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I suspect the answer to this question is no as I've tried already. I notice that only multisamples can be fed into MOD-7 as modulators, but not wavesequences. But I wonder if there is something I'm missing or some novel approach to getting wavesequences into MOD-7 as modulators.

Sampling a wavesequence and storing it as a multisample is not the answer for me here - I wanted to control the wavesequence in real time as it modulated the MOD-7 engine.

Any ideas?


While I'm on it - and I think we covered this ground a long time ago but I'll ask again, is PCM sample input into MOD-7 the same as Yamaha SY77/99 RCM synthesis. And - do modulators higher up in the stack FM-modulate the PCM sample fed into a carrier / modulator further down the modulation 'chain'?


Thanks,
Kevin.

Kevin Nolan wrote:I suspect the answer to this question is no as I've tried already. I notice that only multisamples can be fed into MOD-7 as modulators, but not wavesequences. But I wonder if there is something I'm missing or some novel approach to getting wavesequences into MOD-7 as modulators.

You can in Combi and Sequence mode. In fact, you can route multiple HD-1/EXi sources into MOD-7. To do so, go to TRACK PARAMETER and set the MIDI channels of your source and destination program to the same channel. Alternately, use KARMA to trigger the source.

Go to the IFX tab and route your Wave Sequence to an output pair, like 7/8, instead of L/R.

Go back to the TRACK PARAMETER tab and set the EXi Audio In for MOD-7 to 7/8.

Watch this:


EXi Input video


This video is not a tutorial, but rather just to show it is possible. Note the audio input connections made in the MS-20 and MOD-7 programs.

Thanks for the video!
I find it quite embarrassing, how powerful Oasys is and how little I use its powers ...

Hi Mike -

Meant to reply to you yesterday and forgot. thanks a million for your pointer and video - I'll definitely check it out. As always, your expertise is truly impressive and very appreciated. Steve Pavao of Korg had veryy kindly pointed it out to me separately.

Alas - this is not exactly what I'm after because you are passing in audio en masse to every MOD-7 voice whereas I want a wavesequence passed to each voice and for real-time control of that wavesequence within a program. I'm convinced this would lead to a new dimension in FM synthesis with PCM input - where realtime control of a wavesequence could mean very sophosticated realtime control of the FM program.

But your pointer is very useful and I will get round to trying it - it's definitely half way there.

Cheers and thanks again.

Kevin.

Kevin Nolan wrote:Alas - this is not exactly what I'm after because you are passing in audio en masse to every MOD-7 voice whereas I want a wavesequence passed to each voice and for real-time control of that wavesequence within a program.

I'm not sure I understand. My example might have confused you because I used KARMA to trigger drums through the signal path. The wavesequence is set to the same channel as the MOD-7 program, hence every key press (new voice) has it, just as the MOD-7 PCM input would. So how is this different than having a wavesequence as a PCM source?

What I was showing in my example is that multiple sources can go into the FM, which I thought would surpass your expectations. In fact, if MOD-7 and the MS-20 volumes were on at the same time, you would hear that the 3 HD-1 programs were routed to both simultaneously.

Let me put it this way: If you split the keyboard and held one wavesequence key and then held 3 MOD-7 keys (or 3 voices), you should hear the wavesequence in all 3 voices, correct? If I MIDI connect my Ensoniq VFX, I could probably use the poly aftertouch to affect each of those 3 notes differently (but have not tried this yet).

You can select from around 200 parameters for each of the MOD-7 and the Ski Jam program, using Tone Adjust, which equals a lot of realtime (and sysex recordable!) control. Granted, you have to toggle between the 2 Tone Adjusts for each (which is easily done on the same screen). Of course, parameters (pitch, filters, LFOs, AMS mixers, step sequencers, etc, etc) from MOD-7 and Ski Jam can be assigned to Vector wand, the Joystick, Ribbon, SW1/SW2, the 1-8 knobs, aftertouch, Foot Switch, Foot Pedal, etc. if you want simultaneous realtime control of both. If this is not what you are talking about, then I apologize for misunderstanding you.

Charlie wrote:Thanks for the video!
I find it quite embarrassing, how powerful Oasys is and how little I use its powers ...

Same here,

and it´s very useful to listen to the expert´s talk - gives inspiration and different sights

best regards
SoulBe

Mike -

First of all - you need never, ever apologise. You are an amazing contributor of new ways of using OASYS. I'm not just complimenting you here. The sophistication and clarity of your understanding of OASYS and your visionary ways of using it leave the rest of us standing. So - I'm learning here with every word you type - you have nothing to apologise for.

Secondly - I'm in a purely thinking mode - and -I have not looked at your video yet - so you will no doubt inspire new thoughts when I look at it.

But - in the meantime I'll try to explain what I'm thinking (which may be nonsense) - and why I want each voice of the 50 or so MOD-7 voices to have its wavesequence input. I'm contemplating the idea that you can build clever wave sequences - say of quite similar but nevertheless different vocal samples - where for example, their pitch, or other modulation on them is controlled on a per voice level (say through velocity or velocity combined with another modulation source via an AMS Mixer). So, the nature of the wave sequence is modulated on a per-voice level, with each voice of an FM program having an FM / RCM-type character modulatable in real time and per voice.

I'm imagining all sorts of possibilities: comb-filtering type voices where the rate is modulated in realtime; rich and organic chorus type voices; or others where for example choral vowel-type sounds may be controllable on a per voice basis. Or - even if not on a per-voice basis - instead all voices affected by channel aftertouch applied to the wave sequence AND to the FM engine because they are all in the one program. So you might imagine that the speed of sample change of the choral sounds or their modulation in the wave sequence being speeded up by aftertouch and that having a profound, realtime control of the destination FM algorithm. Or imagine two different but not dissimilar bell sounds in a wavesequence, whose pitch and wavesequence rate are again affected by aftertouch (or the vector joystick) and fed into the FM algorithm. It’s the possibility of both per-voice modulation of the wave sequence (oh if only OASYS had polyphonic aftertouch) and the possibility of modulating the wave sequence in real time with the OASYS controllers with the FM algorithm that make it desirable to have this possibility within the one EXi MOD-7 instance.

I think the possibilities are immense – but of course what you offer may be similar (as said I have to look at your video and will do so ASAP – but I think your option doesn’t provide the same level of control I’m after (but will be delighted to stand corrected on that).

Cheers,
Kevin.

Very interesting, Kevin. That gives me a lot to think about. The video is mainly a simple example of input, so don't expect a lot from it.

I will say that HD-1 input from Combi or Song mode is a little closer to RCM, mainly due to the fact that the PCM/wave/sample source has its own filters and program parameters.

Like you, I wish the OASYS had poly-aftertouch. I need to MIDI up my Ensoniq board and see how it plays with OASYS.

Kevin & Mike,

You are 2 of the real deal go to guys here (and there's quite few more too). Like Charlie & Soulbe expressed, I only hope one day to know 1/10th of what you do and will count myself lucky at that.

It's too bad that you couldn't form a tutoring class for those of us that would like to learn more. Until then, I just have to be content with what I can do.

Ken

Mike
How are your 9 x Kronos DVDs coming along lol

Billy