--- In exs-users@yahoogroups.com, "Sascha Franck" <S.Franck@g...> wrote: > Gérald RYCKEBOER wrote: > > I also understand the "Note", "Bend" and "Midi Channel" options and > > how to use them, but cannot imagine about the specific "Groupe" option, > > which was the subject my question. > > I think (haven't tried yet) that this could be used for something like a "round robin" function. > So, whenever you trigger a certain group (a zone pointing to the group that is) it'll automatically switch to the group that has the > "selected by" box checked. > Let's assume you have a group for all "upbow" samples, and another one for "downbow" ones. Now, when you play a zone belonging to > "upbow" it'll automatically switch to "downbow" for the next played note,which will then again switch things back - and so on. > > As said, haven't tried yet, but this would make sense to me. > > Cheers, > Sascha Yes, I use this for the "round robin" thing all the time. Especially usefulfor libraries such as VSL or Project SAM that come with keyswitching instruments with multipleversions of a certain articulations, such as multiple staccatos. Create an instrument that automatically switches between staccato versions by changing the "selected by" from "key"to "group." Assign the first group to "start" and each consecutive group to be triggered by the previous one. Timo

Le 28 juin 05, à 13:10, "timoathome" <timoathome@...> a écrit : > Yes, I use this for the "round robin" thing all the time. Especially > useful for libraries such > as VSL or Project SAM that come with keyswitching instruments with > multiple versions of a > certain articulations, such as multiple staccatos. Create an > instrument that automatically > switches between staccato versions by changing the "selected by" from > "key" to "group." > Assign the first group to "start" and each consecutive group to be > triggered by the > previous one. Well I don't understand the meaning of "round robin" (I'm not a synth player, but only a pipes "computerized" player with synts at home, so although I had learned a lot by myself, there are still big holes in my technical knowledge :-D but I think I understand globally that stuff (need some trials, and I'll be back here if problems ;-) I thought it could be something like that, and actually it is the answer to the last problem I still have with the box which is "diatonic accordion", so, on each button, a different sound when lifting or pushing the bellows ; that would so be translated in two groups : "lift" and "push". Thanks a lot ;-) I'll let you know (still is waiting a set of small pipes I said to sample some months ago … don't find it in the Mac, so I certainly not made it … years are days and days are seconds :-( and my head is like my pipes' bag : full of wind ! :-D P.S. Happy you still here Sacha ! ;-) -- Gérald RYCKEBOER ryckeboerg@...

On 28.06.2005, at 17:16, Gérald RYCKEBOER wrote: > Well I don't understand the meaning of "round robin" That is sort of stepping from one point to the next and loop if you are through. Maybe that explains it: ---------- A round robin is an arrangement of choosing all elements in a group equally in some rational order, usually from the top to the bottom of a list and then starting again at the top of the list and so on. A simple way to think of round robin is that it is about "taking turns." Used as an adjective, round robin becomes "round-robin." In computer operation, one method of having different program process take turns using the resources of the computer is to limit each process to a certain short time period, then suspending that process to give another process a turn (or "time-slice"). This is often described as round-robin process scheduling. In sports tournaments and other games, round-robin scheduling arranges to have all teams or players take turns playing each other, with the winner emerging from the succession of events. A round-robin story is one that is started by one person and then continued sucessively by others in turn. Whether an author can get additional turns, how many lines each person can contribute, and how the story can be ended depend on the rules. ---------- Peter Ostry

Gérald RYCKEBOER wrote: Well I don't understand the meaning of "round robin" [...] It just means that some "notes", "zones" or "groups" are alternated, following whatever scheme. And yes, using the "select by" feature would make much sense for your accordion patches. Just, in that case I'd rather use the modwheel to switch between them, because, when you think about it, a real accordion player wouldn't change between "lift" and "push" for every note either. Regards, Sascha

can the exs import files for KONTAKT? tv

Well I've made some trials of the "Select by : Group" Option. Had'nt really time to go deeper on there. I've almost understood, but use seems tricky (for me at least ! ;-), and it doesn't seem to answer my problem : There are two groups of notes (or zones but I have actually one zone by note) dispached on the keyboard. When playing a note of one group it must not be possible to play a note of the other group at the same time (but still possible to play a note of the same group) ; and the same is for the two groups. I imagine it has something to see with "Voices" and perheaps "Selected by" parameters but I can't find the way to built that "super hi-hat". If some of you are curious (and time free ! ) enough for what is perheaps a kind of challenge … ;-) (and if any solution ?) -- Gérald RYCKEBOER ryckeboerg@...

On Jun 27, 2005, at 4:45 PM, Sascha Franck wrote: > Which "various" features are you talking about? The parameters > listed in the modulation matrix? > That should be an easy to set up thing... > In case you wanted to use the Edirol as some sort of hardware > "programmer" (so the knobs of the EXS move along with your fader > movements) it'll become more tricky. > Guess, before we continue, we should clear this. > > The Edirol comes with a nice setup program, allowing you to patch > any fader to any MIDI parameter. > The EXS allows a lot of MIDI parameters to work as modulators. > So, you can for example set one fader to send out CC 16 data and > then set one of the EXS's modulation slots to use this as a source > CC to control, say, the amount of cutoff. Note: In that case you > won't see the cutoff knob move! But, for anything playing-based > this would be irrelevant anyways. > "True" moving knobs would only be of interest if you planned to do > new EXS patches (as the altered knob positions could be saved > with a patch, whereas the modulator settings will be sort of reset, > each time you load a patch). > > So, in the end I think it's more of an EXS but an Edirol issue... > > Regards, > Sascha I did this about a year ago.....There was a guy in this Teddybut? I think who sent me a logic control for the PCR 30. It worked pretty well. Teddy are you out there? I'm trying to find everything you would need. julie www.julielarson.net

On 29/06/2005, at 2:39 AM, Peter Ostry wrote: > round robin Tone row? Andris

On 29/06/2005, at 2:17 AM, Sascha Franck wrote: > accordion Anyone recommend any accordian samples? Andris

On 29/06/2005, at 6:40 AM, Julie Larson wrote: > I did this about a year ago.....There was a guy in this Teddybut?  I  > think who sent me a logic control for the PCR 30.  It worked pretty  > well. Julie, I have a PCR-80. I don't suppose you could send me this Logic control could you? Excuse my ignorance but what does it do exactly? Assign certain controls to particular knobs and sliders for Logic's VI's? What about 3rd party VI's? Thanks Andris

> > I did this about a year ago.....There was a guy in this > Teddybut? I > > think who sent me a logic control for the PCR 30. It worked pretty > > well. > > Julie, > > I have a PCR-80. I don't suppose you could send me this Logic control > could you? Excuse my ignorance but what does it do exactly? Assign > certain controls to particular knobs and sliders for Logic's VI's? > What > about 3rd party VI's? > > Thanks > Andris Hi Andris, I haven't used my edirol for over a year....I'm trying to find the stuff. Yes...it assigns the controls to the knobs and sliders. It had it's problems...but it also worked. www.julielarson.net

Andris Sice wrote: > On 29/06/2005, at 2:17 AM, Sascha Franck wrote: > > >>accordion > > > Anyone recommend any accordian samples? > > Andris Post Accordions There are also some on my site (for charity donation), that I made years ago from a nice old Italian accordion. They don't havedifferent samples for squeeze and unsqeeze (whatever the correct term is), but still very useable. -- Pete Thomas www.petethomas.co.uk - Free Logic Icons, Environments and EXS Instruments

Pete, I really like yer web-page ! it's very nice. simple, informative.... nuf said... R On Jun 29, 2005, at 9:48, Pete Thomas wrote: > Andris Sice wrote: >> On 29/06/2005, at 2:17 AM, Sascha Franck wrote: >> >> >>> accordion >> >> >> Anyone recommend any accordian samples? >> >> Andris > > Post Accordions > > There are also some on my site (for charity donation), that I made > years > ago from a nice old Italian accordion. They don't havedifferent samples > for squeeze and unsqeeze (whatever the correct term is), but still very > useable. > > > -- > Pete Thomas > www.petethomas.co.uk > - Free Logic Icons, Environments and EXS Instruments > > > > ____________________________________________________________________ > EXS* Users Group > - To UNSUBSCRIBE: email exs-users-unsubscribe@yahoogroups.com > - EXS/Logic FAQ: http://logicfaq.omega-art.com/ > - Free legal samples: http://groups.yahoo.com/group/exs-users/links/ > - To contact list admins, email exs-users-owner@yahoogroups.com > Yahoo! Groups Links > > > > > > > Raphael Vang trombonist www.raphael-vang.de +49 / 221 / 492 7894 +49 / 175 / 890 5821

>> Well I don't understand the meaning of "round robin" You got a lot of great answers, but the simple one is that you use it to alternate between variations of the same note. That avoids the unnatural machine gun effect. Nick Batzdorf, editor/publisher Virtual Instruments magazine - the world of softsynths and samplers www.Virtualinstrumentsmag.com 1-877 VImagzn (846-2496) 818/905-9101, cell 590-9101

At 09:34 AM 6/29/2005 -0700, you wrote: > >> Well I don't understand the meaning of "round robin" > >You got a lot of great answers, but the simple one is that you use it >to alternate between variations of the same note. That avoids the >unnatural machine gun effect. What if you're sampling machine guns? Garth Hjelte Sampler User

Here's an excellent website to go to for Accordions EXS24 samples. http://www.bardstownaudio.com Whyman Baker (London - England)

Garth Hjelte wrote: > At 09:34 AM 6/29/2005 -0700, you wrote: > > >>>>Well I don't understand the meaning of "round robin" >> >>You got a lot of great answers, but the simple one is that you use it >>to alternate between variations of the same note. That avoids the >>unnatural machine gun effect. > > > What if you're sampling machine guns? Don't stand in front of it. -- Pete Thomas www.petethomas.co.uk - Free Logic Icons, Environments and EXS Instruments

At 08:28 PM 6/29/2005 +0100, you wrote: >Garth Hjelte wrote: > > At 09:34 AM 6/29/2005 -0700, you wrote: > > > > > >>>>Well I don't understand the meaning of "round robin" > >> > >>You got a lot of great answers, but the simple one is that you use it > >>to alternate between variations of the same note. That avoids the > >>unnatural machine gun effect. > > > > > > What if you're sampling machine guns? > >Don't stand in front of it. =) But that's the best mic positioning, otherwise it's too "boomy". Garth Hjelte Sampler User

after you have programmed a drum kit, how do you all process each drum in the mix stage? do you all separate the MIDI information (that goes to the exs kit), bouncing it to disc and the process each drum independently? that¹s how i¹ve done it in the past- but there really HAS to be an easier way for this.... any help is greatly appreciated. always, tv

On Jun 29, 2005, at 6:41 PM, tony vincent wrote: > after you have programmed a drum kit, how do you all process each > drum in > the mix stage? do you all separate the MIDI information (that goes > to the > exs kit), bouncing it to disc and the process each drum independently? > that’s how i’ve done it in the past- but there really HAS to be an > easier > way for this.... > any help is greatly appreciated. > always, > tv > You are aware that there are not only mono and stereo Audio Units but Multi channel ones as well right? Its been this way for quite awhile now, I believe the EXS24MKii has a total of 16 individual channels to work with (could be off by a couple but think its 16) you need to make your patches Multi Channel instead of stereo and then configure your outputs in the patch accordingly.. --- Chris www.descentrecords.com

On Jun ,29, 2005, at 9:41 PM, tony vincent wrote: > after you have programmed a drum kit, how do you all process each drum > in > the mix stage?  do you all separate the MIDI information (that goes > to the > exs kit), bouncing it to disc and the process each drum independently? > that¹s how i¹ve done it in the past- but there really HAS to be an > easier > way for this.... I don't think there's any one magic soloution. But there is certainly no need to actually print each part as audio first. I usually just create multiple instances of the same EXS instrument, and then separate the midi information as needed. Sure it uses up more EXS instruments, but it doesn't really take up any significant additional system resources. You still have all the data as midi, so it is editable up to the end; and you can process the different EXS instruments as needed. I also often output them all to a bus to act as a subgroup where I can apply some general processing to all of them at once, and control the overall pre-mixed drumkit level - the best of both worlds. Alternatively you can use the multiple output/aux feature; but to tell you the truth, unless you're setting up a template for repeated use, it seems like more work to me than just splitting the midi information across several instances of the same instrument. And you don't need to deal with the latency issues of putting plugins on auxes. Yeah, yeah, I know PDC in L7.1 takes care of that. But that's also not so simple; there are other issues the full PDC option brings to the party that need to be dealt with. I prefer to just keep it ol' skool:-) -------- Eli Krantzberg http://www.nightshiftorchestra.com Almat Productions

--- In exs-users@yahoogroups.com, Eli Krantzberg <elik@v...> wrote: > > On Jun ,29, 2005, at 9:41 PM, tony vincent wrote: > > > after you have programmed a drum kit, how do you all process each drum > > in > > the mix stage?  do you all separate the MIDI information (that goes > > to the > > exs kit), bouncing it to disc and the process each drum independently? > > that¹s how i¹ve done it in the past- but there really HAS to be an > > easier > > way for this.... > > I don't think there's any one magic soloution. But there is certainly > no need to actually print each part as audio first. > > I usually just create multiple instances of the same EXS instrument, > and then separate the midi information as needed. Sure it uses up more > EXS instruments, but it doesn't really take up any significant > additional system resources. You still have all the data as midi, so it > is editable up to the end; and you can process the different EXS > instruments as needed. I also often output them all to a bus to act as > a subgroup where I can apply some general processing to all of them at > once, and control the overall pre-mixed drumkit level - the best of > both worlds. > > Alternatively you can use the multiple output/aux feature; but to tell > you the truth, unless you're setting up a template for repeated use, it > seems like more work to me than just splitting the midi information > across several instances of the same instrument. And you don't need to > deal with the latency issues of putting plugins on auxes. Yeah, yeah, I > know PDC in L7.1 takes care of that. But that's also not so simple; > there are other issues the full PDC option brings to the party that > need to be dealt with. I prefer to just keep it ol' skool:-) > > > -------- > Eli Krantzberg > http://www.nightshiftorchestra.com > Almat Productions If you do want to use the multichannel (wich is once you've done it and gotused to, very time efficient), here's what you do: -Use the Exs24 multichannel plug in -in the instrument editor, add groups for the different drums: kick, snare,toms hh/ cymbals etc. Route these groups to different stereo or mono Exs outputs. (Within the "group-box") - create aux objects in the environment, and select at the input-box one ofyour Exs output groups. Done!

Garth Hjelte wrote: > At 08:28 PM 6/29/2005 +0100, you wrote: > >>Garth Hjelte wrote: >> >>>At 09:34 AM 6/29/2005 -0700, you wrote: >>> >>> >>> >>>>>>Well I don't understand the meaning of "round robin" >>>> >>>>You got a lot of great answers, but the simple one is that you use it >>>>to alternate between variations of the same note. That avoids the >>>>unnatural machine gun effect. >>> >>> >>>What if you're sampling machine guns? >> >>Don't stand in front of it. > > > =) But that's the best mic positioning, otherwise it's too "boomy". > Brings a new meaning to the phrase "proximity effect" -- Pete Thomas www.petethomas.co.uk - Free Logic Icons, Environments and EXS Instruments

>>>> Well I don't understand the meaning of "round robin" >>>> >> >> You got a lot of great answers, but the simple one is that you use it >> to alternate between variations of the same note. That avoids the >> unnatural machine gun effect. Garth Hjelte wrote: > What if you're sampling machine guns? That's the *natural* machine gun effect. It's the unnatural one this feature is designed to avoid. But more importantly, Garth, I really don't think you should be sampling without adult supervision. For example, I'll bet you weren't even aware of the correct mic positions for recording machine gun. You need one a few feet in front of the barrel and a miniature condenser inside it (wrapped in foam, of course). Remember, samplers are serious tools for grown men and women with a hearty taste for adventure. Nick Batzdorf, editor/publisher Virtual Instruments magazine - the world of softsynths and samplers www.Virtualinstrumentsmag.com 1-877 VImagzn (846-2496) 818/905-9101, cell 590-9101

Yes, great minds really do think alike. Nick Batzdorf, editor/publisher Virtual Instruments magazine - the world of softsynths and samplers www.Virtualinstrumentsmag.com 1-877 VImagzn (846-2496) 818/905-9101, cell 590-9101