Conference napalm::commusic_v1

    I don't have my chart of settings here, but from memory, I like
    the following:
    	
    #5, 8, 10, and 11
    	For recording (mixdown?) these are the settings which sound
    the best.  Unless I am specifically trying to get a LARGE room effect
    I like the clarity which these produce.
    
    #30
    	This gives me a nice funky accent on drums.
    
    #28, 29
    	Ooohhhh, scarry kids!!
    
    #96 (STEREO?)
    	I am not sure I understand this one, but it does have a crisp,
    clear quality that sounds good on the monitors.
    
    #00
    	Good for monitoring when creating or editing patches.
    
    #01, 02 
    	When working on things or just playing for fun, these usually
    help the synth and drum machine to sound life-like.  This is parti-
    cularly true for PIANO patches.
    
    BTW, does anybody know how to get the MVII to come up in "00" mode
    instead of "85"?  (What is so special about "85"?).
    
    Clusters, 
    Bill (In the Great White North where it is 90 degrees) Allen
     

    You have to assign "00" to (I think) patch 0.
    
    This is described in the manual, which I don't have with me....
    
    Edd

    
    re: .-1, .-2
    
      Yup. Actually it's patch 01. 
    
    /pjh
    
    re: .0
    
      I like 18 for reverb, myself. I find I only use three or four
    reverb patches myself.
    
      The gates I like are 33 and 35. I haven't really used the chorusing
    since I have two other FX boxes for such things.
    
    

    Reverb 26 sounds great on electric piano -- it's very bright.

    I use Flange 55 also on rhodes sounds;  it really fattens it up.
    
    I use gate 33 as a slap back type effect on lead brass sounds --
	works great.  Also on brass I occasionally hit up reverse reverb
    	41;  doesn't sound "real", but it's a great effect.
    
    Delay 98 has done wonders for my DX sax, when using the breath
    	controller and pitch bending.

    
    	Well, those are my favorites.
    
    		Ron

    I primarily use my MVII for guitarwork, both acoustic and electric.
    These are some of my favorite patches. Bear in mind, that I always
    use mine in stereo either with my stereo PA system, or with my 2
    twin reverb guitar amps.
    
    	#45 and #49 bloom sounds. Using these patches is like jamming
    in the catacombes (sp)
    
    	I like most of the straight reverb settings, depending on how
    deep of a reverb I need.
    
        All the light to medium choruses sound great to me.
    
    	I like the lighter flange settings, but stay away from the
    triggered flange. For playing guitar, triggered flange tends to
    thump every time it triggers. I had some success using triggered
    flange with guitar if I play through a compressor. The compressor
    keeps the level going into the MVII constant, and prevents the
    flange from triggering on and off. 
    
    	Of all the special effects, I like 91 the best. It doesn't sound
    good unless you are using a stereo setup in which case it sounds
    great, especially for chords. You get the original ba-ding, followed
    by 3 echos which pan from the left,right,left
                         
    	I also like the straight delays (patches 70-89). For a quick
    delay, I usually use 72 to fatten up the sound. For longer delays
    I use patch 85-88. 89 is too long. I generally turn the mix down
    so the slap is more subtle.
    
    	In case anyone hasn't tried this trick, try jumping from the
    spare input to the spare output on the back of the MVII (assuming
    you are running mono in and out). This gives infinate repeat on
    any of the 99 effects that you select. Take care to insure that
    the input level is much lower than the output, or else you could
    take a wall out of your house with the feedback (sounds like a 
    freight train hitting the side of a mountain). I suggest you hook
    everything up with the input turned down all the way, then ramp
    up the input slowly until you can hear the repeats getting more
    noticeable. 
    
    	It amazes me how quickly people deem a piece of equipment (even
    something as great as a MidiverbII) to be obsolete. I just bought
    mine a year ago and already people are saying that they have been
    obsoleted by effects that allow 3 or more effects simultaneously
    (like a DSP128). I think back, it wasn't so long ago that a good
    digital reverb cost around $5000. The midiverb was a real breakthrough.
    I am thinking of getting something like a DSP128 for playing guitar,
    and using the MVII for my PA system and recording projects. Does
    anyone know if the DSP128 does stereo, and if so, does it do it
    as well as the MVII ?
    
    Mark Jacques
    
    

    First reply since 1988 in this topic.
    Last night I went to audition a MIDIverb II, asking price $200.
    
    Guy had a U20 keyboard hooked up thru the same mixer I use, a Yamaha
    KM802, mono send, stereo returns.  Using headphones, I auditioned the 
    reverb settings and I have to say I got NO sense of spaciousness - 
    no sense of being in a hall or room environment.. 
    
    I suspected the effect returns were summed to mono somehow, and 
    plugged them into 'real' input channels, panned hard left and right.  
    Still no real stereo effect from the reverb.  We tried patch 91, a 
    double or triple-tapped pan setting, and the bounce from side to side
    was readily apparent.. so I concluded that the stereo reverb algorithms
    were just no good.  Which puzzles me because I know a lot of
    Commusikers happily use this unit.
    
    I passed on it and bought the mixer instead.
    
    karl

    If you ever doubt a reverb effect on an MVII, select # 29 (it's like an
    8 second delay or something!).  91 should have given you some spatial
    effect as well as a multi-tap delay (works well for electric guitar).
    
    It sounds like this unit was hosed or something wasn't set properly on
    the front panel.  Naturally, I would suspect the former, given that the
    intrepid Mr. Moeller would never overlook something so obvious.
    
+b