managerdanax.blogg.se

1. #Karma Motif Algorithmic Music Patch Mode And#
2. #Karma Motif Algorithmic Music Plus Highly Evolved#
3. #Karma Motif Algorithmic Music Software To Manage#

Karma Motif Algorithmic Music Software To Manage

Support site for the Yamaha S90 series: Forum, E-store and more by KeyFax NewMedia. But does it have what it takes to be the market leader Yamaha want it to be?SNinety. KARMA can be used with videos that are playable in Windows Media Player with theAs its name implies, the Montage combines multiple technologies within a single, powerful instrument. TMPGEnc KARMA can be used with videos that are playable in Windows Media Player with the following extensions. Is great software to manage and organize all your videos on the computer.It also helps you to view your favorite videos.

Motif lets you select either a scale or an emotion. Motif is designed to help you quickly create unique ideas/melodies, for selected key, scale and emotion, using a generative possibility algorithm. Rast Sound has introduced Motif, described as an Intelligent Music Generator for Kontakt. More recently, the Motif and its many spin-offs have been hugely successful, but even the most powerful of these were eclipsed by the Korg OASYS and Kronos.KARMA Motif brings developer Stephen Kay's award-winning and patented KARMA algorithmic music technology to a number of Yamaha Motif-based models, giving them extensive new interactive groove generation, arpeggiation and arranger-like capabilities.Motif Intelligent Music Generator For Kontakt. Further releases suffered at the hands of the Roland D-50 and the Korg M1, followed by the Kurzweil K2000 and the Korg Trinity. But in the late ’80s and ’90s the company seemed to lose their edge.

Karma Motif Algorithmic Music Plus Highly Evolved

It offers two sound engines (AWM2 and FM-X) that you can use separately or combine freely in composite sounds and multitimbral setups, plus highly evolved arpeggiation, multitimbral effects and a basic MIDI recorder, but no sampling capabilities and no audio/MIDI sequencing. The Sound EnginesPerhaps the most important thing you need to understand about the Montage is that it’s a synthesizer rather than a workstation. With new firmware that includes sounds, additional effects, more flexible modulation routing, and additional programming screens and facilities, Montage v1.5 now seems ripe for review. Almost inevitably there were a few niggles with early units and, with some patches, some players reported a small latency between pressing a key and the onset of the sound, But any initial problems appear now to have been eliminated. To an album whose standout tracks featured Paranoid Android and Karma Police.There had to be a time when Yamaha would attempt to reassert their authority and, when launching the Montage, the company were clear that this had been designed to be ‘the’ flagship synthesizer of the current era.

Karma Motif Algorithmic Music Patch Mode And

If you have the inclination, it’s worth experimenting with single-Element Parts — you might be surprised at what you can achieve. Perhaps more impressively, it’s 67.5 times the memory of the original Motif! As before, an AWM2 Part can comprise up to eight Elements, each of which is a synthesizer in its own right comprising a wave, your selection from 18 resonant filter types, an audio amplifier, an LFO, multiple contour generators and a dedicated EQ. By dispensing with the Patch mode and programming all of the sounds (up to 16 of them, called Parts) within each Performance, the Montage sidesteps this and you are able to edit freely.The Montage’s 128-voice, stereo AWM2 sound engine has been expanded to hold an equivalent of 5.67GB of waveform memory which, Yamaha tell us, is more than seven times that of the most recent Motif, the XF. The problem with this was that, if you changed one of the underlying sounds to achieve a desired result in a given Performance, you would damage any others that used the same sound. In the past, when memory was neither plentiful nor cheap, the common architecture was to create individual sounds in a Patch or Program mode, and then combine these into more complex Multis/Combis/Performances that comprised numerous sounds split or layered across the keyboard, or arranged multitimbrally, as required.

I’ve long been a fan of Yamaha’s FS1R rackmount synth and, while FM-X isn’t identical with this (in particular, it lacks the formant waveform and formant sequencing) it’s similar in many other respects. Having done so, you can arpeggiate the final sound to generate a huge range of high-quality patterns.Even more pleasing (for me) is the inclusion of an eight-operator, 88-algorithm, 128-voice FM engine. The programming system is extensive, and you can apply the full force of the effects engine (which we’ll address in a moment) to the assembled kit.

Then, in addition to the 34 inserts slots and EQs, there’s a system effect block containing a further ‘Variation’ effect and a reverb, and then a master effect block. I have to compliment Yamaha on their decision to make these effects truly multitimbral, with a three-band parametric EQ, a pair of dedicated insertion effect slots, and then a two-band parametric EQ for each of the Parts and for the external audio input. Perhaps the rest of your life.Before reaching the outside world, the outputs from the two synths engines have the opportunity to pass through the Montage’s capacious effects section. Even if you don’t, the possibilities already on offer are so extensive that they will keep you occupied for, well.

Again, it’s unlikely that you’ll ever run out of options and interesting things try. These include just about everything you might want, with reverbs, delays, choruses and ensembles, flangers and phasers, tremolos, a rotary speaker effect, amp modellers, compressors, wah-wahs, lo-fi effects, and numerous special effects including a ring modulator, dynamic filters, enhancers, a pitch shifter, and more. It’s a superb system, now with 81 effects types available for each of the insert effect slots and the Variation slot (there were 76 types before the update to v1.5), plus 12 reverb types for the system block, and 15 effects types for the master block.

This means that you can direct the patterns to other synths and, most interesting, to your DAW so that you can record them as parts of more extensive compositions. I was also delighted to find that you can configure the Montage so that the arpeggiator lies before the MIDI out. You can play up to eight arpeggios simultaneously and my initial experiments supported Yamaha’s claim that you can use these to build backing tracks within the Montage itself. There are two types of arpeggio — fixed patterns for drums, and those that respond in the traditional fashion to the notes that you play on the keyboard — and you can use the knobs to control aspects of their playback, use velocity to control accents, insert special effects such as key-off and string-release noises to make performances sound natural, and even use scenes to access different arpeggios for a given Part. There are around 10,000 factory programmed arpeggios, divided into 18 categories, and further sub-divided into 25 sub-categories based on musical genres, and you can also store up to 256 of your own.

While this might look good on a low-cost synth, it initially seemed incongruous on something as ‘pro’ as the Montage. Suddenly, ‘never heard before’ started to seem possible.The most visible facility in the Motion Control package is the large, brightly lit Super Knob that dominates the area next to the screen and simultaneously controls any parameters assigned to the eight control knobs on the panel. Then I discovered that you can use Motion Control to modulate FM-X operators for example, using rhythmic sources such as arpeggios, drum patterns, and the changing amplitude of external audio as modulators. Dramatically and dynamically altering the sounds of the instrument in new, never-heard-before ways.” To be fair, many players are going to love the combination of the Super Knob, motion sequencing and envelope followers but, at first, I could see nothing ground-breaking here.