Kanthos

That's pretty true of any synth though; if you use a different plugin, you won't get EXACTLY the same results and it might be better. I don't have Zebra, and as I mentioned, I'm limiting my choices to Omnisphere (which, like I said, I've gotten quite close in and will take another shot at tonight) or something in Reason, so that I have patch remain on my entire rig rather than one sound without. None of the other synths I have, even the miniMoog, which would've been the obvious first choice, have patch remain. I increased the attack on the amplitude envelope very slightly up from 0 to make the lead a bit smoother. Maybe there's an attack on the filter envelope too; I'm not hearing it on the track, at least not on my fairly cheap consumer headphones at work. Are you possibly confusing it with the fact that before most repeated notes in the lead, including 1:14.5, he's quickly playing the note a tone down so there's some glide happening? See 1:25 for a clear shot of him doing that. As for the vibrato, he's definitely not using key tracking; the Stage Phatty II doesn't have any that can be applied to a mod source, only to the filter. Possibly he adjusted the rate as he got into the solo at the end and started playing higher on the keyboard, but the rate LED isn't lit at 5:03 when he's playing that, so either he upped the rate and then switched back to the amount (controlling how much effect the mod wheel would have), which would be kind of dumb and unnecessary to do during a live performance, or more likely he's just pushing the mod wheel all the way up, applying more vibrato depth at the same rate, while earlier in the song, he didn't drive the mod wheel as hard. I got the same effect doing just that; it's a pretty standard synth performance technique.

Moving a sample to a different drive shouldn't make any difference on the amount of RAM it uses. It may be better or worse for CPU, depending on how slow the drive is compared to the old drive and how many samples were being streamed from disk at once from the old drive. I don't see how the RAM usage would change at all though. Also, with NCW files, I don't know how Kontakt is coded, but if it reduces RAM usage, then I'd guess they're decompressing on the fly rather than decompressing when the patches are first loaded. If so, again, that might be worse on CPU. Most likely, your RAM and not your CPU are the limit, so you probably won't notice any issues doing either of those things.

My pleasure. Tell us what you end up getting, and how you like it once you've had a bit of time with it

Thanks so much guys! I used zircon's patch as a starting point and got pretty close; not 100% there, but close enough for tonight; too much working on it is making me lose sight of the fine differences. I'll polish a bit more tomorrow, I think, but I've at least got all the info I need. Also, I found it sounded just a bit better using one of the moog saw samples than either of the saw oscillators.

No difference that I know of in the US realms (the EU realms have some preference as to language, as shown in the list). Tarnished Coast's been designated the unofficial RP server, but there's no concept of RP, PVP, RP-PVP, and PVE like there is in WoW.

What do you mean by 'sweeping over and hitting the vocal formants'? I thought vocal formants was a term associated with vocoders and such, not synths. Awesome, thanks for the lead. I'll check it out at home; I definitely want to understand how this works, not just use a preset. I think you might be right with the waveform. The sync light is definitely on, I can see that from the screenshot, but if the patch uses only one waveform, osc 2 wouldn't be syncing to anything. The keyboard is the moog little phatty stage ii, which has continuously variable oscillators (yes, I downloaded the manual ), so I'd bet osc 1 is somewhere between triangle and saw, as you suggest, though not necessarily exactly like the minimoog's tri-saw osc. Sadly, the keyboard only has a few knobs that control different things when different buttons are pressed, so I can't tell, from the screenshot, what most of the settings are.

Snarky Puppy is awesome. Saw half of their set (and stood outside Toronto's good jazz club for the first half, waiting in line) a couple months ago, and I'm going again when they're back here in September. I asked Shaun Martin, the guy who played the part, but he was reluctant to give help (or just didn't remember, or would rather encourage experimentation than handouts, or whatever). I worked on this for a couple hours last night until my ears got tired, than did some work on the pads in my rig. Here's what I've got so far. Definitely mod wheel-controlled vibrato on this, and it's a big part of the performance. Not so much earlier in the song, but when he goes nuts near the end, it's obvious. I'm not sure about a square wave any more; I misread the screenshot I took, and it's the glide amount that was showing on the knob, not the second waveform. Also, osc 2 is synced to osc 1. I think what I'm going to do is try to recreate it in Arturia's miniMoog plugin (I picked up the free copy they were giving away a couple months ago), and once I've got it, try and duplicate it in Omnisphere or Reason, which will be better for use in my live rig. I'm trying to use only Omnisphere, Kontakt, and Reason sounds loaded in combinators, since all three have patch remain in some form (meaning I can turn off an Omnisphere sound, send a program change to a Kontakt instrument bank to select an empty slot, or turn off note input via a Combinator button in Reason, and no further notes will sound but existing notes will sound until I release the keys).

So, has there been any concensus on a guild name or even world? They posted a list of the worlds that will be available on launch here.

I'm not a synth expert (yet; I'm working on it), and I'm trying to duplicate the lead from (starting at 1:15, and it's in and out, but that sound occurs often in the song) in my live keyboard rig. The keyboard they use is a Moog Little Phatty Stage II.Any ideas on how to make that patch? I'm not even entirely sure what oscillators to start with, other than that I can see from closeups of the keyboard in the video that he's got osc. 2 set to a square. I'll duplicate it either in Omnisphere or in Reason's Thor with the Etch Red rack extension to get the Moog filter sound.

I'm not sure how significant, since I didn't really play the OASYS much in-store (and didn't have $8,000 to spend on one The Kronos is the successor to the OASYS obviously, and the things that I do know are improved are the piano and electric piano engines (the OASYS just had piano and EP sounds in the standard sampler engine), and the playlist and patch remain features I was talking about. I'm sure there are some other changes too, but those are the big ones I know about. There's no point even considering an OASYS at this point, since you'd be buying it used anyway, unless someone was offering it for a fair bit cheaper than a Kronos.

I've used the predecessor, the RD-700gx, once at church. I didn't have much time to play with it, but it seemed decent. Only catch is that it still won't give you a synthesizer, just some baked-in synth sounds.

Go with the Korg Kronos. I used to own the older Nord Stage, which is comparable to the Electro; there's very little different between the Nord Stage and Nord Stage 2 besides more sample memory. I now use a Roland V-Combo VR-700 and my laptop; I made the switch because the Roland had physical drawbars for the organ and a better-feeling keyboard (I prefer semi-weighted keys). The Nord Electro has no synth section and can only play one sound at a time (so no layering or splits), so it's not the ideal choice. The Nord Stage has a somewhat crappy synthesizer, and while it can layer and split and has great piano, organ, and electric piano sounds, it can't load any other sampled sounds, so no realistic strings, orchestral parts, etc. I can't really recommend the Electro at all; its expanded sample section doesn't come anywhere near a standard workstation keyboard, so you'll have to compliment it with something else, and it's got no synthesizer. I'd only want one if I also had a workstation keyboard or a synth or both in my setup; in that case, it's a cheaper alternative to the Stage, so it's worth it. I gladly recommend the Stage if you don't need too much in the way of synth sounds and don't need sample sounds: it's the keyboard of choice for a lot of jazz players, groove bands, classic rock that isn't too synth-heavy, that kind of thing. For your purposes though, again assuming you only want one keyboard, it just doesn't do enough to fit the bill; it's too specialized. I've never owned the Kronos (though I used to own a Korg TR, the Triton Extreme's little brother, so I'm familiar with Korg in general) and I've tried the Kronos in store, and it's easily the keyboard I'd recommend for the player who needs a broad set of sounds. Compared to the Stage, its one drawback is that things aren't as hands-on, as it's more complex (and thus more powerful as well); you can't tweak an EP sound with effects by pressing maybe 4 buttons plus turning some knobs, as you would on the Stage, but you can use more effects per sound and have control over more of their parameters, so it's a tradeoff. The Kronos has a bunch of different engines: a B3 engine, comparable to the Nord Stage or Electro, piano and EP engines (I didn't do a head-to-head comparison, but the Kronos did sound good), a sampled sound engine that on its own is as good as any other workstation keyboard (and I must admit, my preference has always been for Korg out of the "big 3" - Korg, Yamaha, and Roland), and several synth engines. Another nice feature is that you can make a setlist (probably called something else, I can't remember for sure) of up to 128 programs (a single sound from one engine) or combis (several programs, possibly from different engines, layered or split) and display 16 at a time on the touch-screen, with one-touch switching between them. That's important because on other workstations, you'd either be in program or combi mode, and if you wanted to stay in combi mode for a gig, you'd have to make combis containing only one program. Plus, you often wouldn't be able to switch as easily between 16 presets at once. Also, the Kronos has full patch remain: switch sounds while holding down some keys and the old sound will continue to play, without cutting off. Again, something that no other workstation does. To summarize: the Nord Stage and Electro have their place, but the Kronos will probably do what you want better and for about the same money.

Oh, I know that. I was just trying to describe the death to Brandon Strader, who didn't remember it. Yes, Batman killed him, though we don't know exactly what caused his death more specifically than "he fell" (eg. did his neck break? did he get impaled on something? etc.)

I don't think it's impossible. For starters, he couldn't use the left side of his face; remember when he went into the cop bar to figure out who the other cop was who was on the take? He took a drink and the alcohol dribbled out the left side of his mouth because he couldn't use it. And it's not like he wasn't in pain or actually using that side of his face. Also, while the burns were bad, Batman put the fire out quickly, so it could've been a lot worse. It's not the most believable part of the movie, but it's not impossible (not knowing anything much about biology or medicine or anything). At the end of the movie, where Two-Face had Gordon's family hostage, Two-Face shot Batman first. Batman went down, either stunned or faking it, then Two-Face talked for a while and flipped his coin, about to shoot Gordon's son. Batman jumped, grabbed Two-Face, and they both went over the side of the building. It didn't say exactly how Two-Face died, other than that he died from the fall.

All the libraries are downloadable. One set of the libraries is gone. Garpocalypse has first call, then jnWake, then Neblix. Pick a library and I'll PM you the serial number and a download link. Also, the Ableton vouchers (everything else is just a serial number); if you want one and you're actually going to use it, let me know.

All of the libraries are in VST/AU format, I believe (and possibly RTAS as well for any Pro Tools types), so they're usable in any DAW, not just Ableton. Yes, I'm giving away the vouchers too; I already have Ableton Live 8 and don't want to buy any of their instruments. Let me see specifically what Ectogemia wanted, since he responded before you, but you can count on all the instruments, at least, since no one needs two copies

Sure, which parts? Or just a copy of the M1 LE?

Yeah, seriously. I bought Maschine Mikro today and since I've already got Komplete, Komplete Elements is useless to me.

I've made a couple hardware purchases recently and don't need some of the bundled software. First person who wants them can have them. Korg nanoSeries Bundle (click on BONUS SOFTWARE on the left). I have two nanoKontrols and don't need the bundled software with either of them, so I have two copies each of the Korg M1 LE, EZDrummer Lite, Lounge Lizard Session, Strum Acoustic Session, and UltraAnalog Session, and two $50 off vouchers for the Ableton Store. It looks like you can only use one coupon per purchase from the Ableton store, so claiming both vouchers and buying Ableton Intro for free isn't going to work, sadly. All of these are separate codes, so ask for whichever you like. I also have a copy of Komplete Elements. For $5 (to cover shipping costs) in North America, or whatever the post office will charge to ship it anywhere else, it's yours.

Never knew you had a thing for Harmony, OA

Like I said, the song starts with the leslie on the fast setting and switches back and forth at times. In a normal, physical B3 setup, the performer has some kind of switch for changing the leslie speed, usually a little switch that mounts on the front of the B3 (the leslie is a separate speaker built by a separate company; you wouldn't have anything built in). In more modern B3 clones, there might be a switch or a fast/slow toggle button, but changing the speed can often also be done with a footswitch, which is how I play, so I don't need to take my hands off the keyboard. There's also a bit of a speedup and slowdown time; the leslie doesn't instantly go from slow to fast or fast to slow. That'll be built into Vintage Organs, so you don't have to think about it, just know that it's there. I'm pretty sure that this can be controlled by the mod wheel in Vintage Organs (and if not, there'll definitely be some way to control it with a physical controller). I'd guarantee that the artist is using one of those three methods (a button on the keyboard, a footswitch, or the mod wheel) to change speed. It might be possible to change the rotor speed with velocity as well, but that would just be a really weird performance technique, and would cripple the B3's ability to be loud with the leslie on slow. Also, because of the time it takes to speed up or slow down, you'd have to be REALLY GOOD with your velocities to keep the rotor speed fast or slow without switching back and forth too much; otherwise, you'd be switching from fast to slow and back in all kinds of random places and that would sound awful and unrealistic. You mention swell as well, probably in the context of the leslie speeding up, but here's how volume works on the organ. Organs aren't velocity sensitive (well, modern clones may be, but the originals aren't), so instead of using velocity to affect volume, the performer would use a pedal. This will just be a standard expression pedal in modern setups and is called the swell pedal on an actual organ. That's another big part of getting the sound exactly right (though not as important in a rock tune like the one that was linked; in something like jazz, the player might be moving the swell pedal nearly constantly to accent particular notes; in a rock piece with a lot of chords, the pedal would be used more to do overall dynamics by section and not by note).

I'm not at my keyboard right now to try and match it exactly, but I'd start with 888000000 as a drawbar position (or maybe 888800000). Regardless, I'm not hearing a lot of the upper harmonics. Set the chorus to C-1; C-3 and sometimes C-2 are a bit much for rock and might contribute to the jazzy feel you hear. Definitely use chorus over vibrato. Percussion sounds like it's off (though I'm listening on crappy laptop speakers); turning percussion on and setting it to 2nd or 3rd, whichever suits you, soft, and fast, will give a bit more bite to the monophonic solo lines. Add some overdrive, and make sure the leslie is running; they switch speed from fast to slow and back several times, but you probably don't ever want to stop it. I doubt there's a phaser on that; you're mistaking the leslie for phaser, I think. The settings shouldn't be all that far off from what I said, and aren't as important as the playing style and the skill of the performer. A lot of jazz solos are also played with 888000000, the only differences being the lack of distortion and the chorus typically being C-3 instead of C-1.

If you have an external USB hard drive, just back them up; you can just copy the samples back in place to start using them again. No need to reinstall anything.

Just delete the relevant folders of samples plus the nkis. It's not that hard or time-consuming.

Try this