OK, Mr. Dude,
So far, you've received advice from two of our most knowledgeable and active
list members. If I might venture into what Jim and Jim Rainbow have said, here
are a few ideas:
Referring to your numbered questions below -
1. Morphing is a concept pulled from the visual world into the audio. What
Yamahaha was doing was enabling the change of sounds via a variable controller
(wheel, knob or pedal) so that the parameters from one sound would gradually
change to that of another. Let's go to the visual world for an example. So
you've got a picture of a gorilla and a picture of Paris Hilton. First you have
to use similar points in the visual range to morph between. Hopefully you've
got a portrait of each, or a full picture. If not, the morph won't work well.
Remember Michael Jackson's amazing "Black or White" video? Each morph was a
portrait. The morph points were strategically placed at the eye pupils, outline
of the head, chin, jaw, hair, neck and chest. So when the face went from one to
another the morphing software was able to link similar points together. To be
able to morph from a portrait to a standing picture would have required that the
person's chin grow legs, a body, feet and arms and just wouldn't work very well.
Having similar starting points makes morphing work. So too with the audio
parameters in the AN1x. Starting with a sound that makes use of advanced
functions such as FM and trying to morph it into a simpler sound that is
something like subtractive synthesis of a square wave won't work all that well.
You've got to have similarities to morph between. Remember, morphing is done
between Scenes. Two scenes are stored in each patch. They can be as different
as a gorilla and a banana. Remember, there are 2 oscillators in each scene.
One of the most common morphing mistakes is to have the oscillators in different
ranges (out of tune, +12, -24, etc.) from each other. When the controller is
moved, the software has to move the pitch of the oscillator up or down to the
other. A lot of times it sounds like crap. Try to match the pitch of each
oscillator to the same range if you want to morph.
2. See above.
3. Jim Acker covered this. Knob assignment is done in the Matrix section.
4. You need to experiment and learn which parameters are effective. As a
guitarist, would you lean down and turn up the feedback control on your chorus
pedal during a ballad? Probably not because it would begin to howl and whoop.
Ya gots ta get the groove thang going on it, baby...!
Rainbow Jim is referring to making a "patch chain" where you place the sounds in
sequential order and increment them as you need them live. This can also be
assigned to a pedal switch.
I enjoyed Jim Acker's statement "it takes time". You've entered the nebulous
world of synth programming.
May the spirit of Bob Moog live on in all who search for the elusive tweak and
the most excellent sound.
Ed Edwards
Leader: Ezekiel's Wheel »»»»Retro-Progressive Rock««««
http://www.ezekielswheel.comhttp://www.untiedmusic.com/ezekielhttp://www.headholemines.blogspot.com°·.·°·.·°·.·°·.·°·.·°·.·°·.·°·.·°·.·°·.·°·.·°
> -----Original Message-----
> From: AN1x-list@yahoogroups.com [mailto:AN1x-list@yahoogroups.com]On
> Behalf Of a_1x_dude
> Sent: Monday, August 22, 2005 1:26 PM
> To: AN1x-list@yahoogroups.com
> Subject: [AN1x] Getting ready for live gig, help!
>
>
>
> Hi everyone.
>
> I am a first time, two week old, an1x owner :)
>
> first time synth (I am a guitar-man) - and I've always wanted a moog
> or a juno... blahh!! this baby ROCKS BIG! Plus it is a great midi
> keyboard, the aftertouch is lovely. wow...
>
> sorry for stating the obvious. Just that I am very VERY pleased.
>
> I went ahead a leeched all your banks, tested practically every
> voice available. This was to get aquainted with the an1x, the editor,
> plus get sounds for an upcoming gig!
>
> I will soon refer to it as OUR list bank, because as soon as
> possible, I too will share my own coockings. I can just spend HOURS
> jaming alone.
>
> But I need your help. Please bear in mind I am a guitarist, first
> time ever in contact with a keyboard. I have read and read and read,
> but holidays are over, and have no time to investigate on my own!
>
> 1 - Is it possible to morph or pre-load one sound into another? What
> I would need is to eliminate (if possible) the silent time between
> one one voice to another. like, from a crazy thumping lead to a
> sparkling space bubble fx .. but, simply holding the footswitch,
> choosing the preset and hiting Y just mutes it...
>
> 2 - I undertand the concept of the scenes, but is it possible to
> have to entirely different sounds on each scene, like the sounds I
> tried to explain before? or are the scenes mere variations of the
> same original sound? I am asking this because I quite honestly have
> never been able to listens to a decent scene change that drastically
> modified the identity of the first. Let me explain. Sorry for not
> being quite clear, still have to get aquainted with synth-lingo ;)
>
> I read scene 1 can morph to scene 2, or just jump strainght one to
> another, or used both at the same time. Tried it, true, more or
> less... I have been through gzillions of sounds, and none perfectly
> morphed between scenes, there were always slight reminiscences of the
> previous sound, and comparing that to the sound on the individual
> scene higlighted (intead of both on, one at a time) - the difference
> seems to be even higher!
>
>
> 3 - When I load up a patch and start fidgeting with the knobs, 90%
> of the time I get on the screen, for example
>
> 42: - - - - - - -
> : 90
>
> Something like that. and does nothing. Have to manually choose what I
> want. ok, so I got to assign it to a knob. Cool. How? I just cant
> figure it out
>
> But what puzzles me is that on that same patch/voice, with the same
> lcd layout but on a different knob, a not too intense but quite
> present ressonace sweep is obtained! Shouldn't it say
>
> 46: Ressonance
> : 46 (whatever)
>
> so as to show that the knob is assigned to whatever parameter?
>
> Shouldnt it just be silent?
>
> 4 - ok, so I am in a middle of a song right, and there is this part
> where everyone is going to freak out sonicly. On some voices, I grab
> a knob and tweak away really cool, but sometimes, when I press VCF
> and go to, lets say, the feedback or ressonance or whatever, the
> slightest twist to the left or right instantly mutes the sound (or
> goes complete bonkers, or very high shreaks) because the knob before
> being touched was in a position where the filter blocks the sound,
> then I keep moving and the voice appears again and I now know where
> NOT to go with the knob sweep. How to I proceed live? So I can create
> AND repeat something audible and not just squizofrenic synth mumbo
> jumbo at random? A piece o paper with the setting and before playing
> ajust the knobs? on all parameters?! on all voices? isn't that just a
> hell of a lot of work? I mean, because to find out the exact position
> of each filter as to retain the original sound is almost impossible,
> because what I end up doing in just steer away from the original
> sound...
>
> Damn, I am reading myself and I am getting confused. I a so sorry
> for not being clearer. Anyway, sorry for the lenghty post, but I am
> quite in a jam, the gig is coming up, I am the guy dealing with
> EVERYTHING... eeek!! :)
>
> thanks! Any suggestions highly appreciated!
>
>
>
>
>
>
>
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