Arturia Forums
Harware Legacy versions => Origin => General Discussion on Origin => Topic started by: kidharpoon on January 31, 2011, 06:48:45 pm
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Are there any dates in place for the future updates? Does anyone know when we should have all the templates, and the rest of the modules/features?
I'm considering selling my Origin to buy a Virus TI, then possibly buying one again 2nd hand when its fully updated with all templates...etc
I'm a bit freaked out that an Arturia programmer said the updates are taking so long as there's not enough money to fund quicker development. If this thing stops developing it won't be worth near what I paid for it, and I'd have only gotten half of what I thought I was buying. Its kind of weird that its not bringing them in much money, seeing as Origin orders are backed up by months. Its obviously selling.
I kind of wish they'd have fully developed the features before releasing it. Waiting a few years for all the updates is way too long. I know there are reasons/excuses given by the company, but that really is no help to someone who's shelled out around $2000.
Want to be clear that I'm not attacking the programmers/developers who work hard and communicate with us here on the forum, but I think its a shame that such a new product has already seemingly fallen down the pecking order of priority if this is the case.
Either way, I think the communication from Arturia (Niccolo and forum folk excluded) has been very poor, and I don't doubt that a lot of us would feel better if there was more news on all the updates. Maybe they could just put a short term team together, knuckle down and finish this thing in a couple of months leaving us happy, and them free to work on new products.
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I'm considering selling my Origin too. The 1.3 update will arrive 2 months later, and the next firmware update in about 6 months or more...and the complete list of features probably in 3 years (considering the are focussing now in Spark)? I think is very urgent for we (customers) an updated milestones document. We are waiting promised features, not new features...
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Funny thing; now when everybody is selling their units, I am going to get it back... :-\
I had my unit for about two months and about one month it was under repair and they could not fix it. I had terrible problems with those knobs; all of them breaking up one by one.
Anyway I decided to give it a new chance; I re-ordered it from the seller which gives me 30 days money back guarantee and 3 years warranty. So basically I want to see how it is really made. Reason to go back to this Machine again is because of two things: First, I love the sound of it. It fits perfectly to my setup. Second, I already put 300 euros for its hard case and stand. So without Origin there's no use for them. Maybe I am also kind of a masochist. ;)
And to be honest, I can see that there's not that much competition on the field of polyphonic/multitimbral analog modeling synths/modules. I thought quite long time about buying Virus TI instead but still I wanted to check Origin one more time.
Obout those updates: For me it's amazing if they do not develop it even harder because they just released the keyboard version, which is quite well recognized in the media and it has its own website (with marketin clowns like mr.Rudess) etc. etc. ???
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If this thing stops developing it won't be worth near what I paid for it, and I'd have only gotten half of what I thought I was buying.
Pardon me for not understanding you guys, but I just flat out don't get it.
What did you think you were buying? What is it lacking that keep it from being worth US $2000 plus?
I can see shortcomings. The volume is too low. A few units are unreliable. The effects are about at the stomp box level.
Is it new modules? I would definitely love to see something in that regard. A Prophet 5 oscillator and filter ported from their soft synth would be outstanding additions to the module arsenal. I'd also love to see something show up on the Origin first to make it even more desirable, such as an Oberheim SEM oscillator and filter, and pieces of the OB-Xa and Matrix 12. Then when hype has been built, Arturia could sell the Oberheim V softsynth.
Is it the templates? EVERYONE keeps bringing those things up as the main reason the Origin is suddenly useless to them. I'm frankly stunned at that. The only template it really needs to have is the CS-80. Every other instrument can be made in the Origin. Yes, it's a little tedious, but it's not hard. Make five or ten patches, and you have templates of your very own, with no need to wait for Arturia to make a cute graphic for you.
Honestly, while I love my Virus KC and will never sell it, the Origin is my go-to synth which makes me forget it. It not just sounds better, it sounds analog. The only other VA which gets turned on besides The O is my KORG Radias. These two units cover just about everything I need to do but six operator FM, and I intend to get a KORG KRONOS to cover that. And while the KRONOS has some excellent synth models in it, the Origin will most likely be the first unit I resort to when I want to make killer patches for the foreseeable future. Even if I never see the Oberheim modules or CS-80 template. ;)
Don't get me wrong, I'd love to see more modules and templates produced for it. But acting like it's a dead box because some new goody isn't made for it every three or four months is just brain dead. Now, either you guys tricked yourselves into buying something which was of no use, and for no apparent reason, you held onto it for months and years while it gathered dust.
OR, you've been using it all this time to great effect, and have simply grown spoiled and used to it, so perhaps its only sin it has is it's not new anymore.
As for me, I'm still blown away every time I create an instrument on it, and still haven't downloaded the latest update because, to be honest, the Jupiter is my least favorite instrument in it.
Sell it and buy a Virus, it's a free world. But I bet you miss it in a few days or less.
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I also think it's time for a new stable update now, a real update and not version xx of a beta, I even install them anymore, anytime there's something wrong. I lost the fun of installing them.......but I still like my Origin very much, the sound and the layout are superb!
But come guys....give us 1.3 and asap 1.5, make your promises real!
Gr.
Syndromeda
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synthguy99: What your saying here makes sense, but what you fail to understand is that different people work differently and need different things from a machine.
For me personally, I am a professional songwriter and producer, and I often need something very instant, which the templates are handy for. Patching together or creating new and interesting things is a load of fun, and the origin is more than capable right now, but that's not the only thing I need from it. Templates for me are not just a "goody" they're a consumer need, and I'm not the only one who feels like this.
I bought it with the idea that the templates would be quick and easy, but that it also has deep functionality and modular capabilities for when I get some time to myself. I'm not saying its an empty box, but its not delivered on all the necessary fronts.
You imply that people are lame/lazy for using templates, and this happens on a lot of synth forums about things like presets, and I just don't buy it. Its snobbery and ignorance. I know of huge artists who have used presets in their biggest tunes, and I don't see using templates as a cop out either. The fact is, its all about creative workflow and how you need to use the thing. Templates will speed things up for those of us who need to work quickly, and I'm not ashamed that I bought it with them in mind.
Besides that, the fact is, I bought something that's incomplete and there's no sign of delivery on what I need. Its like buying a chicken mayo sandwich and waiting for the mayo. I wouldn't buy a chicken sandwich with no mayo if I'd have known in the first place.
To me, this makes total sense and I hope you understand. Whilst I am using the Origin, and have found a place for it with my workarounds. I feel that for 2000 EURO (not Dollars) workarounds are unacceptable, and if I find a quicker way of doing things it may just fade out of use which would be a shame.
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kidharpoon, I understand what you're saying. But I have a feeling that what I said completely escaped you.
First, on the chicken sandwich analogy. I find chicken sandwiches to be rather tasty but mundane. Let's go for an analogy which is a little more apropos, because frankly, the only thing which I can compare the Origin to is a Nord Modular, Sonic-core Solaris, Kurzweil or the upcoming KORG KRONOS - yes, all caps evidently, like OASYS. How about a Ferrari?
They're awesome cars, but most don't even have air conditioning, which just about every car since the 70s had. Does that make it worthless, especially if you wanted a cushy, luxury ride like a Lexus or Mercedes-Benz? Yes. But, if your goal is to throw a car around turns like a LeMans prototype, those other two makes just won't cut it.
On templates: I hope you all realize something. The templates you want are a little different from what you can make in the Origin by dragging in modules from the list. I assume they're optimized a bit so they use less code than the equivalent we'd build ourselves. The obvious example is the CS-80 I keep bringing up, because you can't quite make one without hitting the CPU limit, so you have to cut some corners and leave stuff off. The template should run well and offer every feature the CS-80 V softsynth does.
However, the templates out now such as the Jupiter 8, as well as those to come like the ARP 2600, can be made easily with the existing modules. In fact, the JP-8 and MiniMg can be improved by scratch building and then adding new modules. The MiniMg was sometimes linked to an ARP synth or Oberheim SEM, and you can do this with the ARP and Origin modules.
And this brings me to another point. When you build a patch using Origin modules, you aren't just making patches, you're building instruments. Surely you guys can't be so utterly strapped for time that you can't spend a day here or there making patches with these modules, even generic placeholder patches? When you do, you have a... wait for it...
TEMPLATE!
Make as many as you want. Open one of the patch/templates you made, tweak it, perhaps change a module or add a couple, and save it to a new location!
Guys, this should be obvious. ;) Yes, I very much want the CS-80, but THIS is why I bought the Origin, so I could create a number of synthesizers which can only exist in The O. Making a Jupiter or ARP 2600 from scratch just takes fifteen minutes or so, and then, voila! But just about all my time is spent going beyond those vintage lovelies to make modular synths of my own creation, and seeing how close I can get to Prophets and Oberheims. And surprisingly, I can get very close.
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What would you think of a library of pre-wired modular - that is without a specific GUI - templates instead (or side by side with) the full recreation templates?
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Looks good and would be a great help instead of starting from scratch.
But please....make this come true.....and not in 2 years, it really is time to give us a new stable update (as 1.2.5 is very stable).
Regards,
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A library of pre-wired "templates" would be a great idea. I keep forgetting that some people just don't grasp how to hook all these fancy synth blocks together. It is tedious and a little time consuming to do this by hand, so maybe the programming team could think of a few combos like a Mg 55, a baby CS-80, an ARP "Chroma", an "Oberheim Matrix-12", "Prophet T-8" etc. I'd especially like to see someone's version of a CS-80, to see if mine can be improved.
And people, just to reiterate, each patch in the Origin is a separate instrument, and therefore is a de facto template. Spend a little time opening each patch up in the editor and seeing how they're wired together. Especially those that you like the sounds of. When you grasp what the programmer has done, you can use it as an example to make your own, maybe simpler so you can have more polyphony. Or maybe added to for an even bigger, more complex sound.
I'm crazy busy lately, so I can't spend as much time on music these days, but I'm hoping to get some free time in a few weeks. Maybe I could whip up some examples and post them.
And by the way, I've been known to use some presets in my music as well. I just prefer to roll my own most of the time. ;)
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Synthguy: I totally get that Origin is for building new instruments, but when I'm in the middle of a track and I need a certain sound, I don't want to have to build an instrument and then find the sound within it. Normally I think, "my Prophet 08 can get what I want" or "my Voyager can get that". With the Origin I've not got that yet, apart from using the Mg and J8 Templates.
I concede that this is most likely because I'm not an expert synthesist, and as my knowledge expands so will my use of the deeper functions within Origin. That goes without saying, but I did buy it with the Templates in mind for work, with an eye on using the modular capabilities to expand my knowledge in my spare time. So for me, the Templates are the starting block, whereas for you they're probably not necessary.
Either way, I know I would really get the most out of the Origin from them, and I think a lot of people feel the same.
Phil: A library of Pre-Wired Modulars could be really useful. Especially if people like SynthGuy here can come up with a few not so obvious combos.
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kid H, I concede your point. Although, I have to say that if you have a Prophet and Voyager handy, as well as any other analogs, not only should you be including them in your music anyway, I'm also extremely jealous! ;D
Anyhow, maybe it would be a good idea to request some template types in here. I have been wanting to whip up something new and interesting on The O, so maybe this would be a good excuse to fire it up again, and update.
I have a feeling that this will turn into a "Can you get this sound?" thread. If it does, you'll have to be patient as well as very specific. Edit: and not wait for me, I'm way busy. And I hope you guys understand that if you want a "piano pad" patch from a Chicago song, what you need is a rompler like a KORG M3 or Kurzweil PC3. But as far as template types, I can think of a few good examples:
- ARP Odyssey, 2600 and Chroma
- Prophet 5, 10, T8, 08 and VS
- Oberheim 8 Voice, OB-Xa and Matrix-12
- PolyMg (maybe?) and MemoryMg
- Yamaha CS-80, sort of
- Mg Modular
- Roland System 100 and 700
Any other suggestions? Like a modular with "x" number of oscillators and "y" filters and types?
Edit again: I've been fiddling with the Origin quite a bit lately and scribbling notes for some "template" patches. These aren't going to be killer must-haves, but decent patches useful in a few musical contexts. Mostly, they're going to be starting points based on a few synthesizer archetypes to use in creating your own patches like I mentioned above. I've forgotten just how darn fun it is to play with this thing, and it's going to be a while. But someday not too long from now I intend to upload my goodies and make a post about it. ;)
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I just thought I'd nudge this idea of a few "template" patches from the team. I'm going ahead with some programming of my own, and am making some basic instruments along the lines of my idea list above. These patches might sound a bit underwhelming, but the idea is to share some pre-made instruments along the lines of existing analogs, or just useful archetypes to use ready made to tweak on your own.
I would like to make a personal request for someone to make their own versions of the Yamaha CS-80, as this is an instrument type I want to use very much. And if someone can make one with 10 note polyphony or better, I'd be all over that! ;D
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Hey Synthguy, been trying to make an Arp Odyssey, so be good to see how you do it, and potentially how some of the Arturia guys would do it.
I think the idea of pre-wired user modulars (can someone come up with a neater thing to call it) is much more exciting than user patches, and could really develop the Origin community too.
I would upload my attempt at an Odyssey, but I've never used one and was going from what I'd read, plus my wiring's probably wrong so I'm gonna wait to see Synthguys.
Purely cosmetic, but possibly in the future (the very very distant future seeing how much we have to wait for) this someone could develop some sort of GUI creator. SO you can create a look/feel to your instrument too.
Just getting carried away here.
Synthguy - if you've got some ideas for module/wiring configs, post them up here, and maybe between us we can build them and start the User Instrument Library....
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Thanks for the encouragement, kidharpoon. ;D Sorry someone decided to smite you. And... prepare for a typical lengthy Synthguy essay...
For much of my synth life, I'd buy an instrument and spend many weeks ripping out preset patches and making my own, to really get to know it and see what I could get out of it. And just sitting down with a machine and seeing what it's capable of is a lot of fun. It helped that I didn't care for many of the patches the programmers made for it.
But things changed over the past decade. For one thing, synth makers spent the money to hire great programming teams, like KORG and Kurzweil, or hired out some big names in electronic music like Rick Wakeman or Herbie Hancock. Thus, the patches became much cooler, and harder to discard and ignore. Plus, I got to where I began programming mostly for the pieces I was composing. A part needed a unique sound I didn't have on hand, so I'd play around with them and create some. So I've kind of fallen out of the habit of programming for the sheer fun of it. I'm hoping this little project helps me rediscover my "groove."
I've tended to approach my programming in stages. In other words, rather than make a huge instrument which is more or less like the original as a whole, I'v e been doing patches which are a bit more restricted to those most useful to the type of sounds being programmed for.
So for instance with the Odyssey, I include all the useful modules: the LFO, the S/H module, the oscillators, the dual filters, the envelope generators - though I use two full ADSRs in my patches. I leave off the ring modulator and perhaps something else. I'm making another "instrument" with the ring modulator to experiment with ring mod atonal sounds, because wiring it in and not using it has proven a bit too complicated. So specialized patches just for it is not just easier, but probably easier to work with.
In the case of "modularized" keyboards such as the ARP Chroma and Oberheim Matrix-12, where the patching is done through a wild maze of computer controlled junctions, it's proving a bit more complicated than I expected. Rather than being like the Odyssey or Jupiter 8, where the controllers like LFOs and envelopes can be routed all over the place, you can change the entire voice architecture in the machine, just like a modular synth. This is both very cool and daunting at the same time, because I'm not quite sure what to make out of all these parts!
I decided to start from scratch rather than pick a patch that sounds cool and close to what I was after. After all, I gave you guys some small heck over your reluctance to dive in and play with this box. And I found out that it's a lot more work than I remembered! But still, it's not hard when you get going for a bit.
A few tips: I approach things based on the sounds I'm making. Suppose I want to make a violin patch, which I did. Acoustic instruments like violins are played differently than the electronic stuff. A violinist will pull away from the root note for vibrato, and usually no more than a semitone. Plus, the vibrato made with their fingers is like a sinewave, while a triangle might sound a little better for electronic sounds. So when I set up an LFO to provide sine vibrato with key pressure, I also add in some of that pressure control to pull the pitch of the oscillators down with it, so that the peak of the sinewave puts the sound at the original pitch, perhaps just a bit over, and at the bottom of the sweep, it's no more than a semitone down. Slight vibrato works better than strong vibrato for acoustic sounds. You can also play with adding a bit of negative vibrato to the lowpass filter, as well as the output.
Guitar is the opposite, as guitarists push and stretch the strings with their fingers, causing the pitch to go up, except in the case of a "whammy bar," which I believe can go up or down in pitch.
Winds like flutes, oboes and saxes, as well as brass, are different yet. While there is some vibrato caused by their expressive playing, most of the tonal change comes from dulling the sound a bit in a tremolo. So what you actually want to do is add some negative sinewave to the lowpass filter, and a very slight amount to the oscillators. Again, perhaps a bit to the outputs as well. I tend to "play" my vibratos manually with the joystick or pitch wheel though, because that's how the actual player does it, and it sounds a bit more authentic.
Most all of these patches though are purely synthetic, with just a passing similarity to something "real," like synstrings and brass. Hopefully they will sound remotely inviting to encourage you guys to pop open the hood and see how they're made. And I'm going to make a BIG post about the details of these patches, going into the controllers I set up and how the patch responds to them. How I play them and thus why I built them the way I did. So you won't just get a bunch of patches, but a little programming lesson along with them. Cool, huh? ;)
And I'll say more about that "design philosophy" post in a day or so, how I would go about building a modular synth in the Origin.
Well, back at it I go.
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Awesome. Great stuff.
For me, I find some of the patching very confusing, and am not 100% confident I'm wiring things correctly.
I also find the LFO quite aggressive and as I tend to use it very subtely find I'm underconfident I'm patching correctly.
Any guidance on that most appreciated.
Another request from Arturia would be much more in depth video tutorials for those of us who aren't as knowledgable about the patchwork. I find the manual confusing, and generally rely on how my other synths are wired to guide me. Although I'm sure there are major flaws in the way I'm doing things.
For example: in my Odyssey patch I've got my ring mod patched up as such:
Audio Input: Osc 1 Audio
Output: to mini mixer (which also has the three oscillators into it)
After the mini mixer, its filter 1, filter 2 and output
For the Sample and Hold module, I've just got the output connected to Filter 1. I've found this produces some sort of sound that I can use, but I'm not sure its the standard patching. I can't seem to figure out what to patch the clock too.
The point being, I know this stuff is completely open to experimentation, but its a lot easier to have knowledge of the "standard" patching as a starting point.
I've read tons of modular tutorials, but finding it hard to translate to Origin.
You're helping me get a lot more out of this unit than the Manual, that's for sure. Some basic patching tips would be most welcome.
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...I also find the LFO quite aggressive and as I tend to use it very subtely find I'm underconfident I'm patching correctly.
Any guidance on that most appreciated. ...
You're not the first to wonder about that :)
The good news is that any modulation can be made as subtle as you wish. Check out this thread (http://www.arturia.com/evolution/smf/index.php?topic=3795.0) where that exact issue is being discussed. Hopefully this may provide the solution for you too.
DJ
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Cheers Dr.J, thats already my method. Just wasn't sure if that was the right method.
On my Prophet, the LFO starts at 0 and you work upwards, on the Origin its the opposite. Took me a while to figure out though, I thought it was my patching at first.
What I was saying before is that some in depth youtube tutorials on the origin would really help me use this with confidence. With the LFO thing, I thought that was my little workaround until you just mentioned it there and now I know that's definitely the way to do it and I must be on the right track.
For such a deep complex machine, there's a lack of explanation I find. If arturia could expand their video tutorials to be a bit more in depth, that would really help out. Not enough people seem to have this unit to have posted tutorials on Youtube yet.
I find the manual very confusing, and not that useful.
That's why I'm a regular on this forum I guess.
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^ I was also somewhat confused by the manual at one point, and I agree that it could be better. I assume that somewhere on the timeline there is a new manual. The latest one is already outdated by FW 1.3.
DJ
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Currently the manual is being updated in order to include explanations for the new features of the 1.3, the new one will be available soon on the website (within 1 or 2 weeks I guess).
Anyway I can answer directly about the Sample & Hold connections:
the way you connected it kidharpoon is OK: but if you don't connect anything to the input of the Sample & Hold then a default noise generator is used as the input (like on the ARP2600). So the effect you obtain is the same of what you get when using an LFO with a "RANDOM" waveform. It is more interesting to connect some signal (LFO, envelope...) to be sampled.
The "clock" output generates a series of periodic impulses that are used to sample the signal inside the Sample & Hold, but since there are no other modules that can be synced this output is not so useful for now.
About the "clock" input, generally you don't need to use it, since you already have the "rate" parameter. Anyway, if you don't want the sample & hold to have its own frequency, you can synchronize it to an LFO by connecting the LFO to the "clock input" with a Bipolar polarity. You can also do some more exotic things like connecting it to the Galaxy (the frequency of the sampler will be unstable), or even to the modulation wheel (with a Bipolar polarity) to control the opening of the sampler by hand! This can give interesting results.
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Thanks Niccolo, starting to make some really interesting patches with it now.
Sorry to ask a total dumb question, but I don't quite understand how polarity affects things (Bi-polar or Unipolar).
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Sorry to ask a total dumb question, but I don't quite understand how polarity affects things (Bi-polar or Unipolar).
An example can explain it better than a long explanation.
Suppose you want to apply a tremolo to an oscillator. You may want a tremolo which is applied around the basic tune, like when you move your finger on the neck of a violin. You may want instead to apply a tremolo similar to what you get on a guitar when you push the string up or down with your finger. I that case you can only increase the tension of the string and you get a tune which is always equal or above the basic tune.
The "polarity" attribute of a connection is there to emulate these different use cases. To obtain a tremolo around the basic tune set the polarity to "Bipolar", to obtain a guitar like tremolo set the polarity to "Unipolar".
There's something a little bit more tricky when using a polarity other than "Bipolar" and a connection gain not equal to 1.
Suppose you use a LFO to generate the tremolo. The LFO - like most of the modules - always generates a signal which is in the range -0.5, +0.5. Let's see what happens with different combination of polarity and gain.
- Bipolar and gain +1:
Then the signal applied at the input is in the range -0.5, +0.5.
- Bipolar and gain +0.5:
Then the signal applied at the input is in the range -0.25, +0.25.
- Unipolar and gain +1:
Then the signal applied at the input is in the range 0, +1.
- Unipolar and gain +0.5:
Then the signal applied at the input is *not* in the range +0.25, +0.75 but instead in the range 0,+0.5. This enables to correctly emulate the "guitar like" tremolo.
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Good grief... thank you Phil. I should have understood this. Either the manual didn't explain this well, or I scanned over it too quickly. I've been using up a mod source when I didn't have to! Unfortunately, my manual wandered off somewhere in this mess of a house and I've been working from memory. :P
By the way, I was wondering if you or anyone have decided to go through with creating some Arturia made "template" patches for us.
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By the way, I was wondering if you or anyone have decided to go through with creating some Arturia made "template" patches for us.
Not yet. Anyway I'm on the technical side so I have no power to make a decision regarding these points. What I can do - and I do it - is to forward your requests to "marketing" people who have the power to take one decision or another.
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I appreciate the good word, Phil. In my case, I made several instrument "templates" and about 50 patches so far. I still have a few to go.
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In my case, I made several instrument "templates" and about 50 patches so far. I still have a few to go.
Can't wait til you upload these bad boys!
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I'm going over the ones I've made so far and cutting back on things like velocity on synths which don't have that capacity. I'm cheating just a bit, and adding a touch of velocity expression on those patches too. Effects are used sparingly. All have a light reverb, some have a light chorus, a few a heavy chorus. I'm still puzzling over what to do with the ARP Chroma and Oberheim Matrix-12, since both are essentially modular synths with a slightly limited range of modules, but I'll poke at them this weekend and see what I can come up with.
Hopefully I'll have a nice big upload ready early next week, possibly sooner if I have a good run.
Edit: I'm thinking sooner, after all. Between fighting yet another cold/whatever and wanting to get this project wrapped up and posted, I'm also thinking that giving everyone a bunch of patches with each "instrument" may be the wrong idea. Besides the fact that synth patches really need to suit the music they're used in, I set out to do this with the intention of encouraging you guys to explore these "templates" and create your own sounds on them, as well as improve them where you see fit. So it may not be much longer before you see these patches. ;)
I'm also dropping the idea of creating a bunch of modular instruments, at least for now. I'm remembering that the whole point of modular synths is to cobble something together out of the many parts they offer to create a unique sound to suit a particular piece of music. And this is where I've been coming from in my sound creation the past few years. I'm not much good at making interesting patches that can fit a variety of material, so I'll revisit this subject another day. Besides, you guys hopefully realize that all these templates I'm making are actually modular synths.
I'm probably going to throw in a few patches that use the MiniMg and Jupiter templates for those who find these guys intimidating themselves. While all these patches are much like what you'd find when you poked buttons on these synths when they were on store racks, and thus are rather basic, hopefully they will be remotely useful, and good starting points to making your own sounds.
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Very cool.
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I may be jumping the gun on this, but it's not like several hundred pieces of software aren't released prematurely every year.
In other words, I'm going to leave a little gift on the Patches and Templates board right after I post this... ;)