I'm not really sure that the BabyZ is still in production,
your recommendation is asterisked surely though.
The only reason I haven't got a Ztar is the cost and the equi-distant frets.
I sorta want to get the Kitara first-
it has all the frets and I can/am willing to learn the touch screen
I have been setting this Squier up all day-
I found I could lower the strings,
if I made the decision, as I have now to sacrifice the ts output.
I found that if the pup is skewed very much to the treble having more amplitude,
I can stop a lot of the bleed, it bleeds to the lower string. It's nearly a real humdinger now.
Playing my new Waves Element, it's a cool synth imo
the nut mute doesn't help, the problem is the hex pup reading an adjacent string's note on,
the adjacent string is vibrating necessarily at that time. ta though
If the pup reads, it calls it open coz no frets are transmitting contact.
I use a nut mute on my bass for the Boss SYB-5 synth pedal,
and that works peaches
Your next guitar revisited
-
- KVRAF
- 5140 posts since 22 Jul, 2006 from Tasmania, Australia
-
- KVRAF
- Topic Starter
- 6800 posts since 20 Jan, 2008
BabyZ - 795.00 USD+ shipping. Still in production but Harvey wants to move the more expensive models that are in stock so you have to dig for it.
Logarithmic neck
https://www.starrlabs.com/product/babyz/
I lived your grand experiment from 1985 till 2017 always chasing after the next thing which would make midi playing more accessible to me. I also studied keys and tabla drumming and drums and bass and sax to name a few.
All that ended when I got the linnstrument. It has taken very little adjustment to learn to play mostly via stumble and find. I'm trying to change that for other linnstrument players.
I wish I could lock you in a room for an hour with a linnstrument 128.
Your present self would hate me for destroying the great holy grail quest. But your future self would thank me. No longer would you have to seek workarounds. It would all be under your fingers and the only thing it would take is your touch to lead you to the point of no return.
Logarithmic neck
https://www.starrlabs.com/product/babyz/
I lived your grand experiment from 1985 till 2017 always chasing after the next thing which would make midi playing more accessible to me. I also studied keys and tabla drumming and drums and bass and sax to name a few.
All that ended when I got the linnstrument. It has taken very little adjustment to learn to play mostly via stumble and find. I'm trying to change that for other linnstrument players.
I wish I could lock you in a room for an hour with a linnstrument 128.
Your present self would hate me for destroying the great holy grail quest. But your future self would thank me. No longer would you have to seek workarounds. It would all be under your fingers and the only thing it would take is your touch to lead you to the point of no return.
Dell Vostro i9 64GB Ram Windows 11 Pro, Cubase, Bitwig, Mixcraft Guitar Pod Go, Linntrument Nektar P1, Novation Launchpad
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- KVRAF
- 5140 posts since 22 Jul, 2006 from Tasmania, Australia
I sorta do understand-
… like what's wrong with a Linnstrument
if they're 12 * 24 I can set it to what I need
the grail is not permanently off limits heh
--it is the BabyZ I need, with log frets,
the Fender GC-1 is sorta interesting though,
it's only a DSP quest, if ya care to tune the frakker
… like what's wrong with a Linnstrument
if they're 12 * 24 I can set it to what I need
the grail is not permanently off limits heh
--it is the BabyZ I need, with log frets,
the Fender GC-1 is sorta interesting though,
it's only a DSP quest, if ya care to tune the frakker
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- KVRAF
- 16346 posts since 22 Nov, 2000 from Southern California
I’ve been thinking of getting the ROLI Seaboard Block because of the lower price and familiar layout. Is the Linnstrument significantly better?
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- KVRAF
- Topic Starter
- 6800 posts since 20 Jan, 2008
I have not tried the roli block so I can't comment beyond... looks very small.
There are two linnstruments now.
$1500 USD The original is 8x25 (200 cells) (almost 5 full octaves when tuned to 4ths)
$1000 USD The Linnstrument 128 is 8x16
I have the 200 and I'm very happy with it. I think from time to time how nice it would be to have a second linnstrument. I'd be very happy with a 128 but I wouldn't be $500 more happy with another 200
128 you are getting 4 octaves and a whole step. 9 more half steps for $500?
But then there is the split factor. As it's a grid layout when you split the keys down the middle you get.. two four octave ranges on the 200. More often than not I'm using the split function on my linnstrument. I'd like to play it with another linnstrument to bring in a different instrument in the performance live without having to look for an additional button to push.
I've yet to hear of a single complaint where someone who had a 128 wished for a 200. I've only noticed one person with both but when he plays he doesn't try to combine them. It's one or the other. Shaving a couple of rows (frets) can make for easier navigation. It's mentally easier to play chord shapes left and right hand that are in close proximity than it is when you have hands spread across the entire grid. I think of that less these days because I almost always use splits. It's usually the left hand plays bass stuff and the right does four note chords. Or the Left hand plays 3 to 4 note chords and I try to work out melodies on the right.
I've assigned switch one/two for octave up/down but then never reach for them. Everything is always in range for the song.
About adapting.....
You've got three different approaches. Desktop like a keyboard. Strap like a chapman stick but it's awkward as hell or standing ... music stand.
I tried the standing with a strap thing. Didn't like it.
Max likes it
https://www.youtube.com/watch?v=W-RE3mLLmF8
It's hard a freak to do something relatively fast or get more left hand action in.
The 128 right hand only strap method actually works well.
https://www.youtube.com/watch?v=KebfuzJ4nUA
The 128 on a music stand rather than strapped is great for guitarists/tapper types.
https://www.facebook.com/bongiovanni.pa ... 246909230/
Me I prefer desktop because it gives me greater use of both hands.
There are two linnstruments now.
$1500 USD The original is 8x25 (200 cells) (almost 5 full octaves when tuned to 4ths)
$1000 USD The Linnstrument 128 is 8x16
I have the 200 and I'm very happy with it. I think from time to time how nice it would be to have a second linnstrument. I'd be very happy with a 128 but I wouldn't be $500 more happy with another 200
128 you are getting 4 octaves and a whole step. 9 more half steps for $500?
But then there is the split factor. As it's a grid layout when you split the keys down the middle you get.. two four octave ranges on the 200. More often than not I'm using the split function on my linnstrument. I'd like to play it with another linnstrument to bring in a different instrument in the performance live without having to look for an additional button to push.
I've yet to hear of a single complaint where someone who had a 128 wished for a 200. I've only noticed one person with both but when he plays he doesn't try to combine them. It's one or the other. Shaving a couple of rows (frets) can make for easier navigation. It's mentally easier to play chord shapes left and right hand that are in close proximity than it is when you have hands spread across the entire grid. I think of that less these days because I almost always use splits. It's usually the left hand plays bass stuff and the right does four note chords. Or the Left hand plays 3 to 4 note chords and I try to work out melodies on the right.
I've assigned switch one/two for octave up/down but then never reach for them. Everything is always in range for the song.
About adapting.....
You've got three different approaches. Desktop like a keyboard. Strap like a chapman stick but it's awkward as hell or standing ... music stand.
I tried the standing with a strap thing. Didn't like it.
Max likes it
https://www.youtube.com/watch?v=W-RE3mLLmF8
It's hard a freak to do something relatively fast or get more left hand action in.
The 128 right hand only strap method actually works well.
https://www.youtube.com/watch?v=KebfuzJ4nUA
The 128 on a music stand rather than strapped is great for guitarists/tapper types.
https://www.facebook.com/bongiovanni.pa ... 246909230/
Me I prefer desktop because it gives me greater use of both hands.
Dell Vostro i9 64GB Ram Windows 11 Pro, Cubase, Bitwig, Mixcraft Guitar Pod Go, Linntrument Nektar P1, Novation Launchpad
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- KVRAF
- Topic Starter
- 6800 posts since 20 Jan, 2008
There's nothing wrong with the linnstrument. I love it, I'll never go back to playing any midi guitar be it pitch to voltage or button or combination there after....
Also there is a strum mode that I've never used.
Also there is a strum mode that I've never used.
Dell Vostro i9 64GB Ram Windows 11 Pro, Cubase, Bitwig, Mixcraft Guitar Pod Go, Linntrument Nektar P1, Novation Launchpad
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- KVRAF
- 16346 posts since 22 Nov, 2000 from Southern California
Thanks! As someone who's also struggled with MIDI guitar for decades (since the 80's), that's all encouraging. 
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- KVRAF
- Topic Starter
- 6800 posts since 20 Jan, 2008
Here are a few things to add on.
While it's pretty easy to "spike" notes in a row. It's not as easy to spike them in a column. What this means is you throw out any chance of "barring" a chord in any position. Which is... fine.
If you've ever played Hannon on the piano, It's an easy thing to do because there is no tucking the thumb under or spider fingers involved. When you play hannon on the guitar it's sort of kind of doable but it's not as fluid and you can forget octaves. It's not really my bag but I worked out hannon on the linnstrument and ascending ... it plays like butter. Descending not so much. So I developed a technique of "tucking fingers under the palm at certain points and expanding positional playing to reach others. It takes a little time to work out but I'm happy to say I'm fairly fluid with it. After getting that down any scale pattern is easily doable.
While it's pretty easy to "spike" notes in a row. It's not as easy to spike them in a column. What this means is you throw out any chance of "barring" a chord in any position. Which is... fine.
If you've ever played Hannon on the piano, It's an easy thing to do because there is no tucking the thumb under or spider fingers involved. When you play hannon on the guitar it's sort of kind of doable but it's not as fluid and you can forget octaves. It's not really my bag but I worked out hannon on the linnstrument and ascending ... it plays like butter. Descending not so much. So I developed a technique of "tucking fingers under the palm at certain points and expanding positional playing to reach others. It takes a little time to work out but I'm happy to say I'm fairly fluid with it. After getting that down any scale pattern is easily doable.
Dell Vostro i9 64GB Ram Windows 11 Pro, Cubase, Bitwig, Mixcraft Guitar Pod Go, Linntrument Nektar P1, Novation Launchpad
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- KVRAF
- Topic Starter
- 6800 posts since 20 Jan, 2008
If you play it in a sitting position....
Place the linnstrument at a slight pitch somewhere between 5 and 20 degrees. Mine's sitting at roughy 9:20 on the clock. Your wrists will thank you. Also it makes things easier more natural for targeting the lowest row. Most LS players never touch the low row or will use it for a touch strip application. I think RL is the only one who uses it for a sequencer. Sure it presents a slightly more challenging upward climb for your fingers wrist forearm while ascending scales positional playing and an easier faster falling slope down while descending but within very very little time you should be able to both ascend and descend with consistent timing. It also makes for easier "brush stroke" chordal playing reducing stress on the wrist from rocking back and forth.
I set my linstrument 6 half steps back so the lowest note is a C. Other than that it is set to perfect fourths. There's a former violin player who sets it up to 5ths and plays one handed. One guy plays perfect fifths two hand melody using all fingers on both hand... That never flew for me. Perfect fourths is the preferred method for most LS users.
With the linnstrument there are three forms for each primary chord. And three forms for each inversion. Form 2 is workable for all of them in the right hand not so much the left. (I've got charts at the linnstrument user group. They are easy to get down and once you have them down it's stupid simple to create piano like "smart" voice leading anywhere. You can still jump around fairly easily for leaps of 4th, 5th or octave etc.
More.....
Place the linnstrument at a slight pitch somewhere between 5 and 20 degrees. Mine's sitting at roughy 9:20 on the clock. Your wrists will thank you. Also it makes things easier more natural for targeting the lowest row. Most LS players never touch the low row or will use it for a touch strip application. I think RL is the only one who uses it for a sequencer. Sure it presents a slightly more challenging upward climb for your fingers wrist forearm while ascending scales positional playing and an easier faster falling slope down while descending but within very very little time you should be able to both ascend and descend with consistent timing. It also makes for easier "brush stroke" chordal playing reducing stress on the wrist from rocking back and forth.
I set my linstrument 6 half steps back so the lowest note is a C. Other than that it is set to perfect fourths. There's a former violin player who sets it up to 5ths and plays one handed. One guy plays perfect fifths two hand melody using all fingers on both hand... That never flew for me. Perfect fourths is the preferred method for most LS users.
With the linnstrument there are three forms for each primary chord. And three forms for each inversion. Form 2 is workable for all of them in the right hand not so much the left. (I've got charts at the linnstrument user group. They are easy to get down and once you have them down it's stupid simple to create piano like "smart" voice leading anywhere. You can still jump around fairly easily for leaps of 4th, 5th or octave etc.
More.....
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Dell Vostro i9 64GB Ram Windows 11 Pro, Cubase, Bitwig, Mixcraft Guitar Pod Go, Linntrument Nektar P1, Novation Launchpad
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- KVRAF
- Topic Starter
- 6800 posts since 20 Jan, 2008
Forget everything you know about caged and positional scale playing on the guitar. Not required.
Just as with primary chords there are three and only three forms for all scales. If the tonic or root is to the left most finger. That's form one. If the root is in the middle finger area that's Form 2 If the root is on the most right finger that's form 3.
If you play in a position. Form One leads to Form Two leads to Form Three. Form Three leads to Form One. When you first start playing within a one octave range it's easier to memorize by starting the form in the lowest rows, Then jumping over 2 columns and up to rows and repeat. Then try to work out two forms in a single position say form one to form 2 or form 2 to form one. And finally work through all the forms in a single position. Where's the tonic/root in relation to your finger and ...go.
More.....
Just as with primary chords there are three and only three forms for all scales. If the tonic or root is to the left most finger. That's form one. If the root is in the middle finger area that's Form 2 If the root is on the most right finger that's form 3.
If you play in a position. Form One leads to Form Two leads to Form Three. Form Three leads to Form One. When you first start playing within a one octave range it's easier to memorize by starting the form in the lowest rows, Then jumping over 2 columns and up to rows and repeat. Then try to work out two forms in a single position say form one to form 2 or form 2 to form one. And finally work through all the forms in a single position. Where's the tonic/root in relation to your finger and ...go.
More.....
Dell Vostro i9 64GB Ram Windows 11 Pro, Cubase, Bitwig, Mixcraft Guitar Pod Go, Linntrument Nektar P1, Novation Launchpad
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- KVRAF
- Topic Starter
- 6800 posts since 20 Jan, 2008
People who try to carry over techniques from other instruments such as keys or pad based controllers often find that the things which may have served them well on those instruments fails them on the linnstrument. Same with guitarists who have played pitch to midi (roland GK/GR, Triple play) Mostly because they are playing too stiff.
With guitarists who play pitch to midi it's their fear of ghost notes that makes them stiffen up.
With Both Synth action keyboard players and pad players they are used to having to play with a lot of force to initiate the note and sustain it. Then they expect that the elasticity of the spring or pad will simply bounce the hand back into position. With traditional weighted keys there is overcompensation for floppy wide front to back wrist rotation for big hand waving to execute staccato technique. What's more is that the palm, wrist, forearm straight parallel form actually makes for less comfort in both row and column based movement.
It's not a plank of wood or ipad/ phone glass surface. There is some elasticity to the surface but it's very short action. It's also very light. You don't need to practice Bruce Lee one finger push-ups and then try to attack the sells like your trying to gouge someones eyes out and dig into their brains to sustain a note. Try setting a velocity level that works for you (although a cautionary tail about older (90's and earlier) synths and romplers will follow) Start by using as little force as possible to make a note happen (it aint much trust me) and then as little as possible force to sustain it. That will be your starting guide. collapse your finger only ever so slightly to push off of the cell note. You want to use micro motions although you might find a slight wrist rotation is required to "bounce" your finger off of the note clean and away. It's sort of like jumping rope only a blillon times less intense. Drop your fingers for single notes drop your hands for chords. Don't slam down. Then try to get maximum efficiency for your strongest attack. Use only enough force to move the output to the top. Use only enough lift from your fingers, elbow and finally wrist to return to position. Hitting the cells harder than that is pointless. Work with low velocity if you are an aggressive player and high velocity if you are into nuanced playing. Even if you are an aggressive player try to only use as much force as needed. The rest is wasted energy.
The most awkward thing for me when I started out was the left hand. Everything was upside down and backwards compared to playing on a guitar. In a row (string) the pinky or ring finger plays the lowest note in the row. The index or the thumb plays the highest note in the row. And yes one of the dumbest and happy dumb revelations is... I can play with my thumb Not only on the low rows but all of them. The left hand initial oddness passes very quickly.
More....
With guitarists who play pitch to midi it's their fear of ghost notes that makes them stiffen up.
With Both Synth action keyboard players and pad players they are used to having to play with a lot of force to initiate the note and sustain it. Then they expect that the elasticity of the spring or pad will simply bounce the hand back into position. With traditional weighted keys there is overcompensation for floppy wide front to back wrist rotation for big hand waving to execute staccato technique. What's more is that the palm, wrist, forearm straight parallel form actually makes for less comfort in both row and column based movement.
It's not a plank of wood or ipad/ phone glass surface. There is some elasticity to the surface but it's very short action. It's also very light. You don't need to practice Bruce Lee one finger push-ups and then try to attack the sells like your trying to gouge someones eyes out and dig into their brains to sustain a note. Try setting a velocity level that works for you (although a cautionary tail about older (90's and earlier) synths and romplers will follow) Start by using as little force as possible to make a note happen (it aint much trust me) and then as little as possible force to sustain it. That will be your starting guide. collapse your finger only ever so slightly to push off of the cell note. You want to use micro motions although you might find a slight wrist rotation is required to "bounce" your finger off of the note clean and away. It's sort of like jumping rope only a blillon times less intense. Drop your fingers for single notes drop your hands for chords. Don't slam down. Then try to get maximum efficiency for your strongest attack. Use only enough force to move the output to the top. Use only enough lift from your fingers, elbow and finally wrist to return to position. Hitting the cells harder than that is pointless. Work with low velocity if you are an aggressive player and high velocity if you are into nuanced playing. Even if you are an aggressive player try to only use as much force as needed. The rest is wasted energy.
The most awkward thing for me when I started out was the left hand. Everything was upside down and backwards compared to playing on a guitar. In a row (string) the pinky or ring finger plays the lowest note in the row. The index or the thumb plays the highest note in the row. And yes one of the dumbest and happy dumb revelations is... I can play with my thumb Not only on the low rows but all of them. The left hand initial oddness passes very quickly.
More....
Dell Vostro i9 64GB Ram Windows 11 Pro, Cubase, Bitwig, Mixcraft Guitar Pod Go, Linntrument Nektar P1, Novation Launchpad
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- KVRAF
- Topic Starter
- 6800 posts since 20 Jan, 2008
For lead playing there are two schools.
Those that combine hands in an interdependent playing style. I used to play the later all the time on the ztar. I'd call them "One Plus Two" or whatever to designate how many fingers on which hands to play. I played them ad nauseum for scales and arps back then.
https://www.youtube.com/watch?v=dxMHMUGEqdk
Lots of fun, a bit more challenging once you start working out scale patterns. But it keeps things light between your hands and... if you experiment with para-diddles the sky's the limit.
Right hand only.
I can move around the fretboard quite handily with just my right hand. I prefer to free up my left hand for other pursuits such as accompaniment or adjusting various parameters on a secondary control unit.
There are some techniques that I've been developing that work for me with regards to the mechanical process of actually hitting the cells. Our fingers don't come in equal heights or strengths. Slanting is taking an angled approach to hitting the notes rather than dead on top like typing or playing conventional keyboard technique. Slanting works for me thumb or no thumb. Single notes or one hand three / four note chords.
https://www.facebook.com/10331038471553 ... 514912959/
It was still very much a thought experiment at the time. Now I've had more time to work it through.
Those that combine hands in an interdependent playing style. I used to play the later all the time on the ztar. I'd call them "One Plus Two" or whatever to designate how many fingers on which hands to play. I played them ad nauseum for scales and arps back then.
https://www.youtube.com/watch?v=dxMHMUGEqdk
Lots of fun, a bit more challenging once you start working out scale patterns. But it keeps things light between your hands and... if you experiment with para-diddles the sky's the limit.
Right hand only.
I can move around the fretboard quite handily with just my right hand. I prefer to free up my left hand for other pursuits such as accompaniment or adjusting various parameters on a secondary control unit.
There are some techniques that I've been developing that work for me with regards to the mechanical process of actually hitting the cells. Our fingers don't come in equal heights or strengths. Slanting is taking an angled approach to hitting the notes rather than dead on top like typing or playing conventional keyboard technique. Slanting works for me thumb or no thumb. Single notes or one hand three / four note chords.
https://www.facebook.com/10331038471553 ... 514912959/
It was still very much a thought experiment at the time. Now I've had more time to work it through.
Dell Vostro i9 64GB Ram Windows 11 Pro, Cubase, Bitwig, Mixcraft Guitar Pod Go, Linntrument Nektar P1, Novation Launchpad
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- KVRAF
- Topic Starter
- 6800 posts since 20 Jan, 2008
About MPE, Velocity Sensitivity, After Pressure and X,Y axis.
Take em all away and you still have an amazing midi surface.
The first romplers as they were were chamberlin's and mellotrons.
https://www.youtube.com/watch?v=N07-YAKtRAw&t=235s
Cringeworthy to many character to others. No one ever said.. Lets wait till they fix this before we give it a try.
Synths with rare exception really didn't do velocity sensitivity till around '86 Even then if they were pcm based (FM) you might get a louder signal but the character of the tone would be the same if played lightly or hard. Romplers didn't fair that well either. There was virtually no oversampling to compensate for attack. More times than not many a player would stick to a fixed velocity as a compression/level technique for a "tighter sound" and then ride the gain.
While rompler "oscillators" were added for greater expressive control via velocity. AT was practically useless and very expensive. The famed Yamaha CS80 that everyone raves about because of JMJ.... sounds like crap to my ears and AT doesn't save it.
https://www.youtube.com/watch?v=GxKVY7nJPJE
...Not saying I don't like aftertouch pressure or poly at or mpe AT I hear some amazing recreation of strings, brass, woodwinds via swam / audio modeling. Just saying that getting the right expressive control over a near to match for a synth or pseudo famous synth works better for creating the space to work in than adding stuff that detracts from the endgame.
There's this thing I call... Fingerpainting. It's like sliding but can be done X,Y or any combination of the two and is ....really really fun for mono legato instruments. If you turn of the X,Y controls on the linnstrument and you set your sound for mono legato (like strings) you can instantly get slides (not bends) and those slides can be chromatically up down in half steps in fourths (straight up down) and to a lesser extent (tricky) Major thirds and Augmented fourths. It doesn't work out as well when you have a modulation on the Y axis (*especially when not using relative) Nor does it work best in some instances when you have X axis (bend) engaged. However all those amazing trills and evh type tapping come to life when you use monophonic legato with priority set to last.
So while you can use velocity sensitivity, afterpressure sensitivity x/y axis control. If you don't specifically need them it's best to turn them off (especially when playing covers of songs that didn't have them to begin with)
MPE, Everyone Loves MPE. MPE can be counterproductive, Many are upset that mpe devices are still too expensive. More complain that MPE isn't supported by their daw or favorite synth.
I have bitwig, Bitwig supports MPE. I have Ableton Live, MPE not supported. I have Mixcraft (my preferred daw) also not supported and I have a standalone rompler based workstation (Korg Krome) which I spend the vast majority of my linnstrument playing on....
In many hosts/daws/outboard workstations. You can "fake" mpe. It's work Select a channel, load a sound, assign a midi channel. Select another channel load the same sound assign a different midi channel. Until the number of midi channels matches the number of channels (and their numbers) In Windows hold down the Ctrl Key and select those channels in your host so you can play/record them simultaneously.
Its tedium on a workstation in song/combi mode but it's done the same way.
On the linnstrument you have left and right. Use either or or use them in combination. This is the "per-split" settings button on the top left. From there you can assign a specific single channel per side. 8 specific channels for Channel per row or.. specify which midi channels on a note per channel. Note per channel works in a round robin. If you only have three channels your first note will be on the first midi channel you assign, the second on the second etc It will go through the channel rotation and come back around when complete.
We've had a lot of discussion about MPE at our FB page and the conclusion is that MPE works against many popular synths. Most notably where shelving oscillators occurs (OB type synths) and where wave sequencing is involved (Serum, Dune, Wavestation) works against mpe. It's better to send a single channel for those types of synths.
Take em all away and you still have an amazing midi surface.
The first romplers as they were were chamberlin's and mellotrons.
https://www.youtube.com/watch?v=N07-YAKtRAw&t=235s
Cringeworthy to many character to others. No one ever said.. Lets wait till they fix this before we give it a try.
Synths with rare exception really didn't do velocity sensitivity till around '86 Even then if they were pcm based (FM) you might get a louder signal but the character of the tone would be the same if played lightly or hard. Romplers didn't fair that well either. There was virtually no oversampling to compensate for attack. More times than not many a player would stick to a fixed velocity as a compression/level technique for a "tighter sound" and then ride the gain.
While rompler "oscillators" were added for greater expressive control via velocity. AT was practically useless and very expensive. The famed Yamaha CS80 that everyone raves about because of JMJ.... sounds like crap to my ears and AT doesn't save it.
https://www.youtube.com/watch?v=GxKVY7nJPJE
...Not saying I don't like aftertouch pressure or poly at or mpe AT I hear some amazing recreation of strings, brass, woodwinds via swam / audio modeling. Just saying that getting the right expressive control over a near to match for a synth or pseudo famous synth works better for creating the space to work in than adding stuff that detracts from the endgame.
There's this thing I call... Fingerpainting. It's like sliding but can be done X,Y or any combination of the two and is ....really really fun for mono legato instruments. If you turn of the X,Y controls on the linnstrument and you set your sound for mono legato (like strings) you can instantly get slides (not bends) and those slides can be chromatically up down in half steps in fourths (straight up down) and to a lesser extent (tricky) Major thirds and Augmented fourths. It doesn't work out as well when you have a modulation on the Y axis (*especially when not using relative) Nor does it work best in some instances when you have X axis (bend) engaged. However all those amazing trills and evh type tapping come to life when you use monophonic legato with priority set to last.
So while you can use velocity sensitivity, afterpressure sensitivity x/y axis control. If you don't specifically need them it's best to turn them off (especially when playing covers of songs that didn't have them to begin with)
MPE, Everyone Loves MPE. MPE can be counterproductive, Many are upset that mpe devices are still too expensive. More complain that MPE isn't supported by their daw or favorite synth.
I have bitwig, Bitwig supports MPE. I have Ableton Live, MPE not supported. I have Mixcraft (my preferred daw) also not supported and I have a standalone rompler based workstation (Korg Krome) which I spend the vast majority of my linnstrument playing on....
In many hosts/daws/outboard workstations. You can "fake" mpe. It's work Select a channel, load a sound, assign a midi channel. Select another channel load the same sound assign a different midi channel. Until the number of midi channels matches the number of channels (and their numbers) In Windows hold down the Ctrl Key and select those channels in your host so you can play/record them simultaneously.
Its tedium on a workstation in song/combi mode but it's done the same way.
On the linnstrument you have left and right. Use either or or use them in combination. This is the "per-split" settings button on the top left. From there you can assign a specific single channel per side. 8 specific channels for Channel per row or.. specify which midi channels on a note per channel. Note per channel works in a round robin. If you only have three channels your first note will be on the first midi channel you assign, the second on the second etc It will go through the channel rotation and come back around when complete.
We've had a lot of discussion about MPE at our FB page and the conclusion is that MPE works against many popular synths. Most notably where shelving oscillators occurs (OB type synths) and where wave sequencing is involved (Serum, Dune, Wavestation) works against mpe. It's better to send a single channel for those types of synths.
Dell Vostro i9 64GB Ram Windows 11 Pro, Cubase, Bitwig, Mixcraft Guitar Pod Go, Linntrument Nektar P1, Novation Launchpad
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- Rad Grandad
- 38044 posts since 6 Sep, 2003 from Downeast Maine
The highest form of knowledge is empathy, for it requires us to suspend our egos and live in another's world. It requires profound, purpose‐larger‐than‐the‐self kind of understanding.
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- Rad Grandad
- 38044 posts since 6 Sep, 2003 from Downeast Maine
btw that's from these guys
http://www.visionaryinstruments.com/about/
The guy in the pic on the about page I worked with in a small music store (Ben L), when I went to MARs music our guitar tech left, they were looking for a new one and I brought Ben over. Very talented luthier, at the time he was in retail trying to break into guitar repair. Flash ahead. one day I get a message on FB and he had started this company, he actually credited me with him getting his start in the business.
http://www.visionaryinstruments.com/about/
The guy in the pic on the about page I worked with in a small music store (Ben L), when I went to MARs music our guitar tech left, they were looking for a new one and I brought Ben over. Very talented luthier, at the time he was in retail trying to break into guitar repair. Flash ahead. one day I get a message on FB and he had started this company, he actually credited me with him getting his start in the business.
The highest form of knowledge is empathy, for it requires us to suspend our egos and live in another's world. It requires profound, purpose‐larger‐than‐the‐self kind of understanding.
