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  • Pour ce qui est du clavier 100 pour cent d'accord avec toi Seagul . Quand je touche mon G70 c'est carrément le confort "PULLMAN" rien ne s'en approche parmi ma douzaine de claviers . J'ai de trés très bon souvenirs du clavier maitre Roland A50 et un Ensonicq VFR 10 mais je ne suis plus très sur de cette derniere réference .

    Commentaire


    • Envoyé par magal Voir le message
      Donc 128 x2 oscillateurs ce n'est pas rien .Ketron avait déjà élevé largement la barre à ce niveau mais question programmation c'est bien pire que Yam.
      Le genos dispose de 128 voix de polyphonie pour la banque interne et 128 voix assignées aux extensions, c'est ce que j'ai compris sur le site Yam.
      Kronos X 73 bois, Tyros 5 www.jeandot.com

      Commentaire


      • Envoyé par magal Voir le message
        Pour ce qui est du clavier 100 pour cent d'accord avec toi Seagul . Quand je touche mon G70 c'est carrément le confort "PULLMAN" rien ne s'en approche parmi ma douzaine de claviers...
        C'est marrant, j'ai eu exactement le même ressenti... Top de chez top en lesté ce clavier !!!

        Envoyé par Jeandot Voir le message
        Le genos dispose de 128 voix de polyphonie pour la banque interne et 128 voix assignées aux extensions, c'est ce que j'ai compris sur le site Yam.
        Intéressant !
        La musique c'est la vie en bleu avec... A37, Krome61, Midjay+, Motif 7, Pa50, Pa588, Pa2x, Pa600, clavier maître UF8, Triton, Psr K1, piano bastringue Leswein transformé Pa500M88, Voicelive Touch, Zoom R16, iRig Pro Duo, Audiobox 96, Quatafire et système Linux Debian Librazik2 en MAO...

        Commentaire


        • Effectivement 2x128 voix, un peu comme le Montage. Il y a un article au conditionnel sur la question du pourquoi. Le principe serait d’avoir deux puces de génération sonore, chacune branchée sur des mémoires différentes. Je suppose que gérer une concurrence d’accès poserait des problèmes (2 puces accèdent en même temps à la même mémoire), si bien que l’on a la restriction 128 voix/preset, 128/extensions au mieu de simplement 256/toutes sonorités.

          http://sandsoftwaresound.net/genos-i...m-speculation/
          Dernière modification par floyer, 08 octobre 2017, 14h47.
          http://www.sinerj.org/~loyer/piano/

          It's never too late to learn to play the piano. (tip of the day)

          Côté piano : Yamaha CLP150, VSL CFX et Vienna Imperial, Garritan CFX, Bechstein Digital Grand, Ivory, Galaxy et beaucoup d’autres pianos virtuels - Côté synthé : Roland A-500 Pro, Arturia V Collection 6, Korg Legacy Collection, Air Music Technology plugins, OP-X Pro II, dexed (émulateur DX7 libre) - DAW : Reaper 5, Cubase Artist 9 - Interface audio : Steinberg UR22 -
          Casque : AKG K-702

          Commentaire


          • Marrant...je n'avais pas remarqué...

            sur la couverture du mode d'emploi (fr) on lit GENOS clavier arrangeur professionnel alors que sur le mode d'emploi (en) on lit GENOS digital workstation...

            va comprendre Charles !...::

            speech de Bad Mister (Yamaha) sur le Montage et le Genos
            iMac 24" - MacBook Pro - iPad Pro 12 (Cubasis, Auria Pro, BiasFX, BiasAmp2, SampleTank, iM1, iSymphonic, ThumbJam, Sft Drummer, Final Touch etc.), Logic Studio - Presonus inspire 1394 - Apogee One - iRig Pro Duo - Presonus Eris 8 - Yamaha Motif XS 7 - Yamaha GENOS - Guitare acoustique LAG - Fender Stratocaster- http://perso.numericable.fr/appleback/

            Commentaire


            • Serait-ce que Yamaha France aurait eu des remords à nous presenter le Genos pour ce qu'il n'est pas reellement ?:mefie
              Peu importe le matos, à condition qu'il soit de qualité, ce qui est important c'est ce qu'on a dans la tête et de bonnes oreilles !

              "Man lebt, solang man Traüme noch leben kann" (On reste vivant aussi longtemps qu'on peut encore vivre ses rêves)

              Commentaire


              • Bad mister :
                An inevitable discussion, I would imagine.

                What I’d like see is less “guessing” about what the corporate intentions were and the silly conspiracy theory type stuff that discussions like this always dissolve into. If we all agree that stating what we each think Yamaha should make makes us feel better but may have no basis in reality or no possibility of ever happening because none of us has all the information necessary to actually make that happen.

                We can all only speak about what we do musically, and what we may want personally. (And for me that’s interesting). But when someone tries to speak for more than themselves, from this side, it is less interesting, because it no longer is constructive from that point on.

                “Everybody wants...” instead of “I write music, I need...” I tend to read the latter with interest -it’s going to be musical in nature and the former is often filled with that individual’s thoughts on how it would be if they ruled the world or made the decisions. Those discussions can be interesting but mostly they hardly ever lead to anything constructive.

                If there were any ground rules (loosely) let’s agree:
                the MONTAGE is not a Motif XF, nor is it a Motif anything
                the GENOS is not a Tyros 5, nor is it a Tyros anything

                The change in name, is not trivial. It is expensive, time consuming (both names were leaked by musicians working in the Patent Office years ago) but is done to signify a change in direction. A change in concept, focus. If we wanted you to think it was the same we’d have kept the series name, (duh!)

                Buying an Arranger when you're focused on Sound Design, would be as wrong as buying a keyboard that focuses on Sound Design when you need an Arranger. The move from Music Production Synthesizer (which is what the Motif XF was) with its Integrated Sampling Sequencer, to Music Synthesizer (which is what MONTAGE is) with its Motion Control Engine is significant. Certainly more than enough for it not to be called Motif XYZ.

                Likewise, the change in focus and concept in GENOS over the focus and direction of Tyros is just as significant and profound, certainly enough to warranty a series name change. Of significance, the video of the Nashville songwriter (Beth Nielsen Chapman), who can quickly recall a general music genre, then start to customize details of the accompaniment. It maybe hard to translate but the interaction between the musical Parts is much more controllable. These moveable parts can inspire those who write music for a living.

                If you are an “Arranger person” that does the traditional “Arranger” thing - creating real time backing tracks on a high level... then you’ll understand what’s happening in GENOS, you’ll understand where it is built up from... you’ll also see that as a writer of songs, GENOS becomes an unbelievable resource of musical content, stretching across recent music history... inspiring accompaniment. Sonically breath taking, of course.

                Like in MONTAGE, if you get into constructing, for lack of a better term, ‘musical montages’ that include multiple Parts, multiple arpeggios, Motion Sequences, etc... when designing sounds, you can create these incredible sound scapes that are compelling, inspiring. Breath taking. (I get calls from folks who get lost in the ‘Tage for hours at a time... it can be inspiring)!

                If your writing music for hire, jingles, pop tunes, etc. having a GENOS as a tool would make sense... just how quickly can one put together an authentic sounding 60’s or 80’s track?
                If your writing music for hire, and your clients are looking for sci-fi, or music for games and gaming consoles, a MONTAGE would would make sense... “... can you make me the sound of ping-pong balls bouncing on clouds?”

                Focus of the content, flexibility of what and how you get involved in editing, reformatting, customizing the content that is provided... these are the things to consider between the two instruments. The two instruments are very, very different when viewed this way. If your only concern is which has the best piano sound... we can talk about that when we decide if coke is better than pepsi... it’s important to buy the instrument because it meets your requirements.

                Those are broad strokes. Is there a customer overlap? Of course. Could you justify having both, sure. Are they the same? No. Will you recognize certain items/functions/features reshaped/reformatted in each, sure... it is the same company. But try to see the FOCUS each has, then see if what you do now fits. If not, see if what is on offer (which the company surely thinks is “new”) is actually some thing you may never have seen or used before. But don’t dismiss it based only on what you already know or have used in the past. If that is all you have to offer (it’s just less interesting in the discussion) I guess I’m trying to say don’t dismiss something without giving it a fair chance.

                If you can’t afford both, not to worry, you have a lot of company, there. But if you make a living writing music, the technology in these two products represent the cutting edge - each has a focus... one on do-it-yourself sound design, the other toward the craft of writing songs.

                If that’s not what you do, sticking with what works for you is not a bad thing, no need to apologize when a new product is not for you.
                The focus of the Motif series was based around the ISS approach to music assembly... sampling and sequencing, both separately and together.
                The focus of Tyros series was based around the real time song performance... live interaction with the tech to construct/arrange a song.
                The new focus of MONTAGE is based on creative sound design utilizing the previous series' tech and combining it with an FM-X engine. Interaction between the engines is achieved via a new controller matrix that includes motion control, side chain modulation, etc,. The focus of GENOS is based on the real time song construction concept of its previous series, but with a greater concentration (focus) on fashioning an inspiring backing environment in which to write songs.

                This is not to say that any of these products can’t move in many directions, and nothing says you can’t use them to do what they are not necessarily focused on... these are broad general strokes. The devil is in the details and the details are going to be slightly different for each of us.

                The GENOS is not a synthesizer (reason it is not included here on Yamaha Synth), not like the MONTAGE is a synthesizer.
                Editing at the Element level is not something you’ll expect to see ... selecting which Element sounds *when*, is not something you’ll expect to see... if you know Synthesizers you know MONTAGE is a synthesizer.



                Amen :super
                Ma chaîne youtube : http://www.youtube.com/user/pianorolandce?ob=5
                Roland bk7m
                Piano numérique: Roland HPI-7F
                Mixer: Yamaha Aw16g
                Enceintes: Tanoy reveal
                Casque: Beyerdynamic Ampli samson servo 120
                V Stand.
                M audio code 49

                Commentaire


                • Oui, j'avais lu ce thread mais il faut le remettre dans son contexte. Ici, la personne qui a posé la question demande s'il est possible de creer des sons en plus, à l'instar des synthés. C'est evidemment non avec le Genos qui n'est pas un synthé à proprement dit. Cela etant posé, il existe des machines capables des deux, on en a parlé suffisamment. Donc, pour moi, ce thread n'apporte rien de plus si ce n'est qu'il y a regret sur la communication de Yamaha qui, il faut le reconnaitre, peut plus desservir que donner l'envie.
                  Peu importe le matos, à condition qu'il soit de qualité, ce qui est important c'est ce qu'on a dans la tête et de bonnes oreilles !

                  "Man lebt, solang man Traüme noch leben kann" (On reste vivant aussi longtemps qu'on peut encore vivre ses rêves)

                  Commentaire


                  • Envoyé par jeanbart Voir le message
                    Bad mister :
                    An inevitable discussion, I would imagine.

                    What I’d like see is less “guessing” about what the corporate intentions were and the silly conspiracy theory type stuff that discussions like this always dissolve into. If we all agree that stating what we each think Yamaha should make makes us feel better but may have no basis in reality or no possibility of ever happening because none of us has all the information necessary to actually make that happen.

                    We can all only speak about what we do musically, and what we may want personally. (And for me that’s interesting). But when someone tries to speak for more than themselves, from this side, it is less interesting, because it no longer is constructive from that point on.

                    “Everybody wants...” instead of “I write music, I need...” I tend to read the latter with interest -it’s going to be musical in nature and the former is often filled with that individual’s thoughts on how it would be if they ruled the world or made the decisions. Those discussions can be interesting but mostly they hardly ever lead to anything constructive.

                    If there were any ground rules (loosely) let’s agree:
                    the MONTAGE is not a Motif XF, nor is it a Motif anything
                    the GENOS is not a Tyros 5, nor is it a Tyros anything

                    The change in name, is not trivial. It is expensive, time consuming (both names were leaked by musicians working in the Patent Office years ago) but is done to signify a change in direction. A change in concept, focus. If we wanted you to think it was the same we’d have kept the series name, (duh!)

                    Buying an Arranger when you're focused on Sound Design, would be as wrong as buying a keyboard that focuses on Sound Design when you need an Arranger. The move from Music Production Synthesizer (which is what the Motif XF was) with its Integrated Sampling Sequencer, to Music Synthesizer (which is what MONTAGE is) with its Motion Control Engine is significant. Certainly more than enough for it not to be called Motif XYZ.

                    Likewise, the change in focus and concept in GENOS over the focus and direction of Tyros is just as significant and profound, certainly enough to warranty a series name change. Of significance, the video of the Nashville songwriter (Beth Nielsen Chapman), who can quickly recall a general music genre, then start to customize details of the accompaniment. It maybe hard to translate but the interaction between the musical Parts is much more controllable. These moveable parts can inspire those who write music for a living.

                    If you are an “Arranger person” that does the traditional “Arranger” thing - creating real time backing tracks on a high level... then you’ll understand what’s happening in GENOS, you’ll understand where it is built up from... you’ll also see that as a writer of songs, GENOS becomes an unbelievable resource of musical content, stretching across recent music history... inspiring accompaniment. Sonically breath taking, of course.

                    Like in MONTAGE, if you get into constructing, for lack of a better term, ‘musical montages’ that include multiple Parts, multiple arpeggios, Motion Sequences, etc... when designing sounds, you can create these incredible sound scapes that are compelling, inspiring. Breath taking. (I get calls from folks who get lost in the ‘Tage for hours at a time... it can be inspiring)!

                    If your writing music for hire, jingles, pop tunes, etc. having a GENOS as a tool would make sense... just how quickly can one put together an authentic sounding 60’s or 80’s track?
                    If your writing music for hire, and your clients are looking for sci-fi, or music for games and gaming consoles, a MONTAGE would would make sense... “... can you make me the sound of ping-pong balls bouncing on clouds?”

                    Focus of the content, flexibility of what and how you get involved in editing, reformatting, customizing the content that is provided... these are the things to consider between the two instruments. The two instruments are very, very different when viewed this way. If your only concern is which has the best piano sound... we can talk about that when we decide if coke is better than pepsi... it’s important to buy the instrument because it meets your requirements.

                    Those are broad strokes. Is there a customer overlap? Of course. Could you justify having both, sure. Are they the same? No. Will you recognize certain items/functions/features reshaped/reformatted in each, sure... it is the same company. But try to see the FOCUS each has, then see if what you do now fits. If not, see if what is on offer (which the company surely thinks is “new”) is actually some thing you may never have seen or used before. But don’t dismiss it based only on what you already know or have used in the past. If that is all you have to offer (it’s just less interesting in the discussion) I guess I’m trying to say don’t dismiss something without giving it a fair chance.

                    If you can’t afford both, not to worry, you have a lot of company, there. But if you make a living writing music, the technology in these two products represent the cutting edge - each has a focus... one on do-it-yourself sound design, the other toward the craft of writing songs.

                    If that’s not what you do, sticking with what works for you is not a bad thing, no need to apologize when a new product is not for you.
                    The focus of the Motif series was based around the ISS approach to music assembly... sampling and sequencing, both separately and together.
                    The focus of Tyros series was based around the real time song performance... live interaction with the tech to construct/arrange a song.
                    The new focus of MONTAGE is based on creative sound design utilizing the previous series' tech and combining it with an FM-X engine. Interaction between the engines is achieved via a new controller matrix that includes motion control, side chain modulation, etc,. The focus of GENOS is based on the real time song construction concept of its previous series, but with a greater concentration (focus) on fashioning an inspiring backing environment in which to write songs.

                    This is not to say that any of these products can’t move in many directions, and nothing says you can’t use them to do what they are not necessarily focused on... these are broad general strokes. The devil is in the details and the details are going to be slightly different for each of us.

                    The GENOS is not a synthesizer (reason it is not included here on Yamaha Synth), not like the MONTAGE is a synthesizer.
                    Editing at the Element level is not something you’ll expect to see ... selecting which Element sounds *when*, is not something you’ll expect to see... if you know Synthesizers you know MONTAGE is a synthesizer.



                    Amen :super
                    Et ça .......

                    壞先生:
                    一個不可避免的討論,我想像。


                    我想看到的,對於企業的意圖和愚蠢的陰謀論類型的東西,這樣的討論總是會消散的,更少的“猜測”。如果我們 都同意說明我們每個人都認為雅馬哈應該做的事情,使我們感覺更好,但在實際中可能沒有任何依據,也不可能發 生任何可能性,因為我們沒有一切實際可行的信息。


                    我們都只能講我們在音樂上做什麼,以及我們可能想要個人的想法。 (對我來說這很有趣)。但是當有人嘗試超越自己的話說話時,從這一方面來看,這並不那麼有趣,因為從那時起 ,它不再是建設性的。


                    “每個人都想要...”而不是“我寫音樂,我需要...”我傾向於用興趣閱讀後者,而這本來就是音樂性的, 而前者往往充斥著這個人的想法,如果他們統治世界或作出決定。這些討論可能是有趣的,但大多數情況下他們幾 乎沒有什麼建設性的。


                    如果有任何基本規則(鬆散地)讓我們同意:
                    MONTAGE不是Motif XF,也不是Motif的東西
                    GENOS不是Tyros 5,也不是Tyros的任何東西


                    名字的變化不是微不足道的。這是昂貴的,耗時的(這兩個名字都是在專利局幾年前在音樂家身上洩露出來的), 而是表明了方向的改變。概念的變化,重點。如果我們想讓你認為這是一樣的,我們會保留系列名稱 ,(呃!)


                    當您專注於聲音設計時,購買一個安排者,當您需要一個安排者時,購買一個專注於聲音設計的鍵盤將是錯誤的。 音樂製作合成器(Motif XF是什麼)與其集成採樣定序器,音樂合成器(這是MONTAGE是什麼)與其運動控制引擎的舉動是重要的 。當然不夠,因為它不被稱為Motif XYZ。


                    同樣,GENOS的重點和概念在Tyros的重點和方向上的變化也是同樣重要和深刻的,當然足以保證系列名 稱的變化。具有重要意義的是,能夠快速回憶一般音樂流派的納什維爾作曲家貝絲·尼爾森·查普曼的視頻開始定 制伴奏的細節。這可能很難翻譯,但音樂部分之間的相互作用更加可控。這些可移動的部分可以激勵那些為生活而 寫音樂的人。


                    如果你是一個“安排者”,那就是傳統的“安排者”的事情 - 創建一個高級別的實時支持軌道,那麼你會明白GENOS中發生了什麼,你會明白它是從哪裡構建的。你也會看 到,作為歌曲的作家,GENOS成為一個令人難以置信的音樂內容資源,延伸到最近的音樂歷史...鼓舞人心 的伴奏。當然,呼吸呼吸。


                    像MONTAGE一樣,如果您進入構建,因為缺乏一個更好的術語,包括多個部分,多個琶音,運動序列等的“ 音樂蒙太奇”,當設計聲音時,您可以創建令人難以置信的令人難以置信的聲音畫面,鼓舞人心。呼吸(我收到來 自“Tage幾個小時在一起的人們的電話,這可以鼓舞人心”)!


                    如果您以GENOS作為工具,您的出租,爵士,流行樂曲等音樂將會有意義嗎?只要將多達六十或八十的正確聲 音放在一起,可以有多快?
                    如果您的書寫音樂出租,您的客戶正在尋找科幻,或遊戲和遊戲機的音樂,MONTAGE將會有意義...“. ..可以讓我聽到乒乓球彈跳的聲音在雲上?


                    內容的重點,靈活性以及如何參與編輯,重新格式化,定制提供的內容...這些是兩個工具之間要考慮的事情。 這兩種儀器在這樣看來非常非常不同。如果您唯一關心的是最好的鋼琴聲,那麼當我們決定焦炭是否比pepsi 更好時,我們可以談論這一點,因為符合您的要求,購買儀器很重要。


                    那些是廣泛的筆劃。有客戶重疊嗎?當然。你能證明兩者都有道理嗎?他們是一樣的嗎?不,你會認識到每個項目 中重新整理/重新格式化的某些項目/功能/功能,確定...它是同一家公司。但是嘗試看到FOCUS每個都有,然後看看你現在做的是適合。如果沒有, 看看是否提供了什麼(公司肯定認為是“新”)實際上是你以前從未見過或使用過的一些事情。但不要僅僅根據你 以前已經知道或已經使用的方法來解僱它。如果這是所有你需要提供的(討論中只是不那麼有趣),我想我想說, 不要放棄一些東西,而不給它一個公平的機會。


                    如果你買不起,不要擔心,你們有很多公司,那裡。但如果你生活在一起


                    Amen :super
                    Dernière modification par ballade, 08 octobre 2017, 18h12.
                    Alexandre
                    L'homme peut être heureux sans réfléchir, mais ne peut réfléchir sans vouloir être heureux !

                    Kronos 2 61 - Nord Stage 3 HP76 - Yamaha MODX 6 - Korg Pa4x 76 - Studiologic SL88 Studio - Roland A50 - Cubase 10
                    Allen@Heath Qu-16 -Yamaha 01V96 vcm - Genelec 1032APM - Genelec 7070 APM - Neumann KH120 - Alesis Adat HD24 - Motu Midi Express XT Usb - Takamine LTD99

                    Commentaire


                    • la , je comprend mieux:nananere:nananere:nananere
                      Korg Kronos 73n n° de série 000093
                      Piano droit Zimmerman
                      Korg Nanopad 2
                      M-Audio Fast Track Pro
                      Yamaha Mg10/2
                      Samson Résolv 65a
                      MacBook Air
                      Ipad 3 blanc

                      Commentaire


                      • 內容的重點,靈活性以及如何參與編輯,重新格式化,定制提供的內容...這些是兩個工具之間要 考慮的事情。 這兩種儀器在這樣看來非常非常不同。如果您唯一關心的是最好的鋼琴聲,那麼當我們決定焦炭是否 比pepsi 更好時,我們可以談論這一點,因為符合您的要求,購買儀器很重要。

                        Tiens tiens, je ne connaissais pas la marque pepsi en arrangeur... ::
                        La musique c'est la vie en bleu avec... A37, Krome61, Midjay+, Motif 7, Pa50, Pa588, Pa2x, Pa600, clavier maître UF8, Triton, Psr K1, piano bastringue Leswein transformé Pa500M88, Voicelive Touch, Zoom R16, iRig Pro Duo, Audiobox 96, Quatafire et système Linux Debian Librazik2 en MAO...

                        Commentaire


                        • Envoyé par ballade Voir le message
                          Et ça .......

                          壞先生:
                          一個不可避免的討論,我想像。


                          我想看到的,對於企業的意圖和愚蠢的陰謀論類型的東西,這樣的討論總是會消散的,更少的“猜測”。如果我們 都同意說明我們每個人都認為雅馬哈應該做的事情,使我們感覺更好,但在實際中可能沒有任何依據,也不可能發 生任何可能性,因為我們沒有一切實際可行的信息。

                          ....................


                          那些是廣泛的筆劃。有客戶重疊嗎?當然。你能證明兩者都有道理嗎?他們是一樣的嗎?不,你會認識到每個項目 中重新整理/重新格式化的某些項目/功能/功能,確定...它是同一家公司。但是嘗試看到FOCUS每個都有,然後看看你現在做的是適合。如果沒有, 看看是否提供了什麼(公司肯定認為是“新”)實際上是你以前從未見過或使用過的一些事情。但不要僅僅根據你 以前已經知道或已經使用的方法來解僱它。如果這是所有你需要提供的(討論中只是不那麼有趣),我想我想說, 不要放棄一些東西,而不給它一個公平的機會。


                          如果你買不起,不要擔心,你們有很多公司,那裡。但如果你生活在一起


                          Amen :super
                          Voilà un bon résumé du sujet, avant qu'on aie la doc ....:bing::nananere
                          Roland RD2000, Nord Piano 2 HP, KORG PA900
                          FocusRite Scarlett 6i6, Lucas Nano 300, 2xMonitors CM30,
                          MacBookPro + Logic Pro X + divers VSTs (AU), Zoom Q2n, Boss VE-5

                          Cheminer ou arriver: quel est mon but ? La musique est un chemin infini...

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                          • Damned ! C'est bien ce que je pensais !!!!!:super:bing::nananere
                            Peu importe le matos, à condition qu'il soit de qualité, ce qui est important c'est ce qu'on a dans la tête et de bonnes oreilles !

                            "Man lebt, solang man Traüme noch leben kann" (On reste vivant aussi longtemps qu'on peut encore vivre ses rêves)

                            Commentaire


                            • Pas de long discours comme certains pour expliquer que le PA4X ne fait que du balbutiement de synthèse.

                              -J'ai eu un ROLAND SH-101, dont personne ne peut prétendre que ce n'est pas un synthétiseur.

                              -J'ai eu deux KORG Triton. Le nombre de paramètres de synthèse "pure" est infiniment supérieur aux paramètres du SH-101. (segments des enveloppes, formes d'ondes des LFO, modulations des filtres, etc...)

                              -J'ai un PA3X. Il y a tous les paramètres de synthèse du Triton!!!....Et bien d'autres.

                              Alors il faut quoi concrètement et sans grandes phrases creuses, pour ne pas un être une ersatz de synthétiseur?
                              Dernière modification par galettouille, 08 octobre 2017, 20h26.

                              Commentaire


                              • +1000 Galetouille.
                                Je pense qu’embrouiller les choses sur ces aspects permet aux fans du genos de noyer le poisson en évitant de répondre aux choses concrètes alex

                                Mais la majorité n’est pas dupe.
                                Meme bad mister de chez yam reconnait la spécificité d’un montage comme veritable synthé,et celle du genos comme simple arrangeur.
                                C’est dire.....c’est un des plus grands communicants de yam sur le net international et il ne reprend pas le promo pompeuse des trailer du genos.
                                Comme quoi
                                Yamaha Montage 8,Montage 6.
                                Yamaha CP88,Korg Pa4X 76.
                                Maschine MK3, Komplete Kontrol 49 mk2

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