Emax

the e4 keyboard come up all the time here and sell for £150-300

the synthi is on ly good for sound effects and bases

floyd sampled the synthi in the k2000 and used them on stage synthi are hard to control and get the same performance twice each time you do it it changes a little not good for performing but good for ideas they make some great sounds but you can emulate the sounds with the emax using single cycle waves

timberland uses mirages and asr10,s 

thats why his sound sounds great he.s using the tools of the pro,s of the 80,s-90.s he is using the same technics that the producers used then and not shity soft samplers

wutang did most of there beat production on a eps 12bit machine 

beastie boys drums are done on an sp1200 the emax is the same engine less sample time 

theres room for more memory on the emax theres some rs and cs signals not being used by the memory controller but would need extra code in the rom to access it hard ware side is easy as you can stack memory chips ontop of 1 another and bend the pins up for the rs and cs signal which get soldered to the memory controler outputs

you can get upto 4mb with an fz1 sampler this way 

the korg dss1 is being upgraded to 16mb this way
  ----- Original Message ----- 
  From: ss 
  To: emax@yahoogroups.com 
  Sent: Wednesday, July 15, 2009 10:35 AM
  Subject: Re: [emax] Keeping track of "source material"...






  On 15 Jul 2009, at 00:54, jammie wrote:

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

  Exactly. Like the Beatles on the Teac 4 & 8 track machines. The 
  Beatles have never sounded anything but brilliant. Ageless.

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

  Right! And Jimmy-Jam brought-in the NED Synclavier as I remember at 
  one point, but that was later in the game...
  I remember how "Control" just ripped through the music scene. She 
  picked the best people.

  Dirty and great is best! "SexyBack" by Timberlake is really dirty 
  sounding (no pun intended here!) and it's very effective.
  That production value was a choice and was created, too.

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

  I think they were doing more design on Emaxes than anybody is saying. 
  "Violator" really has that Emax sound all
  the way through it, sans Gore's guitar overpowering everything else.

  >
  > pink floyd they used kurzweil k2000,s

  I thought their best use ever was the EMS Synthi on "Dark Side of the 
  Moon" It's extremely simple
  but the power is in the EMS Synthi. Being in the USA I only had 
  access to the ARPs and Moogs and
  among the Americans to use the EMS were Todd Rundgren who squeezed 
  every drop out of it one could get
  on "Something Anything" and "Wizard a True Star". The best effects 
  were always the EMS synthi combined
  with variable tape speed. Then there was the classic use of Pete 
  Townsend running the Hammond organ chords
  through the filter and gate of the EMS Synthi on the opening of "Won't 
  get fooled again!"
  You know, I sat in front of an ARP 2600 for hours thinking: "How did 
  Townsend get that sound out of the 2600's
  sample & hold! It's horrific!" He didn't!! That's the answer! It 
  sounds like a synth, but it's the Hammond! Great trick!
  I could never get my hands on the EMS Snythis here in the States! It 
  drove me mad! Lucky we had the Oberheim's though!

  >
  > computers are unreliable especialy for live work

  A very, very good point. And difficult to control, too. Any 
  performer, a DJ, has to have a backup laptop
  if they're going to be using Live for a gig for example. MacBookPros 
  can take a hell of a beating, but on
  the road is too much to ask.

  >
  > 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

  Really fine point. And I remember all of the "Pros" telling me to 
  dump all of my keyboards on the used marked and replace with a laptop 
  as they
  did, and now they are really eating their words. They are using field 
  recording gear for source material and trying to craft and shape new 
  waves
  from that material, and they're jealous and mad as hell at people who 
  didn't dump their gear because they were so stupid to do it!

  I've never really been able to "scrub" with a computer with the feel 
  and speed of using my hands on tape or 35mm mag film and locate
  a slice point so easily...

  As we all know, Kontakt doesn't replace an Emax. They're two 
  different animals entirely -- any comparison is pointless.

  Jammie -- any Synthi or EMS gear there in your house in all that gear 
  some place??? :-)

  >
  > 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

  If anybody ever sees one of the few EIV keyboards appear for sale I 
  hope you'll post it to the list! They only made a few from what I
  understand and demand was dismal to non-existent. Nice to hear that 
  some of this gear is still available out there some place...

  >
  > 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

  Exactly. This was the point I made on the FL Studio BBS years ago. 
  They have no concept of a "musical instrument" and that something
  was designed to be "played" and not mimicked -- the VSTi's do drop 
  many times to the point of self-ridicule and FL STUDIO can be just
  another video game. Or, in the hands of somebody who knows how to 
  grasp the power of the tool, it can really roar with intense and
  unique sound.

  Time and again, though, I've met kids who've become professionals who 
  started-out initially with "Fruity-Loops" and an old broken-down PC and
  then added-on one PlugIn at a time and built-up this whole arsenal of 
  tricks but ended-up jumping-into Cubase (still using FL Studio via 
  ReWire)
  but Cubase became their main environment and then they started 
  collecting old gear and new synths.

  One of the problems with the energy surrounding that whole Image-line 
  crowd is that there are a lot of sharks there that are making a lot of 
  cash
  selling PlugIns to a lot of inexperienced kids -- and that's their 
  game. And it really is like a game -- one big Video Game. It's too 
  bad. FL Studio
  has a lot of power and people don't exploit that part of the tool.

  Thanks for the fine comments and wise points, Jammie!

  Since were on this point of hardware vs software what do you think of 
  the Virus software synth with the hardware board that powers it?
  I own the last revision of the Virus C rack/desktop, and one ProTools 
  user I know was just shaking his head and saying I was foolish to
  not go the PlugIn soft-hard combo Virus synth. But I had reasons for 
  not going the route and getting the C rack. But I recently saw the
  sofware PlugIn and it's really a different animal from what I could 
  see: it's really streamlined-down to be a Trance/Dance synth, I think.
  Now that would have the power to perform with the hardware board to 
  back it up! Had any experience with that one by chance...?

  The TI's just sound like severe aliasing and low resolution sound! 
  Horrible! Not worth the price at all.

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