KVR Audio

AdmiralQuality · Post by **AdmiralQuality** » Sat Apr 13, 2013 9:54 pm

MikeCL wrote:

Yeah, it's because with "break before make" there's a little gap where it jumps back to open. The other way (overlapping) would have worked without that problem.

Cool though! And definitely not a show stopper.

MikeCL · Post by **MikeCL** » Sat Apr 13, 2013 9:58 pm

AdmiralQuality wrote:
MikeCL wrote:
Yeah, it's because with "break before make" there's a little gap where it jumps back to open. The other way (overlapping) would have worked without that problem.

Cool though! And definitely not a show stopper.

Doh and I trimmed the contact thinking it would of been an issue.. Oh well.

Now I just need to figure out the LED and pretty much done.

AdmiralQuality · Post by **AdmiralQuality** » Sat Apr 13, 2013 10:02 pm

MikeCL wrote:
AdmiralQuality wrote:
MikeCL wrote:
Yeah, it's because with "break before make" there's a little gap where it jumps back to open. The other way (overlapping) would have worked without that problem.

Cool though! And definitely not a show stopper.
Doh and I trimmed the contact thinking it would of been an issue.. Oh well.

Now I just need to figure out the LED and pretty much done.

No, because the resistors are in series right? So they'll short to the nearest one during the overlapping region, making the transitions seamless (at least before you "fixed" it.

)

That's the same way monophonic analog keyboards work. A series of resistors and you tap off the one that the key is down. If you play more than one key, the high (or low, depending on design) keys after it don't affect anything as the signal shorts to the first tap. That's why classic monophonic keyboards were always low or high note priority. (Last note priority required computer scanning keyboards, which didn't come until later.)

Is that a telecaster switch or a real Leslie half-moon switch? (Or are they actually the same kind of switch? Never noticed before but it looks just like a Telecaster's.)

MikeCL · Post by **MikeCL** » Sat Apr 13, 2013 10:06 pm

It's a fender 3-way which is used on the telecasters but the overpriced new half moon switches use the same type.. I was not spending $40 from an online organ store when I can get the same switch local for $10.

And just to think the half moon empty case is $60...

I swear some of these numbers they pull...

AdmiralQuality · Post by **AdmiralQuality** » Sat Apr 13, 2013 10:10 pm

MikeCL wrote:It's a fender 3-way which is used on the telecasters but the overpriced new half moon switches use the same type.. I was not spending $40 from an online organ store when I can get the same switch local for $10.

And just to think the half moon empty case is $60...

I swear some of these numbers they pull...

Some Leslie switches actually switch the mains power, so maybe they need to be more robust. I know this is the case for the 145/147 models. (The 122/142 used a low DC voltage that controlled relays in the Leslie that switched the power.)

Both systems are designed to kill you! (The 122/142 has several hundred volts DC of tube plate power on one of the wires. And the 145/147 has mains current on 2 wires for the 2 sets of motors.)

MikeCL · Post by **MikeCL** » Sun Apr 14, 2013 12:27 am

AdmiralQuality wrote:
MikeCL wrote:It's a fender 3-way which is used on the telecasters but the overpriced new half moon switches use the same type.. I was not spending $40 from an online organ store when I can get the same switch local for $10.

And just to think the half moon empty case is $60...

I swear some of these numbers they pull...
Some Leslie switches actually switch the mains power, so maybe they need to be more robust. I know this is the case for the 145/147 models. (The 122/142 used a low DC voltage that controlled relays in the Leslie that switched the power.)

Both systems are designed to kill you! (The 122/142 has several hundred volts DC of tube plate power on one of the wires. And the 145/147 has mains current on 2 wires for the 2 sets of motors.)

Yeah I remember those days, back when I was checking the A100 because of some issues (and I ended up recapping the power amp I think it was, the B+ had some 300 or 350V on it, I'd hate to get hit with that much again.. worst I got was 300 VDC and it hurts...

I would of been neater if I used or had more 1/4 w resistors but I used what I had on hand, I've already have about 180 resistors around I was pretty excited when I finally got to use the 2.2k 1/4 W lol had it for about 3 years.

MikeCL · Post by **MikeCL** » Tue Apr 16, 2013 3:45 am

This is going to sound like a dumb question but is it really needed to use the transpose button with a 61 key controller?

AdmiralQuality · Post by **AdmiralQuality** » Tue Apr 16, 2013 1:27 pm

MikeCL wrote:This is going to sound like a dumb question but is it really needed to use the transpose button with a 61 key controller?

Nope. (Unless it gets changed and you need to put it back to normal. But if you never mess with it in the first place... then no.)

MikeCL · Post by **MikeCL** » Tue Apr 16, 2013 4:26 pm

that's what I thought.. I'm not sure why my friend was doing that with his motif 6.

Thinking about getting a Roland A800 for a controller not sure how it plays along with the Yamaha FC7.

AdmiralQuality · Post by **AdmiralQuality** » Tue Apr 16, 2013 4:48 pm

(Post removed, I moved it to the hardware clonewheel thread as it's more relevant there:

http://www.kvraudio.com/forum/viewtopic ... 66#5324766 )

MikeCL · Post by **MikeCL** » Sun Apr 21, 2013 4:09 pm

Hmm which would sound better since I never got to play with it much.. TRS to XLR mono or L&R to the mixer? We have a Mackie SR32-4 VLZ Pro.

AdmiralQuality · Post by **AdmiralQuality** » Sun Apr 21, 2013 5:08 pm

MikeCL wrote:Hmm which would sound better since I never got to play with it much.. TRS to XLR mono or L&R to the mixer? We have a Mackie SR32-4 VLZ Pro.

I'm sorry, what? Are you talking about how to connect your DAW's audio output to a board? What kind of interface is it?

And why would you want to go mono?

MikeCL · Post by **MikeCL** » Sun Apr 21, 2013 5:15 pm

Not asking how to connect but which is better.. I mean how are say 1,000 people going to notice the deference between mono and stereo? Maybe with the speakers spaced about 40 ft apart it wont be as bad but I still had bad memory's of Native instrument's B4 with headphones on it just felt like someone playing with the pan knob

I only ask this question because I think I will be making my own cables since I can't really find the cable I want in my length. Plus I need to make a few mic cables at the same time.

When I first did testing I did mono

AdmiralQuality · Post by **AdmiralQuality** » Sun Apr 21, 2013 5:58 pm

MikeCL wrote:Not asking how to connect but which is better.. I mean how are say 1,000 people going to notice the deference between mono and stereo? Maybe with the speakers spaced about 40 ft apart it wont be as bad but I still had bad memory's of Native instrument's B4 with headphones on it just felt like someone playing with the pan knob

I only ask this question because I think I will be making my own cables since I can't really find the cable I want in my length. Plus I need to make a few mic cables at the same time.

When I first did testing I did mono

Never merge to mono with a Y cable, this is absolutely wrong.

And you can control stereo depth on the mixer with the pan knobs, if you're finding the stereo effect too severe. (I'd recommend adjusting mic distance to higher in your Leslie sim to minimize amplitude modulation effects. Probably what your issue with B4's Leslie was -- which I considered quite good, actually.)

GSi VB3 question