Korg Forums

[Rocness]

Wait a minute , can you use the JP-80 as a midi controller and send all of the SN expression by midi to a soft synth ? That would be very cool .

and

Would you say the VA synth on the JP-80 was better than TI 2 ?

[RonF]

[Rocness]

[Rocness]

[michelkeijzers]

I also can remember setting a synth (don't know about the Kronos) to play only the even or uneven notes. So if you have 2 of them, you can connect them by MIDI so the polyphony actually doubles even though you can use the same program/combis without having to split them for the 2 synths yourself.
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Developer of the free PCG file managing application for most Korg workstations: PCG Tools, see http://pcgtools.mkspace.nl

[Devnor]

A registration consists of upper & lower parts and percussion and solo parts. It also saves the entire configuration of the machine...controllers, ext midi assignments ect. Upper & lower parts consist of 4 tones. Solo & perc have 1 tone. A tone can consist of SN acoustic sound or a 3 partial synth tone.

[RonF]

[Bruce Lychee]

From my Roland clan post:

I'll get to some of your requests shortly, but for now I want to turn to the SN articulations. I will address a few here, but there are several items to cover so it will take a few posts.

Articulations are triggered different ways depending on the tone being used. You really have to spend time with each tone to understand where the articulations are introduced and how they are triggered.

First, listen to the real time tone blender demo again and you will notice slight variations to the drum rythm. That would be a very basic articulation intended to give the drums a more natural expression.

http://soundcloud.com/bruce-lychee/planet-jupiter

Next, listen to the orchestral strings in the following demo. A 4 chord progression. First it is played with the damper pedal depressed between chords. This activates the articulation for the orchestral strings which causes more natural transitions through the progression. Next the chords are played without the pedal pressed.

http://soundcloud.com/bruce-lychee/song0008

Before getting to more specific instrument articulations, the next clip is a simple demonstration of articulations from a natural instrument being applied to a synth lead. You can hear the phrasings of the Ehru. This is from the stock reg. item called Outta Control and is clearly a radical sound designed for showing how the articulations can be introduced. The only contoller being used is the damper pedal.

http://soundcloud.com/bruce-lychee/song0032
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Shigeru Kawai SK5
Roland Jupiter 80
Vintage Vibe 64

[Rocness]

[sani]

[Bruce Lychee]

The articulations associated with SN don't necessarily affect tone. It can mean something as simple as the slight variations in drum rhythm as you hear in the Planet Jupiter demo or in the case of something like a flamenco guitar, the strumming sliding, etc.

In the case of the orchestral strings, the articulations affect transitions from one chord to the next. You can choose to have the articulation ignored and have chords all arpeggiated in the same direction, or depending on the timing and notes in the chord, have them arpeggiated in a way that flows more naturally. Listen to the transition in the articulations and you can hear how they tried to make it flow naturally. Not just the direction of the arpeggiation. If you take strings on the Kronos and have them arpeggiated in a way that switches direction, you will hear what Roland has added to the transition.

You are correct about the Ehru patch. As you might know, in the V-synth GT they allowed you to cross utilize articulations in a limited way. If you listen to the results, however, you notice a distinct voicing that carries with each instrument. For instance if you apply an Ehru articulation to a saw wave, you still hear what sounds like the essence of an Ehru tone. In the Jupiter, I do not see the ability to cross utilize articuations in the way you can on the GT. Instead, it seems they have created tones that are meant to be layered with the synth or other tones. So while there is an Ehru patch, there is also something called Ehru APS, which does not sound like an Ehru when played alone.

I believe they found that the approach taken on the Jupiter has more sonically useful results. They have isolated a core tone and articulations and allow you to layer those tones into other sounds rather than trying to fit the model of that tone onto another wave. Given the sonic remnants you hear when you cross utilize articulations on the V, the Jupiter approach does seem to have more practical applications.
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Shigeru Kawai SK5
Roland Jupiter 80
Vintage Vibe 64

[cello]

[billysynth1]

Thnks Cello

Too many listing of violin 1, violin2, guitar 1, giutar 2, guitar 3, etc etc
Not sure why companys do that...probably make life easy for them in terms of getting the documenation finished lol

Billy
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Yamaha C1 Grand Piano.
Korg Oasys 88, Jupiter 80
Kronos 88, V Synth GT
I am a student of classical piano...I am not a classical pianist.

[michelkeijzers]

Sometimes it is hard to find good names for similar sounding patches. Of course you can hear a difference, but for a real instrument there are a several ways to make it sound different and it's hard to grab it in a 16 or 24 character name. Sound influences are (not complete possibly):
- brand/type of the instrument
- way of playing
- use of accessories
- effects or means to play it
- Mic recording (like brand of mic, distance, type)

E.g. you cannot name a patch: Violin sampled with a Mic xxx at 1.0 feet
or Violin played staccato with a comb of brand xxx

But I have to admit: violin 1 and 2 is a bit too easy. Better use word extensions like 'Vivid violin', 'dark violin' or even non meaningful wordsor even names like 'Violin Maria' (Ikea does it with great success).
_________________

Developer of the free PCG file managing application for most Korg workstations: PCG Tools, see http://pcgtools.mkspace.nl

[Rocness]