Making a RADIAS Patch with Split Timbres and Arpeggios...

[MIDI_Thru_Kid]

Ok, so I converted one of my R3 patches into a RADIAS Patch (LOVE THAT!! ), and it souds really nice, had to do some tweaking and translation, but it went alright.

But here's the thing. Ok, both timbres are monophonic, with 5 voice unison on each of them for phatness. The left side of the keyboard (Timbre 1), has a basic arpeggio, "UP", 1 octave range, and since it's a monophonic patch, I play one note, and that one note repeats itself in 16th note increments.

Timbre 2 has no arpeggio. Now, when I play the two together, occassionally (whenever the two timbres play a different note at the same time), the Arpeggio in Timbre 1 will drop out notes, effectively making the arpeggio from 16th notes to 8th notes. It sounds as if I'm using up voices, really is what it sounds like to me, and based off of my description, you all are bound to come up with the same cause as I did, which was that the polyphony was being used up in the voices somehow. WEEEEELLLL..... No. I made both patches polyphonic, and turned off the UNISON mode completely, and the arpeggio still drops down to an 8th note pattern (down from a 16th note pattern) when ever I play one note on timbre 1 and one note on timbre 2.

I also checked my ZONES so that they didn't overlap or do anything funny, and those seem to be alright.

Is this just the nature of the beast? If so, THAT sucks.

One more thing. It's worth noting that when the apreggio is turned to LATCH, the arpeggio latches and I can move a play different notes fine, but then when I TOUCH ANY one note in Timbre 2 (right side), the arpeggio in Timbre 1 stops completely. WIERD! It really is acting as though polyphony in an issue.......

Help Me!

[X-Trade]

It's dropping out because the arpeggiator is picking up the other note you are playing and sending it to that timbre, which is presumably out of its range - so it triggers nothing. I'm sure this could be used to some interesting effect but I've not thought of it yet.

Anyway, if you look in the arpeggiator (and step sequencers when you do use them) page, you'll find that the arp/seq each has its own key range within which the arpeggiator is triggered and passes notes. You want to set that to match your timbre.

[MIDI_Thru_Kid]

Oh! Ok, thanks, I got it! NICE, thanks!

Someday, I'll make a patch with that effect, and perhaps it'll turn out to be the patch of the century.

Thanks again for your input! That fixed the problem.

[pillbug]

X-Trade already replied with the answer but I just wanted to chime in that this is one of the features I love about programming the RADIAS. I have lots of split patches with this kind of setup, the bass with arpeggio (or Seq) in it's own range and then a pad and/or lead with which I'm able to comp/solo along to the bass running. And then there's still a Drum timbre which can run its own Seq - and of course you can set that in its own key range up to D#2 (I think it is) thus allowing you to trigger the drum sequence to start only when hitting one of those keys. Programming with the RADIAS and its quality of available sounds is just a fantastic pleasure.

[nene]

Hi,
If 1st Timbre is on Arp and 2nd on Seq 1, Can they both run on different tempo?

i.e. 1 on 120 2nd on 95?

Thanks

[X-Trade]

Hi,
If 1st Timbre is on Arp and 2nd on Seq 1, Can they both run on different tempo?

i.e. 1 on 120 2nd on 95?

Thanks

No. There is one master tempo for the whole device. This is quite normal for most music gear though. setting completely different tempos for things is typically fairly unmusical.
However you can set the arpeggiator and the sequencers, as well as LFOs, delays, and other tempo synced effects, to different timing divisions, including triplet note divisions.

[MIDI_Thru_Kid]

Programming with the RADIAS and its quality of available sounds is just a fantastic pleasure.

I agree 100% there.

Also with nene's question, yes, you could make different timing divisions, so that one timbre is a true, straigh 120 bpm, and the other timbres be based off of triplets or so, so that the tempo either SOUNDED faster or slower, based off of division.

[nene]

Hi X Trade and Midi_Thru_Kid,
Thanks for the response and advise.

Could you elaborate what is meant by "set the arpeggiator and the sequencers, as well as LFOs, delays, and other tempo synced effects, to different timing divisions, including triplet note divisions."

So sorry about it as i am a total noob in programming synth

[X-Trade]

Well, most music has a very definite tempo. You would not really want two sequencers running at different tempos - the result would be a mess! I'm sure you've tried to play two recorded tracks which are at different tempos on different players/computers/MP3s/whatever.

In traditional western music score, you have different 'notes'. These are not the pitches of the notes but their timing length or division.

For example a quaver (I think. I get the names muddled up) is a 1/4 note, meaning it lasts a 1/4 of a bar, or you can get 4 of them into a bar in standard 4/4 time signature.

then you have an 1/8 note which is half the length
and a 1/16 note which is half the length again (popular division for step sequencers).

So say you have a tempo at 120, that is one hundred and twenty 'beats' (1/4 notes) per minute. Or exactly two 'beats' (quarter notes) per second.
You could set sequencer A to 1/4 timing, and another sequencer B to 1/8 timing. so for every beat of sequencer A, sequencer B has played two notes - it goes twice as fast.

This means that notes always line up in a structured 'bar' or 'measure' (which in standard 4/4 timing is the length of 4 quarter notes).

If you want to get more experimental you get 'triplet timing' which is where you have divisions where three notes fit into the space of one or two 'standard' notes. I can't quite figure out how to explain it right now.

This is pretty standard stuff for sequencing and MIDI recording, etc.

[nene]

X-Trade,
Thanks for the advise. now i understand what was meant in the earlier post.