEL JARRE
Post Posted Mon May 14, 2007 10:53 pm
jeremy


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Posts: 261
Location: Tournai, Belgium

You have the option to create something totally unique,yet they still want to play a straight sax sample!!
The question is in the other way...

People don't buy a sampler and then ask themselves "what can I do with it now? Oh let's play a saxophone sample!"

Some people want to make arrangements with sounds of real instruments so they ask themselves: "what do I need to do that?" and they buy a sampler (or rompler).

And then some other people want to create something new so they use whatever they want or need to experiment their own ideas.
Main synths: Roland Fantom X6, XP80, Alesis Ion, Korg 01/WFD, Wavestation SR, Oberheim Matrix 1000.
Post Posted Tue May 15, 2007 8:14 am
GeeJee
The GUV'NOR

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Location: Zwolle, The Netherlands
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Equinoxe does have a point that a large majority only uses the presets and doesn't dig deep into synthesis anymore. For example, the V-Synth is capable of doing extraordinary thing, yet, I have to see someone using it to that extend. Which is not going to happen, cause the new V-Synth with twice the power is shipping this month... packed with new presets...
:mrgreen:
Post Posted Wed May 16, 2007 12:00 am
jeremy


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Posts: 261
Location: Tournai, Belgium

I've read an interview a few years ago of a professional musician who was doing his own stuff on the V-Synth. He was explaining many things that appeared really complex to me.

Actually, I'm sure many people use the powerful tools of the V-Synth to do their own stuff but many others don't. Which is a bit sad considering the price and the possibilities of that synth... But I would think most of those people just don't know how to make their own stuff.

For my own part, I make my own sounds on the Alesis Ion and the Juno-106... because those machines are really fun to program. And I often use the sounds of my "romplers" as they are.
Main synths: Roland Fantom X6, XP80, Alesis Ion, Korg 01/WFD, Wavestation SR, Oberheim Matrix 1000.
Post Posted Wed May 16, 2007 12:56 pm
AMR


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Posts: 188
Location: Lisbon, Portugal - mostly...


...Motif Makeup is the same as The M3 specs...
My point is below, you can skip the following part:

The Yamaha CS6x is very similar to the Motif series, kind of a rebbeld baby brother, having four elements, plus what you add with the plugin boards (I have the DX - ads more 16 poly - and the AN - adds five more poly - ones plugged into mine) and sample playing habilities (scarce, but there).

The thing is that polyphony goes down as elements go up, so if there is no "crossfade" that means that if you have 64 poly and use 1 element, you get to play all 61 keys and still get 3 left (61 keys keyboard), but if you use 4 elements simultaneously, poly gets down to... 16, not much. Then you have "performances" where you can mix 16 of these 4-or-more element patches... getting standard poly down to 1 but with one heck of a sound...

The CS6x however lacks the "Motif" inteligence in phrase/arp arrangements and 4 more elements... but I digress.

---- end of skip ----

Here's my point:


My point is that DSP has evolved so much I dont understand why are manufacters going about with "number of oscilators", since all they produce, added or subtracted, is a wave, an audio wave in this case.

Thus, any audio wave can be calculated... so, with the computing power we now have, the amazing audio moddeling algorythms and circuit modeling too that have been refined to further optimize computation and realism... why bother with just 8 oscilators when you can have thousands? :-)

One just needs to have a look at "pianoteq" piano modeling software to know what I mean... if you can model realistically a full piano with around 8 Mb of software and not gazzilions of Gb of samples at many dinamic levels with out of the Earth piano, studio and mics, why on Earth can't you model 256 oscilattors interacting with whatever you want it to do far beyond filters and ADSR envelopes? ;-)

The DSP filters are already modeled for crying out loud, there's no typical capacitor/resistor filters there beyind modulated by some input current or whatever... :-) And Yamaha's digital filters are so sweet (CS6x).

For example, today you can have this type of synth: Oscilator 12301, toaster oven made of titanium with 32 cubic feet working at 3288 volts in mars atmosphere gets kicked by a porsche 928 transformer while capturing microphone (define it's circuit here and signal path to modulated mixing desk) goes by at 120 mph in a 30 degree angle...

Come to think of it, you don't even need the "oscilator # concept", unless you want to simulate one, of course.

The M3 wakes up and delights the child in me...
Computers are (still) boring, not because of CPU's per se, but the user interface... that's where hardware music gear still wins, it's also computer, but the user interface is so much better and intuitive!

Kind Regards,
AMR
http://www.alvaromrocha.com







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