Hi guys. Just coming to terms with my new x50. Love the sounds. Have managed to make, move and re-name my own new combis. Can't for the life of me work out though how to save the fx which are all present on each of the individual programmes I am trying to combine in a combi. When I save them in the utility section of the software editor they all sound dry and deadly dull. Can anyone put me out of my misery?
Mark K
Retaining Programme FX when making your own Combis
Moderators: Sharp, X-Trade, Pepperpotty, karmathanever
It can't be done automatically.
The X50 has one Insert Effect, two Master Effects, and a Total EQ.
So a Program has 1IFX, two MFX, and 1 TEQ.
A Combi also has- 1IFX, two MFX, and 1 TEQ.
A Multi also has--- 1IFX, two MFX, and 1 TEQ.
So if you want your sounds to sound exactly the same in program mode, only one of your sounds can sound exactly the same.
This is the one place where they really cut the LE, TR, X50, and microX to make it into a budget synth. The original Triton series synths had 5 IFX. They still have the same 'global' effects arrangement, but obviously it is a lot more to play with.
My general advice for these synths is to consider which FX are most important to your song/combi and which stand out the most. Approach it as an entirely new thing rather than just dropping in exactly what was used before.
There are opportunities for example you could say 'this program sound had a flanger but I really think a phaser would be better for my song'.
The building a combi or song is really a technical process the same as what you would go through in a hardware studio which would also have limited FX resources (although probably a lot more). IF you really want your production to sound good then you need to consider the situation the FX are going to be in, not just dropping in a preset from somewhere else. For example the wild distortion on that guitar may be amazing, but you put it in a combi with strings and it will clash awfully.
Obviously this approach is even more limited on the X50 and the other budget Triton spinoffs, but it's the best advice I can offer.
The Master FX (MFX) are incredibly useful because you can bus varying amounts of each timbre to them. They are basically the same as FX sends on a mixer. So for example you can use a reverb (or delay or chorus) and choose how much reverb track/timbre will have on it using the Sends.
Insert Effects are then generally used for more direct and processed sounds like distortion, amp simulation, EQ, compression, or an additional chorus or ensemble or flanger.
There is a 'copy from program' option in the 'utility' menu which you may find useful.
The X50 has one Insert Effect, two Master Effects, and a Total EQ.
So a Program has 1IFX, two MFX, and 1 TEQ.
A Combi also has- 1IFX, two MFX, and 1 TEQ.
A Multi also has--- 1IFX, two MFX, and 1 TEQ.
So if you want your sounds to sound exactly the same in program mode, only one of your sounds can sound exactly the same.
This is the one place where they really cut the LE, TR, X50, and microX to make it into a budget synth. The original Triton series synths had 5 IFX. They still have the same 'global' effects arrangement, but obviously it is a lot more to play with.
My general advice for these synths is to consider which FX are most important to your song/combi and which stand out the most. Approach it as an entirely new thing rather than just dropping in exactly what was used before.
There are opportunities for example you could say 'this program sound had a flanger but I really think a phaser would be better for my song'.
The building a combi or song is really a technical process the same as what you would go through in a hardware studio which would also have limited FX resources (although probably a lot more). IF you really want your production to sound good then you need to consider the situation the FX are going to be in, not just dropping in a preset from somewhere else. For example the wild distortion on that guitar may be amazing, but you put it in a combi with strings and it will clash awfully.
Obviously this approach is even more limited on the X50 and the other budget Triton spinoffs, but it's the best advice I can offer.
The Master FX (MFX) are incredibly useful because you can bus varying amounts of each timbre to them. They are basically the same as FX sends on a mixer. So for example you can use a reverb (or delay or chorus) and choose how much reverb track/timbre will have on it using the Sends.
Insert Effects are then generally used for more direct and processed sounds like distortion, amp simulation, EQ, compression, or an additional chorus or ensemble or flanger.
There is a 'copy from program' option in the 'utility' menu which you may find useful.
Current Gear: Kronos 61, RADIAS-R, Volca Bass, ESX-1, microKorg, MS2000B, R3, Kaossilator Pro +, MiniKP, AX3000B, nanoKontrol, nanoPad MK II,
Other Mfgrs: Moog Sub37, Roland Boutique JX03, Novation MiniNova, Akai APC40, MOTU MIDI TimePiece 2, ART Pro VLA, Focusrite Saffire Pro 40.
Past Gear: Korg Karma, TR61, Poly800, EA-1, ER-1, ES-1, Kawai K1, Novation ReMote37SL, Boss GT-6B
Software: NI Komplete 10 Ultimate, Arturia V Collection, Ableton Live 9. Apple OSX El Capitan on 15" MacBook Pro
Other Mfgrs: Moog Sub37, Roland Boutique JX03, Novation MiniNova, Akai APC40, MOTU MIDI TimePiece 2, ART Pro VLA, Focusrite Saffire Pro 40.
Past Gear: Korg Karma, TR61, Poly800, EA-1, ER-1, ES-1, Kawai K1, Novation ReMote37SL, Boss GT-6B
Software: NI Komplete 10 Ultimate, Arturia V Collection, Ableton Live 9. Apple OSX El Capitan on 15" MacBook Pro