I have been using SFP4Live performance for 16 months. This is the most awesome platform around. Symbollic Sound has a great forum and Carla usually responds to customers wishes eventually, but they do not have DP, or SDK for it's members. But hey John Paul Jones from Led Zeppilin is a member!
All I know is that I have added my favorite synths, FX, and custom made devices from members here at the Z, and I am still growing and buying things. I still wish someone could make a simple 8 track MIDI sequencer 4 me though. But anyone that says Scope is a dying platform should come hear my DAW's.
MYCCRANO,SHROOMZ,DJMICRON,DAS,ADERN,ZARG,ALFONSO,at0m,WOLF,SPACEF,CREAMWARE,and many others are constantly bringing us great stuff. SFP will never die as long as we support ourselves, which brings me up to another topic of discussion. I hope that ReD_MuZe charges a high price like BX did. When 3rd party guys give this stuff away 4 peanuts, there is no financial gain to speak of, 4 we are small in numbers. So when ReD_MuZe asks for a few hundred bucks, as he has more overhead, and expenses now, that nobody starts whining about the price. Unless of course you can do this work yourself. I suggest that a 300 USD asking price would cover our brotha's efforts, and an upgrade price of 175 to 200 USD should suffice. That will hopefully cover the costs, if not I will pay whatever is nescessary, as I firmly believe the future of SFP is in our hands, not Creamware's.
Now That I Kissed Some Serious Adern Ass, I Hope ReD_MuZe Will Give Me A Discount,
Flexor II Module Expectations
I will consider your suggestion when I recieve my annual ASCAP/BMI royalty check. It doesn't come from the original recording contract, but from the sounds of the seventies CD's which were numerous and surprisingly substantial at first. Now they have tapered down to about 2 to 400 dollars annually since the mid nineties. Right when the internet became a reality forcing RIAA to lobby for protection legislation.
Since you have the balls to be direct and truthful while maintaining your dignity, it reminds me of myself when I was adrift in a world of shit. So this I will do 4 you.
I have a reputation here as a rambling numskull who is handicapped by immaturity, I tend to agree. But everytime I purchase a 3rd party device, I always pay them what I think it is worth, instead of the ridicuously cheap asking price. I am far from wealthy, but I have made twice as much money playing and producing locally, than I do as a sideman working for Anne Murray, Englebert Humperdinck, Steppenwolf, Tim McGraw and Head East just to name a few. Scope has wired my head to my ass in the last 16 months, and I am always thinking I should do something as a show of my appreciation. Since quality of sound has been my focus, and finance my second, This has seemed to be the key. And only good Karma can come from it.
So It Shall Be Written, So It Shall Be Done.
Since you have the balls to be direct and truthful while maintaining your dignity, it reminds me of myself when I was adrift in a world of shit. So this I will do 4 you.
I have a reputation here as a rambling numskull who is handicapped by immaturity, I tend to agree. But everytime I purchase a 3rd party device, I always pay them what I think it is worth, instead of the ridicuously cheap asking price. I am far from wealthy, but I have made twice as much money playing and producing locally, than I do as a sideman working for Anne Murray, Englebert Humperdinck, Steppenwolf, Tim McGraw and Head East just to name a few. Scope has wired my head to my ass in the last 16 months, and I am always thinking I should do something as a show of my appreciation. Since quality of sound has been my focus, and finance my second, This has seemed to be the key. And only good Karma can come from it.
So It Shall Be Written, So It Shall Be Done.
"The path of the righteous man is beset on all sides by the iniquities of the selfish and the tyranny of evil men. Blessed is he, who in the name of charity and good will, shepherds the weak through the valley of darkness, for he is truly his brother's keeper and the finder of lost children. And I will strike down upon thee with great vengeance and furious anger those who would attempt to poison and destroy my brothers. And you will know my name is the Lord when I lay my vengeance upon thee."
<font size=-1>[ This Message was edited by: hifiboom on 2006-09-23 03:26 ]</font>
<font size=-1>[ This Message was edited by: hifiboom on 2006-09-23 03:26 ]</font>
I have a few ideas in this respect, but first I think I should advise you that:On 2006-09-01 08:23, ReD_MuZe wrote:
flexor2 module list will be available shortly. in the mean while, if you have things you want for the system, this is the place to ask.
1) I have rather limited experience working with Modular
2) I don't have Flexor (yet).
I'm planning (and already taking) corrective actions for these two points, but in the meantime, I must apologize in advance if any of my proposals are out of track.
As a background my main instrument is guitar and most of my ideas are biased towards the use of Modular+Flexor with a guitar and guitar amp, and well, now that Dynatube is out there I think that approach makes more sense than ever.
Proposal #1: Modular with Flexor used as a super-flexible pedalboard.
There's lots of stomp boxes that would be fantastic to have in Modular environment.
I read in the Off Topic section that 3 Wah modules are planned. Wow, that's great!
All kind of stuff in that line will be highly appreciated.
Proposal #2: Transient Detector
The idea is to have a module that receives audio and is able to trigger a gate signal upon detection of a transient. The gate is closed when one of the following happens:
1) The input audio drops below a threshold.
2) A new transient is detected so the gate is closed and opened again for the new transient.
I would use this to trigger envelopes each time a string is plucked in my guitar or bass, and apply those envelopes to filters, pitch shifting or whatever.
I know that something similar can be done with the existing audio to gate modules, but being based on audio level only there are some limitations, at least for guitar:
* You need a high threshold if you want the gate to close so that it can be opened again with each new note.
* You need a low threshold if you want soft notes to trigger the gate.
(These two limit the dynamics of your playing vs how fast you can play)
* The decay of a guitar string has some oscillations (it does not always go down)that can make false gate triggering when level is around the threshold.
The above applies to the CWA modules. With the Flexor modules it seems to be somewhat different, but in the end I feel that the audio level based approach works better for pre-recorded material where you can carefully set the parameters at their best for that material, rather than for improvising in a guitar.
By the way, something similar to this proposal is used in the Rocktron Prophesy.
(See "Pluck Detector" feature in http://www.rocktron.com/products/prophesy.html )
<font size=-1>[ This Message was edited by: gainman on 2006-09-25 13:43 ]</font>
The idea is to have a module that receives audio and is able to trigger a gate signal upon detection of a transient. The gate is closed when one of the following happens:
1) The input audio drops below a threshold.
2) A new transient is detected so the gate is closed and opened again for the new transient.
I would use this to trigger envelopes each time a string is plucked in my guitar or bass, and apply those envelopes to filters, pitch shifting or whatever.
I know that something similar can be done with the existing audio to gate modules, but being based on audio level only there are some limitations, at least for guitar:
* You need a high threshold if you want the gate to close so that it can be opened again with each new note.
* You need a low threshold if you want soft notes to trigger the gate.
(These two limit the dynamics of your playing vs how fast you can play)
* The decay of a guitar string has some oscillations (it does not always go down)that can make false gate triggering when level is around the threshold.
The above applies to the CWA modules. With the Flexor modules it seems to be somewhat different, but in the end I feel that the audio level based approach works better for pre-recorded material where you can carefully set the parameters at their best for that material, rather than for improvising in a guitar.
By the way, something similar to this proposal is used in the Rocktron Prophesy.
(See "Pluck Detector" feature in http://www.rocktron.com/products/prophesy.html )
<font size=-1>[ This Message was edited by: gainman on 2006-09-25 13:43 ]</font>
Proposal #3: Whammy pedal
The equivalent to digitech's ( http://www.digitech.com/products/whammy.htm )
Reading the description of Flexor's pitcher control, I would say that all the necessary ingredients are already in Flexor, so this proposal is more a question to check whether it is possible to emulate the whammy pedal with flexor.
Proposal #4: Intelligent Harmonizer
I'm probably oversimplifying the task, but I would say that the only element missing to have this is a module based on the existing pitcher control, receiving an external frequency signal (e.g. from Pitch2Cv), comparing that to a given musical scale and deriving the corresponding pitch change for the pitcher engine. E.g if the reference scale is C major, the target harmony is a third and the input frequency corresponds to D, then the pitch shift amount indicated to the pitch engine is 3 semitones.
The equivalent to digitech's ( http://www.digitech.com/products/whammy.htm )
Reading the description of Flexor's pitcher control, I would say that all the necessary ingredients are already in Flexor, so this proposal is more a question to check whether it is possible to emulate the whammy pedal with flexor.
Proposal #4: Intelligent Harmonizer
I'm probably oversimplifying the task, but I would say that the only element missing to have this is a module based on the existing pitcher control, receiving an external frequency signal (e.g. from Pitch2Cv), comparing that to a given musical scale and deriving the corresponding pitch change for the pitcher engine. E.g if the reference scale is C major, the target harmony is a third and the input frequency corresponds to D, then the pitch shift amount indicated to the pitch engine is 3 semitones.
Well, I've not access to the scope pc now, but a transient detector could be done pretty easily right now (I mean with the available modules)using for example the envelope follower module and few others, I suppose.
The idea of making a subset of modules could be great only if the price of the whole pack will be very high IMHO. Anyway the nice thing of the modular is its flexibility and synth oriented modules could be used to make new effects or guitar oriented patches. I belive it is moslty related to the creativity of the patcher rather than the specificity of the module.
<font size=-1>[ This Message was edited by: lima on 2006-09-28 13:50 ]</font>
The idea of making a subset of modules could be great only if the price of the whole pack will be very high IMHO. Anyway the nice thing of the modular is its flexibility and synth oriented modules could be used to make new effects or guitar oriented patches. I belive it is moslty related to the creativity of the patcher rather than the specificity of the module.
<font size=-1>[ This Message was edited by: lima on 2006-09-28 13:50 ]</font>
That's what I thought ... until I tried to do it!a transient detector could be done pretty easily right now (I mean with the available modules)using for example the envelope follower module and few others, I suppose.
After more than a week trying, I ended up with 3 env followers with different attack and release values, used to generate gates, and then applying some gate logic to generate the final gate that controls the ADSR.
The result was ok for sources like e.g. a drum loop where the hits to detect have about the same level and duration. However, for guitar improvisation where some notes are longer than others, and there can be significant level changes, the results are not that good, since sometimes you miss the gate being triggerred, or the gate is triggered when it shouldn't.
The idea of making a subset of modules could be great only if the price of the whole pack will be very high IMHO.
I have to agree with that.
Subsets become more interesting as the number of available modules grows.
some new high quality "analog modeled" filters with new characteristics are always welcome.
With a quality like the minimax filter...
that would be cool !
And I don`t know if this is already possible:
but I wished there would be an sample oscillator module that loads a WAV file and detects the loop info on that wave and plays this endlessly... from loop start to end
So we could build any oscillator characteristics on our own with a simple wav file that contains one raw osc information.
best regards....
With a quality like the minimax filter...
that would be cool !
And I don`t know if this is already possible:
but I wished there would be an sample oscillator module that loads a WAV file and detects the loop info on that wave and plays this endlessly... from loop start to end
So we could build any oscillator characteristics on our own with a simple wav file that contains one raw osc information.
best regards....
Hifiboom, MCCYRANO built a modular sample player that can load 4 whole STS programs in modular = lots & lots of looped wav samples in keyboard spread or complexly split banks. It's a very powerfull device if you don't mind building STS programs with your wavs & you can also load several of them in modular.
I think you've already seen it >>
http://www.planetz.com/forums/viewtopic ... 16&start=0
I think you've already seen it >>
http://www.planetz.com/forums/viewtopic ... 16&start=0
jeah I know this one.On 2006-10-05 11:11, Shroomz wrote:
Hifiboom, MCCYRANO built a modular sample player that can load 4 whole STS programs in modular = lots & lots of looped wav samples in keyboard spread or complexly split banks. It's a very powerfull device if you don't mind building STS programs with your wavs & you can also load several of them in modular.
I think you've already seen it >>
http://www.planetz.com/forums/viewtopic ... 16&start=0
But on the other hand I like the workflow with WAV files, you just drop them on the dedicated slot and then you are ready to go.
Th econverting WAV to STS programs doesn`t aplly to my thinking of easy usage.
thats all.
In JBs Pro-Wave its pretty well done...
a module that adds overtones in that way:
http://home.arcor.de/soundspace2/vst/moog_vst.wav
http://home.arcor.de/soundspace2/vst/moog_scope.wav
It should have following features:
GAIN: volume of the overtones
FREQUENCY DIVISION: divider, to generate the freq of the overtones from the original WAVE
VARIATION: random parameter influence
FEEDBACK: how long do the overtones last, the decay
This will add warm analog sound to any oscillator....
http://home.arcor.de/soundspace2/vst/moog_vst.wav
http://home.arcor.de/soundspace2/vst/moog_scope.wav
It should have following features:
GAIN: volume of the overtones
FREQUENCY DIVISION: divider, to generate the freq of the overtones from the original WAVE
VARIATION: random parameter influence
FEEDBACK: how long do the overtones last, the decay
This will add warm analog sound to any oscillator....
the images are not enough to understand what the module should do, because we can see just the waveform, but to better understand we need the spectrum analysis too.On 2006-10-06 07:07, hifiboom wrote:
a module that adds overtones in that way:
http://home.arcor.de/soundspace2/vst/moog_vst.wav
http://home.arcor.de/soundspace2/vst/moog_scope.wav
It should have following features:
GAIN: volume of the overtones
FREQUENCY DIVISION: divider, to generate the freq of the overtones from the original WAVE
VARIATION: random parameter influence
FEEDBACK: how long do the overtones last, the decay
This will add warm analog sound to any oscillator....
About audio examples, it is much better to listen to a long single note (before/after).
Regards