Synth what is aftertouch

They can occasionally be found second hand. They don't have any controls to speak of, so if pots and faders are a must then you can disregard them. SQ and VFX are two that come to mind. But again if controls are important they may not be the way to go. I just though it would be nice to try polyphonic aftertouch.

Many Ensoniq synthesizers have poly-aftertouch. They can often be bought cheaply used , and the synths sound pretty cool too. Don't buy one without trying it first. It's difficult to find a feature without some form of complaint. Superknob is a different beast since you have to be intentional in order to invoke it. Aftertouch often is invoked as a consequence of just normal playing - which is why the DAW folks like to turn it off. Even when assigning sources - it's mildly annoying that aftertouch will fire when "Auto Select" is enabled unless aftertouch itself is disabled.

The remedy is to audition changes strike keys softer. Point being is that they relate differently to playing. Aftertouch is in the line of fire of being invoked for everything you play on-keyboard while superknob is an elective gesture.

I wasn't trying to build a very strong theory there - so there's no need to try to defend a soft statement like "we may see complaints". It was more of the thought that it is hard to please everyone because there are different goals out there.

I'm not personally against having more performances with aftertouch as an included control. Once you carry this out, you need to bring ribbon controller along. As it's difficult to imagine which controller is more important. At some point we may run out of 16 destinations per PART - but there's still room to assign in lots of performances. Ribbon happens to be less controversial because, like Super Knob, it takes effort to invoke.

It's not in the line of fire of everything played on the keybed. Using the "reset" version of ribbon would alleviate that. Our workflows are different which is why we may differ in how we view the aftertouch world. I think this difference is fine - and would be happy if more of the userbase needs more aftertouch in their preset performances and Yamaha takes on the work to change this. My workflow is that I build everything using presets as a skeleton. The closer they start to what I'm after, the better - that's a matter of luck - but I'm perfectly fine programming my way out of what they do not offer that's why I tend to make requests for "you can't get there from here" type things.

If I need to add aftertouch - kind of a bad example because I rarely use it - but if it was something I had to do, hypothetically, to every performance - then this would be fine.

Since there's so much manual work in building everything I use - I come from a different bias. That's also why I'm OK with the hypothetical if I had to remove aftertouch from everything because it was much more pervasive. Right now vibrato is invoked on the guitars using the mod wheel. I understand wanting to bring these controls to the fingers - I've been experimenting with this myself.

If guitar performances did have aftertouch for vibrato - I would have a reason to complain or be annoyed before programming this out. The sound of the vibrato on the guitars, in general, is not great. I like that I have to work to get a vibrato on these because I continue to choose "no vibrato" and this is much easier to accomplish as-is. Synths are a little different. Those would generally be fine with the extra control. I was dealing with Kontakt and the C3 organ was a little "silly" with vibrato added as an aftertouch control.

I'm glad the organs are not programmed like this on Montage. It's easy enough to program out - but just a perspective using other products out there. I'm not on an island here - there are others who are not happy with the aftertouch choices of other manufacturers. A challenge to find previous complaints about a feature seems to support keeping a feature the same more than than supporting change. That said, you do register a valid opinion here.

Although keybanks include note range and velocity - I'm not sure they have any facility for key-off vs. This is where XA is invoked so in order to have all the nuance of the CFX Concert - you're going to at least have a 2nd part to cover the key-off noises. Excuse me, what is exactly your point? If the first element is occupied by a waveform which contains all the velocity layers, you still have 7 SEVEN elements for the rest of your piano patch.

There is no need to put the key-off waveform into the first element because you have seven elements left. Do you understand the difference between the second element and second part???? Their best piano patch available is offered to the user in one single patch. Not four patches. That's the point I'm trying to make. On a Korg or Kurzweil when I select the best piano they offer, I still have 15 parts for my other needs.

On the Montage and their 8 part structure I don't have 7 parts left, I barely have the half of it. That is disastrous for You're right - XA works on elements so there's no need to, except for other global settings that may be a mismatch, to split out something solely for XA control. My mistake. The Korg takes a slightly different approach on many different levels. To some extent - different architecture choices I like the "Korg way" better. I'm not sure if this has been remedied - but I had concerns about CPU utilization being a limiting factor in the Korg model where some engines would take more resources and therefore limit what you could and could not combine.

If other keyboards are able to serve an economy of resources and deliver an experience that matches quality of result of Yamaha - which, as you've indicated, seems to spend more resources to present premium single-instrument sounds - then there may be something to look at from a competitive disadvantage.

Without a Korg, it's difficult for me to see what the resource utilization is exactly - but I'll take it at face value that their premium pianos only consume a single "PART" equivalent timbre and that the CPU resources do not impose any limit on adding more timbres this may not be a "thing" anymore - I don't know if SGX was the heavy hitter in this department - my experience here is limited.

I don't know how those pianos work, but will trust they only take up a single zone. It is true that one stumbling block for some Montage users is the concept of multi-zone instruments. They do provide a more rich sound, but have been shown to cause some problems on a few different fonts. This would at least "normalize" the workflow. I received flack for this "burned" term before, but I'm OK with reusing it despite the controversy. On the flip side, I do like that you can see through the Montage almost clearly down to the bones.

Explore Wikis Community Central. Register Don't have an account? Polyphonic aftertouch. Edit source History Talk 1. Cancel Save. I used it on my Korg N to trigger Leslie speed, but it was a pain because I was only able to get it to speed up when the key was pressed, not what I wanted.

As soon as I let off the pressure, the speed would go back to slow. Then when I would record something to my DAW using MIDI, I would look at the event list, and see all these unintentional events from the aftertouch triggering due to aggressive playing. None of my current keyboards has it, and I don't miss it at all. So God helped him and created woman. Now everybody's got the blues. Joined: Oct To me, it's primarily about being able to add expression to a note without occupying your other hand, which may be covering another part or playing LH bass.

Not only do you need enough feet, you also need snough assignable pedal jacks on your board. Maybe this is the best place for a shameless plug! Eliot's "Prufrock" - check it out! All of my Kurzweil boards have Channel Pressure, and I do use it - mostly on orchestral patches.

It doesn't seem to get in the way - probably more because a patch on the Kurzweil PC versions must have it assigned to something, or it doesn't do anything on that patch. Mixture of synth action, weighted and "light" weighted actions. Also plenty of pedal jacks for both switch and CC pedals. The SK1 and my Carbon 49 do not have it.

I would think that overall utility vs. I would not want it active on every single patch and would also not want it always doing the same thing - the nice thing about the Kurz method is that what is controlled can be changed.

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