EXS 24 Logic Sampler Users Group

I am working on some instrument (sampling my wife's boxes) and going 
deeper in Instrument Editor, and I don't understand the use of the 
option "Groupe" of "Select by" parameter (no problem fot the other 
options) ? Some examples of it ?

Thanks

Powerbook G4 1GHz, 728 Meg RAM, Mac OS 10.3.8, Logic 6.4.3 and 7.0.1
--
G.Ryckeboer

>>> I am working on some instrument (sampling my wife's boxes) and going
>>> deeper in Instrument Editor, and I don't understand the use of the
>>> option "Groupe" of "Select by" parameter (no problem fot the other
>>> options) ? Some examples of it ?
>>
>>
>> The "easiest" thing coming to my mind would be to utilize "key switches".
>> You could for example route some legato samples to a group "selected 
>> by > note > C1" and route some staccato samples to a group
>> "selected by > note > D#1".
>> That way, whenever you'd press C1, you'd have a legato sound and 
>> whenever you'd press D#1 it'd become staccato.
>
> Also
>
> It's quite common to use the modwheel for selecting different groups,
> provided you don't need it for it's default LFO control - you need to
> desect it from that on the main EXS GUI.

Sorry, It seems I have been confusing in my question (I do have some 
knowledge holes in the english langage ! :-D

Actually,  I still use successfully the "Select by" parameter  with 
"Control" option to switch between groups (different sound sets of the 
accordion).
I also understand  the "Note", "Bend" and "Midi Channel" options and 
how to use them, but cannot imagine about the specific "Groupe" option, 
which was the subject my question.

Thanks

--
Gérald RYCKEBOER
ryckeboerg@...

Le 28 juin 05, � 13:10, "timoathome" <timoathome@...> a �crit :

> Yes, I use this for the "round robin" thing all the time. Especially 
> useful for libraries such
> as VSL or Project SAM that come with keyswitching instruments with 
> multiple versions of a
> certain articulations, such as multiple staccatos. Create an 
> instrument that automatically
> switches between staccato versions by changing the "selected by" from 
> "key" to "group."
> Assign the first group to "start" and each consecutive group to be 
> triggered by the
> previous one.

Well I don't understand the meaning of "round robin" (I'm not a synth 
player, but only a pipes "computerized" player with synts at home, so 
although I had learned a lot by myself, there are still big holes in my 
technical knowledge :-D
but I think I understand globally that stuff (need some trials, and 
I'll be back here if problems ;-)

I thought it could be something like that, and actually it is the 
answer to the last problem I still have with the box which is "diatonic 
accordion", so, on each button, a different sound when lifting or 
pushing the bellows ; that would so be translated in two groups : 
"lift" and  "push".

Thanks a lot ;-)

I'll let you know (still is waiting a set of small pipes I said to 
sample some months ago � don't find it in the Mac, so I certainly not 
made it � years are days and days are seconds :-( and my head is like 
my pipes' bag : full of wind ! :-D

P.S.
Happy you still here Sacha ! ;-)

--
G�rald RYCKEBOER
ryckeboerg@...


[Non-text portions of this message have been removed]

On 28.06.2005, at 17:16, Gérald RYCKEBOER wrote:

> Well I don't understand the meaning of "round robin"

That is sort of stepping from one point to the next and loop if you  
are through. Maybe that explains it:
----------
A round robin is an arrangement of choosing all elements in a group  
equally in some rational order, usually from the top to the bottom of  
a list and then starting again at the top of the list and so on. A  
simple way to think of round robin is that it is about "taking  
turns." Used as an adjective, round robin becomes "round-robin."

In computer operation, one method of having different program process  
take turns using the resources of the computer is to limit each  
process to a certain short time period, then suspending that process  
to give another process a turn (or "time-slice"). This is often  
described as round-robin process scheduling.

In sports tournaments and other games, round-robin scheduling  
arranges to have all teams or players take turns playing each other,  
with the winner emerging from the succession of events.
A round-robin story is one that is started by one person and then  
continued sucessively by others in turn. Whether an author can get  
additional turns, how many lines each person can contribute, and how  
the story can be ended depend on the rules.
----------

Peter Ostry

On 29/06/2005, at 2:39 AM, Peter Ostry wrote:

> round robin

Tone row?

Andris

>> Well I don't understand the meaning of "round robin"

You got a lot of great answers, but the simple one is that you use it  
to alternate between variations of the same note. That avoids the  
unnatural machine gun effect.


Nick Batzdorf, editor/publisher
Virtual Instruments magazine - the world of softsynths and samplers
www.Virtualinstrumentsmag.com
1-877 VImagzn (846-2496)
818/905-9101, cell 590-9101



[Non-text portions of this message have been removed]

At 09:34 AM 6/29/2005 -0700, you wrote:

> >> Well I don't understand the meaning of "round robin"
>
>You got a lot of great answers, but the simple one is that you use it
>to alternate between variations of the same note. That avoids the
>unnatural machine gun effect.

What if you're sampling machine guns?

Garth Hjelte
Sampler User

Garth Hjelte wrote:
> At 09:34 AM 6/29/2005 -0700, you wrote:
> 
> 
>>>>Well I don't understand the meaning of "round robin"
>>
>>You got a lot of great answers, but the simple one is that you use it
>>to alternate between variations of the same note. That avoids the
>>unnatural machine gun effect.
> 
> 
> What if you're sampling machine guns?

Don't stand in front of it.


-- 
Pete Thomas
www.petethomas.co.uk
- Free Logic Icons, Environments and EXS Instruments

At 08:28 PM 6/29/2005 +0100, you wrote:
>Garth Hjelte wrote:
> > At 09:34 AM 6/29/2005 -0700, you wrote:
> >
> >
> >>>>Well I don't understand the meaning of "round robin"
> >>
> >>You got a lot of great answers, but the simple one is that you use it
> >>to alternate between variations of the same note. That avoids the
> >>unnatural machine gun effect.
> >
> >
> > What if you're sampling machine guns?
>
>Don't stand in front of it.

=) But that's the best mic positioning, otherwise it's too "boomy".

Garth Hjelte
Sampler User

Garth Hjelte wrote:
> At 08:28 PM 6/29/2005 +0100, you wrote:
> 
>>Garth Hjelte wrote:
>>
>>>At 09:34 AM 6/29/2005 -0700, you wrote:
>>>
>>>
>>>
>>>>>>Well I don't understand the meaning of "round robin"
>>>>
>>>>You got a lot of great answers, but the simple one is that you use it
>>>>to alternate between variations of the same note. That avoids the
>>>>unnatural machine gun effect.
>>>
>>>
>>>What if you're sampling machine guns?
>>
>>Don't stand in front of it.
> 
> 
> =) But that's the best mic positioning, otherwise it's too "boomy".
> 

Brings a new meaning to the phrase "proximity effect"


-- 
Pete Thomas
www.petethomas.co.uk
- Free Logic Icons, Environments and EXS Instruments

>>>> Well I don't understand the meaning of "round robin"
>>>>
>>
>> You got a lot of great answers, but the simple one is that you use it
>> to alternate between variations of the same note. That avoids the
>> unnatural machine gun effect.

Garth Hjelte wrote:

> What if you're sampling machine guns?

That's the *natural* machine gun effect. It's the unnatural one this  
feature is designed to avoid.

But more importantly, Garth, I really don't think you should be  
sampling without adult supervision. For example, I'll bet you weren't  
even aware of the correct mic positions for recording machine gun.  
You need one a few feet in front of the barrel and a miniature  
condenser inside it (wrapped in foam, of course).

Remember, samplers are serious tools for grown men and women with a  
hearty taste for adventure.



Nick Batzdorf, editor/publisher
Virtual Instruments magazine - the world of softsynths and samplers
www.Virtualinstrumentsmag.com
1-877 VImagzn (846-2496)
818/905-9101, cell 590-9101



[Non-text portions of this message have been removed]

Yes, great minds really do think alike.


Nick Batzdorf, editor/publisher
Virtual Instruments magazine - the world of softsynths and samplers
www.Virtualinstrumentsmag.com
1-877 VImagzn (846-2496)
818/905-9101, cell 590-9101