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question about EP-1 MDS(multi dimentional synthesis)

 
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jemkeys25
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PostPosted: Mon Feb 07, 2011 5:37 am    Post subject: question about EP-1 MDS(multi dimentional synthesis) Reply with quote

wondering if the EP-1 uses samples or generates its own ep sounds like moss?
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Jon Lord
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PostPosted: Mon Feb 07, 2011 6:59 am    Post subject: Re: question about EP-1 MDS(multi dimentional synthesis) Reply with quote

jemkeys25 wrote:
wondering if the EP-1 uses samples or generates its own ep sounds like moss?


From the sticky "a few answers":

RichF wrote:
burningbusch wrote:
So if the EP-1 (MDS) page shows "SAMPLES NOT LOADED", is it correct to assume MDS technology combines sampled source data with some type of modeling? Can you explain what's going on in a little more detail?


EP-1 does in fact start with a sample library, but it goes deeper than traditional multisample playback. MDS (Multi-Dimensional Synthesis) lets us separate a sample into different elements- in this case, the pitched content, the hammer sound, and key release noises. We assemble these elements together in a way that gives us precise control over how the sound moves through time.

The practical upsides of MDS are:
1. There's no velocity-switching, so it reacts dynamically throughout the entire velocity range, just like the real instrument naturally would.
2. You have control over physical properties of the instrument, like hammer width and attack brightness.
3. We can control time-based elements like decay and release without having to introduce more processing.

So... Is it modeling? I suppose this depends on your definition of the word, but since it goes so much deeper into the behavior of the instrument than a traditional sample-playback engine would, the word "modeling" should be appropriate.

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jemkeys25
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PostPosted: Mon Feb 07, 2011 1:46 pm    Post subject: Reply with quote

so in other words "NO" it's not like moss, and "YES", it does use samples.

thanks for the info.
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X-Trade
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PostPosted: Mon Feb 07, 2011 6:01 pm    Post subject: Reply with quote

But the whole point of MOSS and its physical modelling is to offer complete and musically intuitive control over the sound. So whilst the sound isn't being generated in realtime and is based on samples, it sounds like it will still be just as expressive as MOSS' physical models.
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jemkeys25
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PostPosted: Mon Feb 07, 2011 6:51 pm    Post subject: Reply with quote

I hope so,cause I really liked that moss engine in ,first the z1 then when I could get it as an option in the new triton, I still can't understand why korg didn't advance on the moss, those electric piano sounds I got from moss were some of my favorites, right up there with the dx7 and my real rhoades piano, and they were all sounds I programmed myself.

and all the brass,especially the trumpet,and trombone sounds with moss, it was just a great all round modeling synth that really complimented that awesome board, the triton.


I don't get it korg
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danatkorg
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PostPosted: Mon Feb 07, 2011 8:48 pm    Post subject: Reply with quote

X-Trade wrote:
But the whole point of MOSS and its physical modelling is to offer complete and musically intuitive control over the sound. So whilst the sound isn't being generated in realtime and is based on samples, it sounds like it will still be just as expressive as MOSS' physical models.


Actually, the main part of the EP-1 sound is in fact synthesized and generated in real-time. I've been asked not to talk about the internal workings in detail; trade secrets are part of the way this business works. That said, the description from the manual may help a little:

* * *

MDS is a brand‐new technology from Korg. To create the EP‐1 models, we first sample the instrument at many different dynamic levels and pitches. Next, we separate the main pitched sound from the hammer and key release noises, so that you have separate control over each. Finally, we use proprietary techniques to transform all of these elements into an MDS sound.

The result delivers natural control over both the velocity and time “dimensions.” Velocity becomes a continuous transition from soft to loud and sweet to strong, without the telltale velocity‐switching of traditional sample playback. Time becomes flexible, so that you can control the decay and release in a natural way, without resorting to volume or filter envelopes.

* * *

And some parameter descriptions:

Decay [–100...+100]
This controls the decay time, including both the timbre and the level.

AMS [List of AMS Sources]
This selects an AMS source to control the Decay.

Intensity [–100...+100]
This controls the depth and direction of the Decay AMS modulation.

Release [–100...+100]
This controls the release time, including both the timbre and the level.

AMS [List of AMS Sources]
This selects an AMS source to control the Release.

Intensity [–100...+100]
This controls the depth and direction of the Release AMS modulation.

* * *

Hope this helps!

- Dan
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jemkeys25
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PostPosted: Tue Feb 08, 2011 12:33 am    Post subject: Reply with quote

thanks danatkorg.
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danatkorg
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PostPosted: Tue Feb 08, 2011 12:35 am    Post subject: Reply with quote

jemkeys25 wrote:
thanks danatkorg.


You're welcome!
You can just call me Dan. Very Happy
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Dan Phillips
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For technical support, please contact your Korg Distributor: http://www.korg.co.jp/English/Distributors/
Regretfully, I cannot offer technical support directly.
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