Quatschmacher

So it allows dry bass to be played on top?

It’s not even the most exciting new feature.

You’ll need a sustain or an expression pedal and something that will send the midi CCs from those to the FI. I’m using my Source Audio Hub at the moment but there are other devices ( from Morningstar, Disaster Area, etc) that would do that and allow you to send program change messages and other midi CCs. Having an expression pedal will be essential to getting the best out of v3 with the new flexi controllers (mod matrix). Most of my patches have some kind of morphing applied to midi CC1. If you check out the clips I posted earlier, you can hear some of that.

What does the freeze feature on the SY-1 actually do? Does it allow further triggering of synth notes while sustaining others (if so, what is the maximum polyphony)? If not, is it just allowing dry bass to be played over a synth wash?

It’s a forthcoming (post-v3) rather than currently-available feature. There is no sustain stage in the envelopes in the current publicly-available version so would have probably been tricky to achieve.

Not yet but is on the roadmap. @owen I had to amend this as I had mistakenly thought it was coming in the update.

In the course of cleaning up the English in the manual, I came across a nugget of information that I’d overlooked: I always knew that if the sum of the “volume” sliders of two or more oscillators exceeded 127 then foldover distortion occurred. What I hadn’t realised was that a similar thing occurs within a single oscillator. That is to say, if the sum of the volumes of two (or all three) waveforms within a single oscillator exceeds 127 then foldover distortion also occurs. This is a big discovery for me and I am annoyed I overlooked it. It could lead to some pretty cool sounds. Likewise, it explains why I was getting unexpected results when adding a triangle wave in a single oscillator block where the saw was already at 127! While we are on the subject, I’d be interested to know if sections of the manual that users find unclear as it might help me to know which sections to expound upon. Currently I’m cleaning up the English and adding information I feel is lacking.

C4 does (configurable) arpeggiators.

I might see if I can try one in Just Music in Berlin on Monday or Tuesday. Hoping to meet up with @SICbass there.

Depends what you want from it. I still think the FI is capable of way better sound shaping than the C4, especially now that v3 has full ADSR control (my constant nagging paid off). The C4 has the advantage of a slick interface for auditioning and saving sounds whereas the FI is still a bit clunky in comparison (though I’m hopeful of some improvement in a post-v3 release and have made suggestions which didn’t fall on deaf ears). C4 has a bigger range of filter types but for envelope control, oscillator options and parameter routing possibilities, the FI blows C4 away. Both have great tracking. I do enjoy both though but if I absolutely could only choose one, I personally would choose the FI.

Thanks. I still learn new stuff all the time. Working on the new v3 manual for the FI made me discover a nugget of information I’d overlooked before.

Thanks. I am still getting to grips with this one though I feel pretty comfortable that I know what I’m doing now. I haven’t even touched the sequencer yet! I do feel the FI still has much better tone sculpting options (better envelope implementation, pulse width modulation, EQ, ability to use more than two instances of the same waveform at once and the mind-blowing possibilities of the mod matrix) which allow me to get more of the sounds I’m after. Still, the C4 is capable of some amazing things and I’m starting to not miss my Manta.

Just put up four more patches (clips of which all are appended to my playlist). Here’s one: https://soundcloud.com/peter-kenney-750235819/kitchen-sink-bass-4 @GisserD you might dig these.

That was yours? I really liked that one and downloaded it to my pedal.

It’s not leeching. The community is set up with sharing in mind. Some people love creating patches for others to use.

What do you mean by “resonant”? There is still some scope for tone shaping with bass and treble EQ and the filter. Bear in mind, the two OC-2 patches I posted are generated differently: ”OC-2 is the new black” uses the monophonic pitch shift voice, which sounds pretty close off the bat but has it’s own dedicated low pass filter to cut off the high end. I’ve actually got it below 50% in this clip. “OC-2 1d...” is actually made using the square wave oscillator through the normal 4-pole lowpass filter and is a bit fuller sounding and less honking than a real OC-2.

Check the demos I posted above to see.

The interface isn’t nasty. It’s actually pretty well laid out (and it will be a bit clearer in the next release as I’m pushing (as far as I can) to get the things I found confusing about it cleaned up). One needs to know a bit about what one is doing to get the best out of it. Admittedly the patch transfer is cumbersome (especially compared to SA) and is something that has been recognised as needing to be improved in a later release. Tracking is definitely not awful. The latest release improves it even further.

Not sure, it uses a feature of the FI that isn’t available on C4 - using the envelope follow to regulate the volume of an oscillator so that it drives the volume into foldover distortion. I might be able to get in the ballpark though using a dedicated drive. I’ll have a go.

My C4 patches so far:

Some C4 patches:

I’ve finally got round to recording some clips of my C4 patches: