Hi El Macaco! :-)
Thanks for taking the time to jump-in and make these great comments!
Wow! Of course I love to look deeper into every instrument: that's
why we're all here, I think, because we all see how great the Emaxes
are as musical instruments and not just as synths, samplers, etc.
On 22 Jul 2009, at 06:44, el macaco wrote:
>
> Hey man,
>
> Are you talking about the Alesis Andromeda?
No Macaco. It was another Alesis synth that was very elaborate and I
did get a long, elaborate demo from a guy who owned it and was showing
me what he felt it could output.
> I know what you mean, but there is a lot buried in there, it
> doesn't sound immediately amazing like a model D or a Jupiter, but
> they can sound amazing, and the programming depth is unmatched.
Like you I'm not a preset kind of guy either, Macaco. And I would
completely agree with you that each keyboard be it a synth or a
sampler has it's own unique sound and it is a musical instrument that
can (and really should) be explored and worked with. And I say to
you: I think that's great!!! I'd love nothing better than for you to
pull-out the sound from a new synth and I'd love to hear what you're
doing with it and what can be done with it that's unique and that
makes it beautiful. That's what this conversation is all about for
me! I'm really really happy you chimed in, Macaco.
> If you haven't spend significant time on one ( I mean like months)
> it can be easy to miss the power and great sound, but that is kind
> of what happens when all your controls have more range than any
> synthesizer previously, I mean, envelopes that go up to 10 minutes
> per stage and such, keytrack that goes to 200% etc.
I may have been entirely in the hands of a person who was actually a
novice with the instrument, because he was showing me nothing of what
you are describing here and what he did in his demo for me which was
about 15 min. or longer. It sounds like what you are describing would
be fantastic for a live performance instrument, you know? I'd love to
hear more about this from you to the group's list, how you use it with
Emax, etc, and as a raw source for sound! I apologize for sounding
negative regarding that synth, but we are talking about different
models -- no doubt. Believe me, this guy's performance was long and
*painful*. It really sounded like a buzz-saw, Macaco -- no kidding.
Everything he did was not atonal (because I love atonal too!) :-)
This was a sound that was causing us discomfort, and it was portrayed
as a synth to fill the role that the Access company is trying to do
with their products. Honestly, it was a really bad experience for
everybody... You had to be there. I kept waiting and waiting, and
you're right: there must
be something buried in that unit someplace that makes it a unique
piece. But from what I heard, I would not want to use it at all.
What I *should* have said was that what he played, that particular
sound, is something I'm trying to get away from entirely in my own
work...
> it's not a Juno where it is all sweet spot.
A perfect description: that's what I never liked about the Juno was
that it was all sweet spot. Period. It was like a Roland D-10 was
simple.
I agree with you entirely. The best things I've ever found have been
the ones I've worked for. I have one program on the D-50 that I can't
replicate on any other synth, and I had to work to get to it.
(Actually one could replicate it now, but at the time it first came
out no...)
That's the reason I've been trying to launch these conversations
because I really want to talk with all of the cool people on this list
that love the
EMU gear as much as I do, and the tips and tricks that we all use,
etc. I'll talk about anything and have no "secrets" to hide. I'm
like Jammie in that I love to talk about what we can do.
I just discovered, because of Jammie, a use for Melodyne Studio that
I'm going to use and exploit with the Emax in creating single-cycle
waves for it that I hope I'll be able to upload to share with
everybody. It's a very, very cool trick when you have the "RAM
limitations". But as Jammie said: it causes you to be creative in
ways that you never thought of, and that's what I value the most --
why I like the idea of an Emax User Group list like this one where we
can all pool ideas and techniques.
For example I've been mulling-over what Elk was saying about using
tape and I completely understand what he feels about tape saturation
in his sound: that's really a huge issue for me and I've only been
able to find one way around the loss of tape saturation and going
entirely digital, but he made me think everything through again that
I'm working on right now...
>
> Ion I haven't spent time on to comment.
>
It was not the Ion model, either. I'll have to dig it up -- my notes,
and I'd love it if you'd fill us in on your feelings in the
discussion, Macaco.
Look, I'm not a gear-snob. I've worked a great deal at Skywalker
Ranch, on the high-end, and with kids who have nothing more than FL
Studio
on the low-end of the gear price spectrum (or whatever you want to
call it!) And I've seen people with $250,000.00 Synclavier Towers and
million-dollar SSL mixing-consoles create NOTHING of any value at all
while a 15 year old boy with FL Studio on a broken PC created something
really beautiful and astonishing! What did I do? I hung-out with the
kid!! :-) I've had the choice and that's where I like to be for the
most part!
We had Emaxes and the kids now have FL Studio and some of them just
create little gems! I love working with them!
Thank you for this email, man. Please continue!!!
--Steven :-)
PS - I always wanted an MG, but they broke-down more than Emaxes!
I've not even seen a collector driving one of those in fifteen years
or more... :-(
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