T1 owners and users, just how bad are the bugs with the os?
 

I'm dying to buy a virus. I have starved my kid, wife and cat. Laundered enough $$$ from our household budget and am ready to make the plunge........

While I use virus powercore as an efx plugin, I began to hear discord on the powercore forum......
http://powercore.noheaven.com/viewtopic.php?t=1451

Besides the new shiny models with the new features, etc......considering the highbrow sounds of the virus, just how bad are the bugs?
Is it worth the $$$

I need a real analog modeling synth and it's between the nord/access
access seems to be ahead of the technology curve with usb/control surface, etc.....

which access, the Polar, or the Keyboard would be a better live/studio device. The halfwits at the music stores here in the US of (about to bomb iran into the stone age) of A, never bothered to go to the access booth at namm, and I can't stand bullshit from a sales guy....

If I have decent midi controllers can I use a desktop version live?

thanks. :D

Works well in my set-up (PC, Asus P4P800 MB, with 2.8GHz (HT) processor, 2 Gb dual channel DDR400 memory and RME interface).

One thing that I was not aware of before I bought it was exactly what systems Access say the TI is compatible with. This is not an issue for me as I have Cubase SX3, but it won't work with Nuendo (apparently), and many more...

I would certainly recommend checking the compatible systems before buying.

Other than that I am looking forward to the current grail of OS (1.1, currently at 1.09). It should be due for release very soon now... But I can work quite happily with it as is.

Some might say that I am lucky though!

Which access are you using? and do you play it live/real time, or pre program your midi just so you can automate/modulate?

My advice on this is dont get hung up on the non musical features (ie the integration stuff.

Go for which you most like the sound of (assuming your are a original producer and not a cover producer).

The bugs are an irratation when they occur, but I am hell of alot more productive having a synth that I love the sound of vs an NL3 which was the alternative I was considering last year when I ordered the TI. TBH - I just couldnt get into the Nord sound, though I do sometimes which the TI had its brightness.

How much you get affected does seem to depend upon how stable you workstation platform is. Some people seem to have terrible problems, which I have very few that cant be sorted by pushing a buttoj somewhere.

If you are an old school hardware type and have a very hardware orientated way of working, have a tendency to make alot of use of hardware patch bays etc , then you may find the assumption made by Access about how people will use the TI rather annoying.

If you involve from the swamp that is software - then you might vefry much welcome those same assumptions :)

Great feedback, why did you purchase the keyboard over the polar? I initially wanted the keyboard (semi weighted keys etc) but got thrown off by reviews saying the polar was a superior model. Maybe this is hyper inflated crap becuase access has more polar models in inventory to get rid of?

I wanted the TI keyboard to also serve as my main controller keyboard when the remote mode gets implemented.

I also like semi-weighted keys, dont like little keyboards (my desk bound remote 25 is an exception as thats just hand to have closeby on the desk).

I was going top say I dont just produce trance and so need to stretch of more than 3 octaves, but actually even with pads and arps I'll tend to use spread voicings alot rather than just rely upon hypersaws or octave shifting to make them sound fat. Spread voicings can rapdly make 37 keys seem very cramped :)

VERY WELL SAID.........one of the shameful tragedies of the trance genre (as a whole, excluding pioneering innovators) is the inability to modulate voicings.
I am actually a guitar player first and formost, and rely on voicings a lot. I got into being an electronica composer/producer (not pro) by defualt. I just got sick of the "fluff pop/cock rock/gansta rap/emo" that has been shoved at us since the early 90's. At least here in the good old US (about to bomb iran into the stone age) of A

is there anything particular to look up theory wise in regards to modulating voicings (as searching for voicings/modulation in any combo didnt really give me any results)

im trying more and more to get into the theory and this sounds interesting

have a nice day
-Dan

I use the TI keyboard.

Up until now I have always had rackmount synths and used controller keyboards but I feel claustrophobic when playing, so I went for the whole hog.

I play the music live into the sequencer and record, never gig. I then touch up and automate in the sequencer.



Spread voicings? Khazul, would you care to elaborate - I've never heard of this, not sure if I use a different term or if it is a new technique - is it just layering?

Drammy

I was wondering just out of interest.Can you load Ti soundsets/Patches into the Powercore virus?????

Dont think so - at least I havnt found much, but cant say I have ever looked for it. (And no I'm not a trained musician - just a hacker).

Heres a for eg:

Play a Eb7maj chord normal voicing with a nice silky pad - if you have a C or TI - find the "slowsilk" patch as a for eg.
Eb(4), G(4), Bb(4) D(5).

(Numbers in brackets are the midi octave numbers, so middle C is C4, D above is D4 etc)

Nice chord, sounds ok, but maybe a little thin?


Try voicing as follows:

Eb(2), Bb(4) D(5), G(5)

Sounds rather different and yet the same? Nice shiny highs and some good low-end subtle body to it, and yet its stays quite airy and doesnt overpower in the way that octave layered patches tend to? I think when voiced like this it has a lovely rich orchestral feel to it.

Welcome to the world before super-saws :)



If you are programming rather than playing, then maybe drop the 5th (Bb) down an octave as well - personally I prefer the sound usually when only the root is dropped, which also has the advantage of leaving the voicing playable.

Its quite common to split the 1st and 5th out of 7th chords and drop them down an octave relative to 3rd and 7th. Also you down have to play all 4 notes of a 7th, or all 5 of a 9th etc.

Just experiment with stuff, try different invertions, drop the root down an octave or two etc - if you listen to the vengence demos I think alot of them use similar voicings. Same with Ben if I remember right in his NAMM demos.

I think classical piano lessons tend not to pay much attension to this kind of thing unless you are also learning orchestral arrangement (so you can figure out how to split a 7th/9th/11th etc across violins, violas, cello, contra etc). Jazz and Blues orientated lessons on the other hand live and breathe by this if you have a half decent teacher.

Isnt that based upon a B?

I would guess the answer is no *if* the earlier models check the product ID number in the sysex dumps.

Otherwise some of the params appear to have subtly changed - some of the config orientated ones at least since the C.

You may be lucky - it might just simply ignore the params it doesnt understand - the sysex format does potentially make some degree of forwards compatibility possible.

Try it (though I never said nuthin if your powercore try to do an impression of Chernobyl :)

I got a powercore but no Virus for it,i went for the Ti instead 8)
I was just wondering if it was possible

A chord consists of a 1, 3, 5 notes in a scale of 8 tones (this is a major chord! for example sake, you can add 7ths flat 3's 2nd's, etc....the possibilities are varried but we will keep it short and easy)

That is a chord in the 1st voicing.....now change that around so the chord starts on the 3, 5....1(octave higher)

and it is now the second voicing........still the exact same chord, butt the notes are mixed up....

does that help?

Are you happy with the powercore? what version firewire or pci? mac/intell?I jumed in a little fast with the powecore virus, if done over I would have saved the $$toward the T1. But it is a nice Efx plugin to have in ones arsinal...

No and No - I otherwise call it f*****g about ;)


It is commonly taught by jazz teachers though (ironically*) - I cant remember what the proper term is (or even if there is one), I just call it spread voicings and most people with some concept of voicings or invertions get the picture...

Hopefully my other answer makes sense.


* ironic because its main application is orchestral arrangement, but jazz players tend to play common 7th upwards chords in rather non-obvious ways, so its taught early by jazz orientated teachers as a lead in to improvisation. Maybe classical teachers get around to it eventually... but then jazz is about fekking about while classical is about formal structure and bizarre voicing on one instrument (piano) is probably frownbed upon... :)

BTW - I thoroughly recommend any trance producer takes some time to study jazz, or even get a jazz keys teacher who can throw a bit of useful loose composition and harmony theory at you as well.

Who knows you might find a use for those black keys :)

Yeah.......there are 11 other notes besides "C" which much trance falls into.....

Inversions? Voicings? First inversion, second inversion etc. is where you flip the top note of the chord to the octave below? Voicings is where you choose a note from the chord with your other hand? Sounds plausible! :wink: I didn't know it was restricted to Jazz, but yeah... really important for that jazzy sound. I too like to refer to this as, "f*cking about." :D
Mr O

And don't forget to tweek the softknobs every once and again! :D

It isnt - its used in just about everything you hear - but it just seems that only jazz teachers will bring it up very early on.

Very happy with my Firewire Powercore (Used with my PC)especially the MD3 mastering tool,also the Plugs that come with it are great...I'm looking at investing in the VSS3 also.... :lol:

:lol: :lol: :lol: