Musicians were given presets as were the synths........
We were programmed to believe through trade mags (payed for by
manufacturers) that we wanted an easy way out of patching our
sounds.....Quickly...
We needed the ability to change sounds back and forth throughout our
songs to stay current....
We needed an interface......MIDI
Patch Chords became dials switches and faders....
Dials switches and faders became presets...
Presets couldn't move switches faders and dials .....so....
Switches faders and dials reduced to become menu, knob and
parameter......and included Edit Store and recall to birth "presets"
Menu knob and parameter went to scroll menus and soft switches....and
more presets.....
"Two handed Polyphonic Aftertouch players" became "One handers with a
D-beam/Joystick" as the alternative......Ten fingers become thousands
with all the layering and sequencing.....
This is what "WE Wanted".....That is why I am so much richer in my
musicality.................poof.......huh.....
Sorry ....Where was I.....
What I meant to say was the Companies gave us some things but at our
musical expense.....and they have benifited from this hugely.......
I am no longer in their market target as a consumer, as I know what I
want....
They sell so much more to people who don't know what to look for that
all good history gets lost in the cover-up......Check out the Yamaha
site ...They have a glossary of terms.... try it next time you go on
line.....try to find the mythical Polyphonic Aftertouch.......Little do
they know they carry the Arturia CS80v which supports it.......
Presets couldn't move switches and faders and dials...Jim Combs wrote:
> --- In yamahacs80@yahoogroups.com, "Mert Topel" <mert@...> wrote:
> >
> > Have you got any idea why the great CS60 was not popular ever?
>
> It seems to me that the CS-50, 60, and 80 all suffered from somewhat
> being the last of their kind. They all fell in that timeframe of
> post-minimoog, relatively non-programmable, cheaper analog synths and
> right on the cusp of polyphonic, digital, programmable, networkable
> sampler/synths (both cheap and expensive).
>
> I think the Moogs & ARPs of the world were failing, the Rolands and
> Korgs and Sequential Circuits were rising (with MIDI), Synclaviers and
>
> Fairlights were blowing everyone's minds. Yamaha was too outside to
> compete in that marketplace.
>
> I never even saw a CS-series synth until 1983, a CS-80 in a famous
> disco producer's studio in NYC. They weren't in the music stores I
> visited in the mid-late-'70s. So maybe bad distribution too.
>
> My CS-50 was a music store demo that was never sold, taken by the
> music store owner's daughter from Colorado to Kansas City, stored and
> eventually bought by a local collector for the price of a gas bill,
> stored, and bought by me when he needed some cash. It looked like it
> had just come out of the music store.
>
> It blows my mind that this beautiful and beautiful sounding synth had
> to travel that path into my hands, but I question why someone else had
>
> not valued it's sound and appeal up until I got it?
>
> Would I have preferred the CS-50 to my Juno-6 back in '82? Doubt it.
> Would I trade the CS-50 before trading my Juno-6 today? No way. It's
> priceless and so individual and so special.
>
> I just recorded a piece that used a CS-80 patch on a Roland JD-800 and
>
> I overlayed a comparible CS-50 patch on top of it. The CS has a growl
> and edge to the sound whereas the JD patch was smooth and compressed.
> The CS just wants to dominate the soundspace. Who needs chords when a
> couple of notes on a CS fills things up?
>
> -Jim
> www.touchxtone.com
> www.myspace.com/jimcombs
>
>
>
>
>
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