JamesXIIC

If you want a decent MIDI controller and aren't too bothered about having tons of knobs I'd recommend the M-Audio Keystation 61ES. It's semi-weighted and I feel the action is nice. I don't know why everyone is so up about the Radium as I used one at University and it wasn't at all bad but I prefer the 61 keys and feel of the Keystation. Plus it's USB so you don't need a MIDI interface though that should pretty much be a standard nowadays.

Erm.....why the hell wouldn't it be a drum kit? That wasn't exactly the dark ages. Hell look at the synth solo in Edgar Winter Groups "Frankenstein"! That was before the MiniMoog but is still as powerful and expressive in this day and age as it was. Let's see, the mics were different and the mixers were different, the monitoring equipment was different...it's entirely possible for the sample to have been "played". Aside from that, I thought the video it was really cool and made a good point. But really how far can one go to enfore these laws? I just hope to god "Rhianna" or whatever her name is had to shell out to blatantly rip-off Soft Cell's "Tainted Love". Oh but what happens if you RECREATE the sample not using samples? Like say you programmed an analogue drumkit to play the breakbeat? Because you are not using the raw audio as is then it's technically not copywright infringement, is it?

As they said it's not about the quality of the monitoring equipment you use, it's about knowing the strengths and weaknesses of your setup and having a good idea of how it will sound on a variety of speakers and headphones of differing quality. Even so, you can't really go wrong with a good set of studio monitors...providing you have the cash. They certainly make some adjustments easier. The bottom line is this though - once you find what works for you stick with it. Not that I'm well informed when it comes to the world of production however... Oh and.. Post count +1 Level up! Took me long enough...

Screw that, if you are gonna go Roland and go "D" the answer is simple - get the D50! Is it just me or do 80's synths just feel more organic...you know, alive? Maybe it's because the D/A converters are so shitty or the low bit rates give it that gritty quality I love so much. Argh who am I kiddin', I want a D50. *sob* *sob* Or even better, the V-synth loaded with the D50 card. Too bad there's no D50 softsynth either... Oh yeah, sorry for straying off topic there...but seriously what are you looking for in a synth? A workstation? A ROMpler? An analogue? A digital synth? FM or Sample and Synthesis? Remember, one synth can sound absoultely nothing like another - they are not like any other instrument in the world.

Don't mind him, he's being a bit harsh I'd say. Anyway, I own a PSR-540 which is near identical to the 550 'cept a bit older. I think the DSP chips and wavetable ROM are exactly the same though, and if not then the 550 is bound to sound even better. The good news is that the PSR-540 (and 550) and absolutely outstanding sounding keyboards in that price range. In fact, factory sound wise I say they are much better bang for your buck than all this Motif and Fantom stuff if you just want stock sounds. The bad news is that, unlike those more expensive workstations I mentioned, you can't program the PSR's sounds. Or expand on them. So you are pretty much limited to the sounds you get. It really does spank the ass off of most GM modules and has more sounds to boot, 707 for mine, maybe more for yours? I'd say it's perfectly capable of professional music when it comes to a lot of instruments like organs, electric pianoes and synths. The piano, brass and woodwind sounds may not fool most people into being realistic but they sound very nice and expressive indeed. That's just my opinion though. I think you'll find while the samples may be a bit outdated they are perfectly acceptable. If you want ULTRA realism however, I would stray from the realm of keyboards and workstations and invest in a good set of samples and sampler or ROMpler. Something like Sampletank, Sonik Synth, Kontakt, HALion are good starts. Garritan Personal Orchestra if you want expressive orchestral samples at affordable prices. Hope this helps.

Hey man, just to let you know you'll either need a DI box (direct injection) or a high Z (impedence) to low Z converter if you want that bass sounding any good. You see guitars are naturally high impedence and your soundcard accepts low impedence signals like most microphones and synthesisers etc. You need to covert this signal otherwise you will lose a lot of the high end and crispness of the bass' sound. Don't worry though, I'm sure you can get a "high Z -> low Z" for little cash and it also doesn't require power to do the conversion. Also guitars - basses included of course - are more suited to mic or instrument levels so I'd plug it into the mic input instead. Having said that be careful not to overload the signal so use the guitar's volume knob to avoid clipping, by turning it down of course. Feel free to not bother with any impedence conversion if you don't want to - it won't damage your soundcard after all - but your bass will sound like it has rusty old strings and the signal is being fed to an amp with a mile long cable. Not good.

Ah, so you use the playlist instead of the step sequencer to trigger to audio samples? It's a bit funny having the audio clips in the automation section but thanks guys, that certainly will make my life easier.

Thanks Yoozer, that cleared a lot up. I had already read the articules at www.vintagesynth.com and www.synthmania.com so had a fair idea about what was going on but now I'm totally filled in. I suppose you could use and sampler that includes effects and filters to achieve the same sort of sound but you need A) Lo-fi samples and a ton of programming. My question has been answered though - I'll definitely look into the Legacy Digi Edition, and Wardolf too. Too bad I'm broke until the summer when I get a job of some sort. Oh CompyFox, if you track down a PC version of Final Fantasy 7 you get the Yahama Softsynth thrown in free - I think it's the SXG-50 to be precise. Only catch is that it doesn't work in Windows XP as far as I'm aware as I'm stuck using the SB Live! GM modules when playing it. You should be able to find a copy on eBay but if you are using XP or 2000 (which is likely ) then you're plain out of luck I think. As you know Yamaha stopped support for the softsynths AGES ago but maybe the SXG-100 is XP compliant? I'm not 100% sure suzume but I believe the original Korg Legacy is a softsynth based on the well known KORG MS-20 - which is I'm sure you know, a monophonic analogue from the 70's. It's also more expensive but that's because you get the controller right?

Bugger me, only $150?! That's CRAZY! I was looking at the specs on the site - 900 PCM waveforms! I mean that's a LOT of waveforms...not to mention you get Wavestation and an ton of effects thrown in free. And who cares if it's based on an old sound module, this software looks like it's giving you your very own 80's Motif/Trition/Fantom...and them some! 'tis the mutts nuts I'll bet.

So I was doing some research on digital synthesisers because my knowledge isn't too great in this area and I found out that two of the most well known ones are the Roland D-50 and Korg M1, aside from the DX7 but I know enough about that at the moment. Basically I know that the D-50 uses Roland's own "Linear Arthimetic synthesis" which basically means instead of having full samples stored in ROM, it only had the lo-fi samples (i.e. waveforms with an 8 bit sampling resolution) of the attack segments of real instruments while the sustain portion of the sounds were handled by a very basic model of an analogue synth. The Korg M1 was developed later and used 16 bit waveforms and full samples. Also as this was now Korg, no more L.A. synthesis. Anyway I was wondering, which of the two synths do you feel would be better for creating sounds that feel overall synthetic, but at the same time contain elements of sound derived from real instruments? In other words which of the two from your experiences or from what you have heard, would be best at creating "hybrid" sounds that are pseudo-realistic so to speak? Like "half real" strings or a real breathy flute combined with a clean sine wave in the sustain? Maybe bright synth pads with realistic vocal textures or true ethnic instuments that sound buzzy, gritty or eerie? If you have any idea what you think I'm trying to say then please give me your opinions. I'm expecting Yoozer to fill me in as I'm sure his hardware synth knowledge is top notch but anyone else feel free to have a go. This is a result of my sudden interest in learning about S&S synths. Sorry if this question seems kind of difficult to answer guys.

Actually I am using audio clips. How would I go about doing that then? The only work about I've found is automating the volume so the start of the sample doesn't play.

Again many thanks zircon, that worked a treat and now I can get back to what matters. As for Logic, I liked but it but I still believe FL is much better value for money. I just like to be able to see the raw audio and slice it up on a channel sort of level if you know what I mean. Say you want to cut a loop in half and use the latter half only, you can't do that easily in FL unless you go into the wave editor and physically alter the sample. And the sampler plays waves like a sampler, trigger only. You can't preview sections of a wavefile like you can in Logic and Pro Tools. I know this makes sense because it's a SAMPLER plugin after all but it would be nice to have easy manipulation of raw audio. For FL 7 anyone?

Yeah, it's FL 6 alright and I've made sure none of the time stretching knobs are at weird values. I WOULD use Logic or Pro Tools but I don't have it...we got to use it in MIDI sequening at University and it was cool. As for the ESQ-1, yeah, pretty retro but it's a cover of an 80's song so it's more than ideal. What's reprazent mean?

Right, I'm doing a remix of a song for my Recording Tech module at University and I'm recording parts on my Alesis Ion, ESQ-1, guitar and bass for this. To keep the CPU usage low I'm using the "Sampler" plugin inside FL but sometimes when I import the wave file it stretches it only for playback. The actual wave file itself stays the way I recorded it but when I play it in the project file it'll stretch it to double the speed and pitch. It doesn't always happen, usually only for about one in every three parts I record. When I use Kontakt 2 it doesn't stretch it at all so that's a work around, but Kontakt 2 uses too much CPU and I'm mainly using send effects on the samples so using the built in Fruity sampler is much better in this case. Can sometime tell me how to prevent this stretching? Maybe it's because I'm trimming the audio clips in FL and it can't detect the BPM of the samples so it goes crazy or something. I just want to play the files back "as is" though. I gotta say I LOVE FL but it's shite when working with raw audio. Gimme Pro Tools or Logic any day of the week for that.

Sequncer - Fruity Loops Studio 6 Pro Software - Sampletank 2 XL - Sonik Synth 2 - Garritan Personal Orchestra - Ethno World volume 3 - Kontakt 2 - Synth1 Hardware - Jim Deacon Strat copy - Squier precision bass - Alesis Ion virtual analogue - Ensoniq ESQ-1 digital wave synth - M-Audio Keystation 61 ES MIDI keyboard And that's it...

Wow, I learned a lot. mLAN sounds pretty cool indeed. As for XG, it's not bad - just dated that's all. There are a lot of free synths out there for free (VST) that have a better sonic range and allow you to have more control but XG keyboards weren't synthesisers so that makes perfect sense. It's definitely a good starting point for someone getting to grips with MIDI or remixing. And let's face it, Yamaha's budget keyboards are probably the best from what I've seen.

What about mLAN? Is that not set to replace MIDI eventually? I don't know much about it myself.

Yamaha XG is an improved and increased soundset of the GM (General MIDI) and basically sounds a lot better than a cheap soundcard's wavetable. Modern-ish Yamaha keyboards use XG which is now a Yamaha standard and so happens to be backwards compatible with GM. Today is probably comparable to Quicktime's DSL Music Device that comes standard with Quicktime to play MIDI files or Microsoft's supplied software wavetable synth in terms of quality. However, none of the above or the XG set sound anywhere near as decent as proper commerical VSTs be they samplers, romplers or synths. Even some free ones sound much better. Get FL Studio is my recommendation, which can understand MIDI too. The mid-end version is very cheap and still plenty powerful. Remember though - MIDI is just a language. It doesn't PRODUCE the sounds in realtime nor is it pre-recorded audio - it gives instructions for external or interal MIDI compatible devices which create the sounds. As mentioned before it's soft of like a sheet of manuscript for the computer to understand.

Some new and improved Synth1 presets I made for those who care. It's a free VST Virtal Analogue subtractive synth and it sounds really good. In store for you are 12 basses, 12 leads, 11 polysynths, 11 pads, 5 synth strings, 8 arps and 21 emulations of real instruments, drum sounds and FX. 80 in total! The link is here. Enjoy and please do leave some feedback about the presets you like or dislike.

To learn how to sequence basic open and barre chords shouldn't be too hard. For example take the chord of open C major in standard tuning. It is: String Fret E - 0 (open) B - 1 G - 0 (open) D - 2 A - 3 (bass note) E - x (not played) So if sequencing a strum you'd use the notes C, E, G, C, E in order of asending pitch. The bass note is always the root note in basic open chords. In open C you'll notice the last note is a major 3rd giving the open C major a very well...major sound. By looking up all the open chords from a guitar chord book you can sequence the notes in the right order. For example the 4 string open D major chord does not follow a 1st, 3rd, 5th pattern of the scale (e.g. D1, F#1, A1, D2) - it instead follows the pattern dictated by the guitarist's fingering. In this case 1st, 5th, 1st, 3rd (e.g. D1, A1, D2, F#2). String Fret E - 2 B - 3 G - 2 D - 0 (bass note) A - x (not played) E - x (not played) Understanding that the shape of the fingers on the fretboard are directly related to the order of the notes contained in the chord is essential for making sequenced guitar parts sound more realistic. Using different velocity values for notes, altering note lengths and the positions of note starts can help you make it sound more natural. It's still pretty difficult to get it sound totally convincing but it can still improve the feel of the piece dramatically. Hope this helps a little.

Maybe so but learning to play chords fluently will take at least a month or two I'd imagine. Plus, how exactly is he going to record it? Unless he has a good mic or a sound card with low latency and noise reduction it's going to have a little background hiss that can be pretty annoying. Still, it's a fine suggestion. If you decide this is an option I'd personally settle for a cheapo Stat copy for your first guitar. Easy to learn on, party to do with their very low action, and they sound decent for low budget. Maybe a Squier if you are willing to spend a little more.

Yeah, velocity helps but making CONVINCING strumming patterns from single shot guitar samples is difficult to say the least. I would try and help you further but I usually use my own samples or record from my guitar for these situations. However, if you have some money and will be using a lot of guitars in your work, I suggest getting MusicLab's "Real Guitar" VST plugin. That'd be a wise investment.

There's a "Strum" tool in FL under the TOOLS menu at the top left hand corner of the "piano roll" view. It looks like a wrench. Open the menu and go to Strum. Now you can alter the different pots to change the velocity of notes and how far apart the notes are (how quickly or slowly the notes strum basically). Remember you need to all select the notes that you want to work with before you use the Strum tool. It's pretty handy.

Okay, I finally managed to locate a shop in Scotland that stocks the ION. Had to get a train from Edinburgh (the capital) to Glasgow (the biggest city in Scotland) just to have a little go on one but boy was I impressed! The sound was really powerful and meaty - even the tiny little speakers in the store were cranking out mind-shattering basses. The pads were lush and warm and the effects were interesting and very synthetic sounding. The filters seem really alive and the layout of the keyboard is dead friendly. I like it, I like it! So I started programming a few patches from scratch but I ran into problems locating the LFO destinations. The guy came over, pointed at the tiny "mod matrix" button and all was good. Source --> Destination. Couldn't be easier. Anyways, there's a guy down south selling one for £275 so we are talking things through and hopefully I'll be a proud owner of some hardy, American synth relatively soon. Good thing American-made synths fare better than their lackluster cars.

Ahhh.....Yoozer, hot damn! That certainly has got me very interested! Starting at £100 though and it has 4 days left with 77 views....I'd be willing to maybe pay up to £180 for it me thinks. I searched for "synths" on eBay and "ESQ-1" which is why I probably didn't find it. The only thing I can say is I hope my Christmas tips from work will cover it. That and too bad it's not the SQ-80... EDIT: Checked SoundonSounds ads and found.... - £175 for an Alesis Micron - £250 for an Alesis ION - £160 for a KORG microKORG - £120 for an Ensoniq ESQ-1 Now that's what I'm talking about....some good second hand prices. Is the extra £125 really worth paying for an ION over a Mircon? Is it MUCH easier to program or anything?