Emax

thats why they sound like every other fl studio user 

a lot of people dont remember most of the best stuff was created on analog 8 track tape and played live dubbed then overdubbed

janet jacksons first album was produced using analog synths and a mirage and sounded dirty and great 

dep mode there best stuff of the 80,s-90,s was using emaxes

pink floyd they used kurzweil k2000,s 

computers are unreliable especialy for live work 

i have 30 samplers that i can load up and play at the same time you cant do that with a software sampler  you run out of processor speeds and to have the same equivelant you would need 30 comps with emulatorx hardware and software to even sound remotely as good as the hardware

and im picking up hardware cheaper than a piece of software just picked up a yamaha s3000 with zip100 drive and library for £51 + postage of £16.99

the zip100 sell for £15-25 

an emax1 se hd keyboard just sold for £120 on ebay in excelant condition and EII are going for £100-300

i think its good to have both soft and hardware as you have best of both worlds and you can use comp for speed and the hardware for musicality as they are designed as musical instruments 
  ----- Original Message ----- 
  From: ss 
  To: emax@yahoogroups.com 
  Sent: Wednesday, July 15, 2009 8:17 AM
  Subject: Re: [emax] Keeping track of "source material"...





  Yes, Elk and I'm trying to understand this...But in every case it is 
  different, a different situation.
  With Emax, for example, it is the filters, the dithering, the ability 
  to loop highly complex material
  that would be impossible to do in Peak or other software programs, and 
  the soft attacks and decays
  I get from the envelope generators and other analog parts of the 
  instrument.

  It is very interesting talking with some FL Studio users, for example, 
  who curse at me and call me
  an "old timer" and ignorant because "everything that used to be done 
  with hardware can now be
  done with plugins and FL Studio". Well, I didn't hang-out with these 
  guys for very long I can tell
  you, Elk. Trying to discuss this with them was pointless. And a 
  friend of mine said simply: "They're
  zealots and wont listen to a word anybody says!"

  I've worked very hard to replicate "tape-saturation" in my work by 
  using any number of tricks and
  tools. I'm really big on tape-saturation because I had a system where 
  the EIII or Emax was connected
  to an 8-Track mixer and then went stereo-out to a Nagra that was 
  custom-built. Quite often I'd flip
  the chain around and takes recorded on the Nagra would be re-recorded 
  back into the EIII and then
  re-designed further.

  My mixer and Nagra were super quiet! No noise build-up. So I could 
  do this.

  So my method would be, and still is, multiple 24-track mixes each 
  mixed-down to stereo two-track
  mixes and then in the end the multiple stereo two-track mixes are all 
  loaded and a final mix-down
  is done.

  This process adds to the need to be able to keep track of source 
  material because in the end it can
  become very difficult years later to remember what and where that 
  source sample came from....

  As a rule I'm burning lots of discs and putting notes with them and 
  storing them away.

  With the Emax I found that I was taking the source recording many 
  times and processing it
  through multiple effects-boxes before it went into the Emax. Then on 
  the way out to the
  mixer it went though another chain of boxes before being recorded.

  Now things at every stage of the game right from the working with the 
  raw and unprocessed
  source material everything is going into Melodyne Studio and I'm 
  working with it.

  Melodyne Studio after all I'm realizing is a sampler! I never thought 
  about it that way, but in
  general the limitations that I ran into years ago with Emax can now be 
  solved with Melodyne
  before it goes into Emax! :-) It is wonderful -- incredible! I 
  cannot recommend it enough as
  a tool for work with Emax because of the limitations of 1 MG of RAM, 
  etc.

  I have the Emax HD SE so unlike some lucky folks who were able to snag 
  an Emax II I am limited
  to that 1 MG of RAM which makes one become very creative to get around 
  problems I must say! :-)

  The Melodyne PlugIn solves a lot of problems from the outset. People 
  don't have to shell-out for
  the Studio version, although I would strongly recommend it because you 
  will use it -- believe me!
  Unlimited tracks, "unlimited undos", the ability to produce all of 
  those arrangements on the fly and
  then just re-arrange things again.

  And I can design the sound for that 1 MG RAM limitation from the 
  outset! :-) This makes me very
  happy!

  [Also, I am not a "shill" for Celemony who make the Melodyne 
  Software. I just got involved with
  them from the start of their company in hopes of solving a serious and 
  horrible problem with a
  piece of music I had worked on for two, almost three, years and had to 
  throw-out. That's how
  I discovered the software. It didn't solve my problem, but in 
  learning about the software it opened
  all of these doors for me creatively that I am still exploring daily 
  and discovering new applications
  for the software and the tools in it -- more than I have the time and 
  life to explore and work with!
  It's like the Spectrum Synthesis and Transform Multiplication in SE: 
  you sit for hours pursuing
  a path while it processes in that 1 MG of RAM! Now with Melodyne 
  designing everything on the
  front-end for Emax's limitations Emax is far far more powerful for me 
  than it was before! I love
  creating a beat with the Spectrum engine and then working with the 
  loop in ReCycle and exporting-out
  and into Melodyne and changing everything around -- all of the 
  pitches, layering the melodic
  lines of it, and changing the percussive elements of the SE beat! 
  It's just fantastic! Also I can
  really create rhythmic loops with beats at the loop-points without 
  artifacts or distortion when
  altering pitch, or length, etc.!]

  Hardware is important for many reasons.

  You know I was just looking at Dave Smith's Prophet 8 and how I want 
  to snag one of those
  before they disappear! Those synths are like Porches of the synth 
  world! And the combination
  with Emax is perfect, really! Just like the Access Virus and Emax 
  combination's results. Perfect!
  Great beats, great strings, great loops! [Don't like the TI's, 
  though! Like "Polar"...]

  What other hardware are you using, Elk?

  Now that I cannot get tape any longer the Nagra is gone from the setup 
  for good in my world.

  On 14 Jul 2009, at 21:30, Elk Latham wrote:

  >
  > everything I do with software instruments some how end up in 
  > hardware sampler as well.

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