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Everything posted by U&I

  1. To say the Elektron octatrack has a deeper 'learning curve" would be the proverbial understatement of the century. "Cheap and dummy proof" don't come to mind either. it will seriously mangle crap in ways that defy belief - I love mine but 6 months in and I still scratch my head some days and i've been using lectronic hardware for over 20 years now.
  2. Less than 3 months old - bought at MoogAudio Toronto for $599+Tax Excellent Condition - never gigged Prefer sale in Canada / USA but will ship overseas. Original box / manuals / psu - buyer pays shipping and paypal fees $425
  3. Nord Modular G1 - keyboard or rack in excellent condition with 3.03 editor compatibility in Windows XP Pro (Clavia Editor) - either expanded on non expanded.
  4. Pulling the sale - I've had to many scammers, schemers and an overall bad experience with the MPC so I am taking it off the market for now.
  5. One thing I will say is the Mic preamps are super quiet on this sound card - ridiculously so and I can't complain about mine (it works as advertised this end and sounds quite good indeed.
  6. Originally Posted by PoorOrca I just got my Phonic 808 Universal, But it doesn't connect to my computer. The blue light comes on, but my computer doesn't see anything. Happens to both firewire and usb on my new imac. Any Suggestions? What OS are you using ? Mine works fine in 64BIT Mode on 10.7.2 (just so you know). Make sure you have the switch on the back moved over to Firewire and open Audio/Midi Preference (in Utilities) to make sure Core Audio knows it is there.
  7. Originally Posted by Anderton Let me chime in here...extremely fast compressor attacks will be an issue with some program material. This is because with short enough attacks, the compression actually tracks the waveform. 1ms is 1kHz and 10ms is 100Hz, so with 8ms, waveforms around 200Hz will trigger the compressor, almost like a ring modulator effect. The usual "fix" is to lengthen the decay time so the trigger's decay is long enough to mask the rapid response, or to set an attack time longer than the period of the lowest anticipated waveform. Some would argue that one could abuse such an anomaly as an effect in itself - I know I would if it sounded appropriate to the material I was working on .
  8. Pleased to announce that I upgraded to OSX Lion today, beta testing product (P) and it all works very well over firewire in 64 bit mode .....lovely .
  9. But the question is, what is saved and where when you use a tone for the percussion/solo part? It's clear that you can save controller settings for a SN acoustic sound as part of a live set, but where are the controller settings saved if you want to use that same acoustic sound for the solo part? The solo/percussion part doesn't use live sets. Does it mean that I have to program the controller settings for the solo/percussion part as part of the registration? That would mean that you have to do the same work over and over again, whenever you create a new registration and use a tone for those two parts. We're not talking about how it sounds but what the keyboard can do and whether it delivers what a live performer may need or not. I don't need to spend any time in front of the keyboard to find out what it can and what it cannot do. I would personally disagree, that said you're entitled to that opinion. It is however clearly geared toward being a performance keyboard with highly nuanced expression and articulation. On that front it certainly does not disappoint. If i might just add I don't think any of the video's bar perhaps the one by Howard Jones, really doing it justice (for what it's worth).
  10. I am by no means a Roland fan boy, but seriously how many of you have actually used one for several hours or more at least ? I got to spend a good 5 hours with one the other day and the sound quality is universally superb, especially on the hybrid synthetic/modelled sound patches. The articulation and voice phrasing is stunning to say the least, especially on things like trumpet, flugelhorn, flute, strings and hybrid combinations. The filter is markedly digital but can have some nice Oberheim like brassy honk where needed. Beautifully constructed, with a solid feel and fantastic keybed I might add. Having tried the Motif XS, Korg M3 and FantomG, I'd easily take this over the rest and just track played performances into a daw. Easily their best keyboard since the V-Synth by a country mile and really shouldn't be looked at as either a bog standard rompler or va, as the hybrid patches on this thing are IMHO really where it's at. And what it does it does damn well. Just for the record my gear list is a mixed bag - Electribe EMX & ESX, Korg Prophecy, Alesis QS8.1 (with Vintage Keys and Vintage Synth Q cards), Akai MPC2500, Kurzweil K1000PX, Roland S550Rack, Roland D550 rack (with several voice cards) and a JD990 Expanded and an E-Mu UltraProteus . My only daw and virtual instruments I use are the Reason Record Duo ( 1.5/5.0) and a 3rd party audio editor. The only other synth I have enjoyed this much in years from an outright playing view point was the Korg Oasys ( had a deal on one this year for a steal but do not have the studio space ). Really we would have killed for digital synths of this calibre several years ago and it is a synth as opposed to a workstation. It certainly would NOT replace anything I have (the Oasys could have replaced most of it IMHO) but it would definitely complement and enhance my sonic palette immeasurably. Really quite a nice keyboard IMHO. Superb sound.
  11. Originally Posted by zeppy3 Hey guys, I just got the firefly 2 days ago. I only have a mac so I am using the firewire. I installed the mixer as instructed and plugged in and powered on the device. The Audio/midi setup menu does not detect the device, and the Apple System Profiler only detectsp an 'unknown device'. The phonic mixer software doesn't detect the firefly either. Help would be appreciated, Check the switch on the back of the device. It ships set default to USB and not Firewire - I had similar problems with mine and felt like an idiot for not realizing the unit itself was not set too Firewire connection. Power down everything, restart you Mac and make sure the Firefly is switched to FW connection on it's rear panel first. If that doesn't work, repair permissions and repeat (which fixed the issue for me). Let me know how you go.
  12. Just got a great deal on an MPC2500 with expanded RAM - so not looking anymore thanks
  13. Decided on either an MPC4000 or a 2500 Fully optioned for the amount of hardware I'm using after a bit of testing and extra research, so if anyone has one for sale let me know. Thanks to Miguel for the offer on the 909 but I need more midi channels and out's than I'd get on the 909 out of the box.
  14. Having now had a chance to demo a unit I have a few things to add. Keyboard feel is light but springy enough to be useful and everything is rather aesthetically pleasing on the eye. Great selection of on board sounds which can in all honesty be tweaked quite extensively via the front panel modulation knobs and soft buttons - quite often far enough from the original to be useful (within context away from the editor). Strong points for me are the tonal character, when it's rude it's beautifully and brutally rude, but can also sound wonderfully smooth an silky if needs be and it has a great bottom end presence I might add. Highlight are the FM, Sync, Ring Mod sounds IMHO which where all fantastic. Don't know if some of you would view this as a compliment but certain sounds where not too dissimilar (IMHO) too the Kawai K4R when employing AM and filters routed in series - anybody who has used a K4 will know what I mean about the super gnarly quality of the filter at times - one of the things that endeared me to it for so many years. Anyway, my biggest gripe was the lack of after touch at all on the keyboard and a hug omission by AVID (once again IMHO). So many of these sounds where screaming for after touch as a mod source when just outright playing that it really felt to be lacking as a feature on a performance synth with this sort of sonic character. By no means a deal breaker, but there where times when things like FM depth, fx modulations etc etc (yes I could go on) could have been fantastically deployed with an adept and judicious use of after touch for that extra wow factor when playing the unit itself.
  15. So have you sold it and/or are you willing to sell the sound cards separately ?
  16. This synth is going to make one lucky classic Roland D50 enthusiast very happy. Nice complete package, over all in excellent condition, especially considering its age, with minimal, very minor cosmetic marks. Fully functioning and very clean. All keys play, all buttons, display and sliders work. Comes with 9 very rare sound cards as pictured, also all working and a great addition to this synth. $600 US or best offer. Very unlikely to find one in this nice condition together with this many sound cards. Local pick up (cash or Paypal) or with ship to a Paypal verified address. I'd rather not ship international but may consider a buyer with solid credentials (ie high Ebay ratings). I am a trusted Ebay member with 270 positive ratings at 100%. Paypal and Ebay verified as well. Thanks for looking! Please don't hesitate to ask any questions. I own a D550 - how much for the voice cards (or are you only willing to part with the bundle) ?
  17. As the thread title says - Will consider the following instead if the price is right 1.QY700 2.MPC2000XL or 2500 with JJOS and expanded Memory 3.Older MPC if in Good Condition 4.RS7000 - would be used as a sequencer only Will also seriously consider and EMU Command Station in Excellent Condition (preferably a PX-7) doesn't need extra roms as I have an Ultraproteus and Morpheus already. Located in Toronto till August then back in Oz and back permanently in Toronto early next year - prefer a purchase in Toronto if possible. PM me here Cheers.
  18. Originally Posted by Anderton Okay, so I got a little out of control. I started doing audio examples, and then thought it would be cool to play it back from YouTube, but then I needed to have some eye candy...so here we are. In 7 minutes and 49 seconds, you'll find out why I'm loving this synthesizer more and more. The example are just one Venom using Multis - no overdubs. If your idea of the apex of music is James Taylor, you may run away screaming. But if you like electro, industrial, Kraftwerk, NIN, etc., I think this is going to rock your world. BTW - do yourself a favor and listen over decent speakers, there's some pretty pumping bass in there. I could see this being used in everything from Dub, to TechHouse, Ambient, Electro, D'n'B, Dubstep, Grime and IDM and several styles in between - the bass is meaty enough for a rampaging Goa work out also. Sounds rather good, I quite like the tonal character myself. Would really contrast nicely with my Prophecy and Ultraproteus for example.
  19. Originally Posted by Anderton Update: I've recorded some short musical examples of playing multi patches, which seemed like a good way to introduce the multi aspect of Venom. I'll edit and convert to MP3 later today (Tuesday) so I can post them. Looking forward to hearing the results Craig
  20. Great stuff Craig. Very informative to boot .
  21. Originally Posted by Anderton There are four LFOs – 3 general-purpose, and one dedicated to amplitude/panning. All of them offer Sync to Tempo and Rate controls, as they should The choice of waveforms for the first three will delight a synth tweaker’s heart: Sine Sine (unipolar, alternates between 0 and positive values) Triangle Sawtooth Square Sample and Hold Linear Sample and Hold Log Sample and Hold Exponential Square Log Square Log Up Sawtooth Exponential Up Sawtooth If you’re used to “triangle and sawtooth,” some of these waveforms may be unfamiliar. So, look at the screen shot... LFO 1 shows the log version of the sawtooth wave. You can see that the rising ramp, instead of being linear, is concave. LFO 2 shows an exponential sawtooth, where the ramp is convex. LFO 3 shows the characteristic, standard sample & hold waveform; the linear version replaces the straight up-and-down changes with linear ramps (like the difference between a square wave and a triangle wave). The log sample & hold replaces the linear ramps with curved ones. LFO 4 is more conventional, as you can see by the choice of waveforms. LFOs 1 and 2 have Delay (sets the amount of time after key-down before the LFO kicks in), Attack (fades in the LFO, starting at key-down), and Start Phase, which varies from 0 to 359 degrees. If you’re not familiar with this concept, it allows for effects like setting two LFOs for the same waveform, but 180 degrees out of phase, so the two control signals can make their assigned parameters move “oppositely.” LFO 3 lacks these options, acting more like a standard LFO with its single Rate control. There’s a not-so-obvious difference among the LFOs: LFO 3 applies the same waveform across all keys, like the vibrato on old combo organs. LFOs 1 and 2 are polyphonic, i.e., they calculate the waveform independently for each key you trigger. Note that with the amplitude modulation LFO, tremolo and auto pan are available simultaneously, and driven by the same LFO waveform and frequency. Also note that the LFOs have their own row of performance controls: LFO 1 and LFO 2 rate, and LFO 2 shape. The latter is not a duty cycle control, but selects among the various waveforms. Of course pretty much everything can be controlled by MIDI continuous controller messages as well. The Glide Time and Glide On/Off controls relate to Portamento, and don’t have anything to do with the LFOs. And that’s it for the LFO section, although of course the LFOs, like other modulation sources, work in tandem with a modulation matrix that we’ll describe later. Looking good so far . The Mod Matrix will be the thing I am most eager to view.
  22. Originally Posted by Anderton I think E-Mu really set the standard years ago with their Z-Plane filters - now that was some collection. What was it, 50 different filter types? That said, I was hoping for more filter options but for dual filters, remember that we haven't gotten into Multi mode yet. You can use Multi to have four different things going on at once, but you can also use it to create more complex "single" patches. I would say that if Taiho had come to me and said "Hey Craig, we only have so much space left in the ROM. You can have 20 different filter types and no sync/ring mod/FM, or six filters but then you'd have sync, FM, and ring mod. It's up to you." Well, you know which one I'd take But I would ask for a phase reverse switch in the filter path so I could duplicate patches in two slots of a multi and do weirdnesses. Anyway, back to the review but even with just what I know so far, this is a sweet piece o' gear, especially for the bucks. A lot of that is because this instrument has a personality, just as guitars have their own personalities. It does NOT seem like it was designed by looking through a DSP manufacturer's cookbook I agree on that front - I'd rather sacrifice the filter types for Sync, Ringmod and FM. The LFO list looks pretty comprehensive. Are they audio rate LFO's and can one LFO Modulate another. If I might add I own an EMU Ultraproteus - which has filters up the wazoo and then some so I am more than covered on that front and it looks like one could use Venom as an Audio Processor too which is a bonus right there. Basically my set up is Reason + Record, EMu Ultraproteus, Electribes EMX & ESX with an Analog Solutions Telemark and a Korg Prophecy - I quite like the tonal footprint of the Venom and it definitely adds a certain something I don't have right about now. Though I am eyeing off the Sequentix Cirklon as a worthy edition but quite like some of the features on the Tenori On also. That said I have had massive gear bloat before and am mindful of what it is I really need for the sort of music I write.
  23. Originally Posted by Anderton The filter has a Prefilter boost so you can overload it, and it can also self-oscillate (I love this kind of thing...I was always the type of guy who cranked up the gain on rotating speaker preamps). The six filter types are: Lowpass 12dB/octave Bandpass 12dB/octave Highpass 12dB/octave Lowpass 24dB/octave Bandpass 24dB/octave Highpass 24dB/octave This isn't particularly adventurous; there's no notch response, comb filtering, etc. It looks to me like the design philosophy behind timbre changes was to rely more on sync, ring modulation, distortion, effects, etc. than filtering per se. Quite surprised by that filter list - thought it might have had at the very least notch and comb modes or a couple of dual filter modes (ala MS20 styled filters or the wonderful dual filters on some Yamaha products) and a formant filter. By no means a deal breaker this as it does had ring mod, sync etc but they would add to the overall sonic palette available. Looking forward to more of this review as the synth does look very tempting and great value for money none the less.
  24. Originally Posted by rsummers Thank you Grant. On a separate note, I do appreciate that it's Core audio compliant on a Mac without the need for a driver install. U&I, I agree that in Firewire mode this is much more stable overall. It isn't even comparable to USB mode. I've been checking out Reason and Ableton with multiple outs and it seems pretty solid. I'm working through a PT9 error at the moment that I don't believe is firefly related. Can you confirm anything about the MIDI I/O being active? I know most people now use USB controllers and it's not a noticeable thing. I regularly use two firewire drives for 1) Recording/production playback and 2) sample libraries (Kontakt, etc). I have them in this Oyen Digital housing - http://oyendigital.com/hard-drives/store/RS-S2TJ.html - which has been very stable. It is designed for RAID config which I haven't formatted yet and still use it as two separate drives, but they mount together which is great. I plan on using the firefly as a two device setup recording up to 32 inputs, with 16 at the least. When tracking in 100+ track sessions in Pro Tools, I'm hesitant to challenge the bandwidth consistently, even though it's technically there. Every firewire interface performs differently with respect to the bandwidth it reserves. The control panel with Firewire in ADAT mode does not show the ADAT channels. It appears to stay in 2 channel optical SPDIF monitoring or something. To add a note regarding the USB use - it's interesting that when simply in Finder auditioning files, the internal clock of the firefly seems to reset with the que of each file and misses the initial second of playback. There aren't just bugs with regard to port recognition. The clock isn't dependable - again, a firmware issue. [ATTACH=CONFIG]331724[/ATTACH] The Midi is functioning via Firewire connection this end (need the firmware update for USB to be happening / which i haven't done as I use an MPD32 for midi duties + a controller by in large). That said I haven't tried ADAT connections either but the unit works better for me in 24/88.2 or 24/96 - I usually settle on 88.2 and has been pretty solid with Reason & Record when working this way.
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