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Quatschmacher last won the day on January 18 2018

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  1. I’ve programmed clever pitch offsets to the oscillators, controlled by expression pedal. See here: Here’s another example which uses the expression to switch between m7b5, m9, 9, and maj9 voicings: https://drive.google.com/file/d/1RZ1sySW33BoJn4nCSrHj8940yv_mw81E/view?usp=drivesdk
  2. Slightly off topic but here’s a polyphonic sound achieved by my lowly monophonic Future Impact. I’m pretty sure the SY-1 can’t do this as the finger stretches alone would make it impossible. https://drive.google.com/file/d/1gNq_3POlLpeRq6dFjoY8boVaQ1no3hHy/view?usp=drivesdk https://drive.google.com/file/d/16zIK035UiU-aBZGjUKVVW5_XzvW5pB7g/view?usp=drivesdk
  3. I managed to nail two 4-note minor II-V-I progressions and one 4-note Major one with proper smooth voice leading before going to bed at 3am. https://drive.google.com/file/d/16zIK035UiU-aBZGjUKVVW5_XzvW5pB7g/view?usp=drivesdk https://drive.google.com/file/d/1QuMyeSINcPydaKBkXAoNqHQ9vF3lJ_Kn/view?usp=drivesdk https://drive.google.com/file/d/1gNq_3POlLpeRq6dFjoY8boVaQ1no3hHy/view?usp=drivesdk
  4. Thanks! Yes, I am! I had this idea when I first started beta testing and had some limited success with it. One of the others in the group thought it was pointless as it would be unusable. The addition of the hard-transition curves last week has made it possible to make the changes in easier-to-control ways; the rest was just maths and I knew I’d get there in the end. Obviously it has its limitations, being tied in to either a major or minor progression but could easily work for muti-tracking. There are loads of jazz tunes that are built solely out of major II-V-I progressions so it could be used. I’m sure someone will find a use for it and it’s a good showcase of the flexibility that the Flexi Controllers offer.
  5. That is exactly how it works. I chord is at toe-up, II chord at mid position, V chord at toe-down. It took a lot of working out to get it to work as you aren't working with actual pitches, but rather with offsets from the root note, which is shifting. That would be quite straightforward if you want the same overall chord shape on all three chords, (by that I mean, eg. the third is always the lowest note, ninth always the highest etc.). I was trying to achieve smooth internal voice leading so that notes don’t jump around wildly. Only certain combinations of root movement and voicing type work for this due to the numbers. I want to get least one version that is built of the 7th and one that is built off the 3rd for both the major and minor progressions. Basically I’m using two or three of the new Flexi Controllers to alter the pitches of the oscillators. I look at which offsets need to be applied for each chord then work out combinations of three that best work with the available transformation curves. I use a linear curve for combinations that are symmetrical such as 12-14-16 or 26-27-28. Then I look for combinations that can be grouped in a 1/3, 2/3 arrangement such as 31, 31, 38 as there are some hard-transition curves where you can specify which point the curve jumps from low to high; setting that point towards the right means that the lower value gets held until the toe-down position. It’s basically maths and problem-solving. You don’t really need to understand how I did it in order to make use of it. You don’t even need to use the sound I programmed. You could use the Flexi setup I made as a template and create a wholly different patch around it.
  6. I’ve nailed the minor II-V-I too. https://drive.google.com/file/d/1vIML8STlWGly0FTaV3ONQbE3oAxa7vjl/view?usp=drivesdk
  7. OK, so that one wasn’t quite there as one voice jumped an octave. This whole thing is basically a huge maths problem. By slimming down to three voicings and changing the direction of the bass movement, I’ve managed to find a set of numbers that work. This time all the voice leading is smooth: https://drive.google.com/file/d/1ThpNfKymROLUouZDZadNYNl7B3ldDZ4M/view?usp=drivesdk And, because I've only used three oscillators and two flexi slots, I could have the synth play the root notes and there’s room for more modulation madness. I’m going to see if I can work out some combinations that work for minor II-V-I progressions too.
  8. One very good reason is that it forms part of the preset so involves zero fiddling around with settings once programmed. It’s actually a very good sounding drive and I’ve used it in many of my patches.
  9. Probably would be. Code space is pretty full. You could plug in a sequencer to the MIDI IN port. Keystep would be a good choice. The only FX in FI are chorus/delay, EQ and overdrive and they are all really useful.
  10. Boot menu! To enter the boot menu, press the PROGRAM (left) footswitch while powering on the pedal. Turn the PARAMETER dial to “Note Off Level” to see the name of a parameter and turn it clockwise to any other position to see that parameter’s value. The value is adjusted using the EDIT dial. Step through the parameters by pressing the left footswitch again. When editing is complete, turn the FI off and on again. The aforementioned two parameters of the boot menu are given below: (RESET ALL (“rS”) Value: 0, 1. (Default on reset is 0.) Change to 1 to reset all sound para­meters to default (5) upon power-on. The default program loaded at power-on will be reset to 1.
  11. Are you on the latest firmware? If so, did you perform a “reset all” via the boot menu after installing the update? If not, the tune base value will be incorrect. When tuning, only the central horizontal line will show when the note is in tune.
  12. @SICbass the overdrive on its own is totally useable. You could easily use the FI for distortion.
  13. I’ve cracked doing a smooth II-V-I using expression to change the chords with minimal internal voice movement. The only thing I haven’t yet managed is to get the 5th to become a 6th and then go back down again as there are no symmetrical transformation curves (I’m tempted to ask for one though). So the V chord uses a 5th instead of the better-sounding 6th. Still, pretty cool and not tied to any key signature at all. Might be better if I leave the 5th out altogether and then I could double the root to have all the voices on synth. https://drive.google.com/file/d/1qfy0AsciYlykkMh4FyH8AAL-szf01ik1/view?usp=drivesdk
  14. For Mac, I don’t know. On pc you can move the taskbar to the side. Didn’t we do that on your Mac too? Is there view tab at the top to resize to percentages? There is in the new editor but it’s ages since I used the old one that I can’t remember. Otherwise, plug in a larger second screen and use split monitoring.
  15. I told you they were in there, just a matter of playing around enough to get them. It’s about striking the balance between the AD/ADSR envelope and the envelope follower. Actually using more of the former and less of the latter seems key. There’s so much variation possible too. I might try and further tweak these to add expression control of one or more parameters.
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