And that brought me to the Arturia KeyLab, which I think has a keyboard that exceeds the Juno. Looping back on topic… my recent search for a light-touch (organ/synth) controller was strongly influenced by my memory of the feel of the Juno-60. Did some (amateur) film composing with GigaStudio and orchestral samples. Bought a Kurzweil PC-88 in the early 90s and still have it. I then got a Juno-60, which I probably would have kept if it had supported MIDI. Either the EML 101 (with jacks in a row) or the 200 (with jacks at the modules.) I recall an industrial feel (like EML), rather than a consumer sensibility (like Korg.)Ĭome to think of it, my first synthesizer was a Korg Guitar Synth, which was a disappointment, though I did end up using the distortion and the filter from the wah. It still bugs me that I don’t know what synth that was! Looking back, a sequencer would have been golden. Give me a tape at the end of the term.” I passed, but my tape was horrible. I wasn’t good enough on keyboard to mimic Wendy Carlos and didn’t have the vision to do a Forbidden Planet score. I liked playing it, but had a hard time putting anything on tape. Maybe it was custom, but I believe that it was from a US or European manufacturer. I’ve looked at Google pics, but can’t seem to find it. I think it had black text and lines over a white or metal panel. Running the LFO to the S/H to the oscillator frequency control gives that wonderful, random, 12-tone thing. It had a sample and hold, which was my favorite part. It had roughly the same complexity as the Synthi, but with ASDR. I think the patch jacks were located within each module, but they might have been in rows. It was small to medium sized, like a mini moog with a small keyboard, smaller than 49. Here’s what I remember, and I probably remember some of it wrong… It was my senior year as an EE at UCSB when I finally got the opportunity to take some real electives, and I took an electronic music course. I’m still trying to figure out what synth I used in college in 1979. Of course, there are times when Widgets won’t be enough, but you can leave yourself a note on the panel or wiring view when needed. You can come back to a gig in the far future (wait, I’ve only had GP for about a month!) and see exactly what you have. Maybe that’s also why I favor the Widget approach while minimizing what I do in menus and scripts. You see everything that you can control and nothing that you don’t want to accidentally control in a live setting. It makes for a nice one-stop-shopping experience. I find that it’s best to kind of neuter the direct MIDI input to the plugins and to do everything in GP. At that point, things start to break up or get weird, while you dig into the snow quickly to get back on the safe side of the mountain. On the EMS, the feeling is like just going a bit past the limit of the circuit - like barely going over the top of a crest on skis. (Note that I have quite limited experience with real Hammonds and zero with EMS products, so what do I know?) It’s little things, like pressing two keys on the Hammond result in some “breath” that you don’t get with either key alone. There are little non-linearities in the simulations that feel totally believable. So far, I’ve dug into the Hammond B3 and the EMS Synthi of the Arturia V-Collection.
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