Xpantastic!

Hey there PeWe,

I have a Marshall M9000 Tube preamp that I run stuff through. It has 
three tubes + an EQ. Now I normally shy away from guitar FX because 
of the limited bandwith but this guy can make things absolutly 
raunchy to get get that stepenwolf / deep purple kind of sound. 

I saw weather report once, Wayne and Joko were there also. Joe was 
one of the greats no-dobt.

In my book there are two kinds of Keyboards- Ones which are good in 
the studio And ones that sound good with a band. The M12 / Expander ( 
and other analogs) do both pretty well. I think the hi-poly digital 
junk works in the studio because the player is all by himself 
(usually has too much verb on it) and he can balance and sonicly 
tweak everything. Im sure you know that on stage with a band your 
always fighting for sonic space with guitar players. You need an in 
your face keyboard which can compete. Often when I listen to a 
recorded keyboard track all by itself It may sound awful. But mixed 
with Guitar/Bass/Drum everything sounds great. My V-Synth is cool and 
does some amazing things but with a band it seems to always be 
lacking. BTW Roland fixed that switching between complex patches with 
the FX on with the V-synth. When you change patches Your last delays 
and echo will still finish out. 

I have tweaked up some amazingly thick sounds on my M1000.  I'm gonna 
have to make some MP3's and show everybody. 

Yeah, I kept thinking the same thing about the VIRUS TI, It has 20 
bits on the output DAC which helps the headroom issue.  But be 
warned, after binging on my Clasic VI for a few weeks, everything in 
it sounds all sprongy like a bunch of springs and I care less for it 
then when I bought it. 

The guitar player thing was just me joking around.  Years ago this 
happened to me and he ruined my Crumar Toccata.  ( they will never 
find the body )

Please excuse my ignorance but what does schrieb mean?


Karl


--- In xpantastic@yahoogroups.com, PeWe <ha-pewe@...> wrote:
>
> Hi Karl !
> 
> Well, up to now I do organ sounds w/ synths too and use a Chandler 
Tube 
> Driver 19", Rocktron300A compressor and Dynacord DLS 223 ( upgraded 
to 
> DLS300) for overdrive and Leslie sim. It´s not comparable to any 
> original Hammond/Leslie setup, but pretty small and agressive. I 
also 
> had a Dynacord CLS222 in the past as also a Korg CX3 ...
> 
> Because I´m a keyboardist and not a traditonal piano player, I ever 
> liked to tweak and program w/ resulting in a more personel sound, 
not 
> immitating natural instruments to a perfection.
> Joe Zawinul did impressing string arrangements w/ unperfect 
synthesized 
> string sounds of SCI Prophets as also did Lyle Mays w/ Pat Metheny. 
So,- 
> the voicing makes the music, not the instrument itself.
> 
> For the future :
> Be careful w/ that posing fools,- no serious musician is drunk on 
stage 
> and carries his drinks around between all the gear.
> For the very stupid ones don´t miss to put white gaffer tape 
strips - 
> "No Drinks On Gear"- on every rack, console and so on ..., hire a 
husky 
> personel tech/crewguy to watch over your gear or break the posers 
> guitar-neck and annonce to discuss about his own neck later.
> 
> Hmmm, the Virus TI keyboard,- it´s so good looking, has wheels 
(!!!), 
> has a very functional and clear layout of the panel and has so much 
> great features,- I often had in mind "that´s it" ...
> But w/ all these hi-polyphony modern DSP machines it is the same,- 
> switch off the FX  and layers and you´ll be disappointed by the 
tone.
> The disappointment w/ a tone for me just starts if a synth has DCOs 
> instead of VCOs, so I had this happen also w/ a Jupiter 6, 
Prophet600 
> and I´m also slightly disappointed w/ the tone of a Matrix 6 or 
1000,- 
> these are additional toys for me and a MKS70, which has DCOs too, 
for me 
> is a great pad synth only, but this is what this machine does 
perfect.
> 
> I have exactly 3 synths which don´t need any layering,- Minimoog, 
> Xpander and MKS80 w/ Curtis CEM,- just put a little room on ´em and 
you 
> go for leads, sidelines and pads. Keep ´em dry for the basses.
> Polyphony:
> Every serious musician w/ music theory background knows you can 
> demonstrate each existing chord w/ 4 voices only,- this is how a 
string 
> quartet works and why Oberheim 4-Voice synths w/ SEMs worked pretty 
well 
> in the past. So,- w/ a great sounding instrument, you´ll never need 
128 
> voices at all.
> 
> Hi polyphony is neccessary if someone needs to get all of the 
sounds, he 
> needs for a performance of one tune, out of one machine 
simultaneously.
> O.k., there might be players who need that, but then it must be a 
> machine with great headroom because 128 voices are significantly 
louder 
> than 6, 8, 12, 16 or 64 maybe ...
> 
> Next prob which comes up w/ all these complex hi polyphony, multi 
> layering, insert FX, global FX, mastering FX machines is:
> Switching these complex performance patches fast during a live 
> performance and within tunes without cutting FX and voices,- 
impossible. 
> All promise, no satisfies.
> 
> Depending on sound quality of digital instruments, there are more 
> problems,- p.ex. the multiplexing regarding master outputs and add. 
> single outputs,- most instruments have no separate DACs for the 
single 
> outs. Remember the AKAI samplers, only a S1100 has separate Burr 
Brown 
> DACs for it´s single outputs each.
> 
> Or a limit to 16Bits/44.1k, which might be satisfying w/ only one 
patch 
> but not w/ a layer of 4 or 8 patches where all the patches in a 
> split/layer configuration have to part the 16 available bits which 
> reduces headroom for each patch dramatically.
> 
> Regarding my name,- no I´m not Karl. PeWe is my regular nickname in 
real 
> life, not only for the mails.
> But there were mails mixed up here before ...
> 
> EMS VCS3,- if you probably are a NI Reaktor user,- you´ll find it 
in the 
> NI Reaktor user library for free and w/ great functionality.
> It´s called "synth in a case" (SIAC) there ...
> 
> Peter the Gun
> 
>