| T.R | Title | User | Personal
Name | Date | Lines |
|---|
| 2024.1 | I Guess I'm A Hacker | DRUMS::FEHSKENS | | Thu Jun 15 1989 11:53 | 106 |
| ===========================================================================
SYNTHA-HACKER QUESTIONNAIRE
(1) What is the brand and model of your synth(s) that you have programmed?
Have programmed in past:
Casio CZ-101
Chroma Polaris
Korg Poly-800
Simmons SDS-8
Currently programming:
Roland Juno-106
Roland MKS-80 "Super Jupiter"
Roland JX-10 "Super JX"
Roland D-550
Roland SRV-2000 digital reverb (yes, one can program reverb "patches")
(2) Have you ever developed a new patch (i.e. timbre/instrument) for your
synth?
Yes, for all the above except the D-550 (so far).
If you answered no to (2) please skip to question (9).
(3) Do you program via the front panel buttons and knobs or via the MIDI
interface using SYSEX?
Via the "front panel". Note that some Roland units (MKS-80, JX-10,
D-550) have "outboard" programmers available as options, which
communicate with the synth via SysEx. Generally I use these programmers
in preference to the parameter/value up/down 4 button interface
these synths support.
(4) If you were playing a patch and decided that some characteristic
(e.g., the decay rate) was a bit off, how long would it take you to change
that? How frequently would you do this?
It depends on the synth; for the Juno-106, it's a matter of seconds.
For the JX-10 and MKS-80, it might take a few tens of seconds. For the
D-550, it might take a minute. I do this a lot; almost every patch I
use has been "tweaked" in some regard, some just a little, some quite
extensively.
(5) If you were at a convention of interesting early musical instruments, and
you heard one that you simply *had* to play, how likely is it that you
could go back to your synth and program a "good enough" patch to have fun?
How often does this sort of thing happen?
Pretty likely. It does, of course, depend on the sound. This doesn't
happen a whole lot. The last time I recall doing this was when I
programmed my JX-10 to duplicate the flutey pad used in Terence Trent
D'arby's "Sign Your Name".
(6) What parameters do you consider most important on a synth for
duplicating the sounds of real musical instruments? Other sounds?
There's no short answer to this question. If you push me into a corner,
I'd say it's flexible envelope generators and a fully general modulation
routing scheme. Yes, I think Oberheim does it right.
(7) If you won the lottery, what synth *today* would you buy to provide you
with the most flexibility in parameters mentioned in (5)?
An Oberheim Matrix 12.
(8) Whats are the features on your ideal programmable synth?
Got a few hours? The current "ideal" architecture I've been doodling
involves a return to the notion of modular synths, where the modules are
implemented in "software" and their configuration can be programmed.
I.e., anything can be routed anywhere, anything can modulate anything else.
(9) Do you use layering and/or splits *instead* of reprogramming the synth
to get a particular sound?
Generally not. Layering and/or splitting are too coarse resolution.
(10) What do you use or what would you like to see in layering and/or
splits as a supplement to or as a replacement for programming?
As a supplement to, not as a replacement for, programming, I'd like to
see the ability to arbitrarily assign any number of patches (layering) to
any subset of keys (MIDI note numbers) (a part of a split), and then
arbitrarily group such assignments (splitting) into a "performance patch".
(11) If you find a patch that is "just right" on a synth, do you find you
are "inspired" to play it, e.g., using it to create/compose new music,
etc.?
Sometimes.
len.
|
| 2024.2 | Hackoids R Us... | WEFXEM::COTE | Throw out your gun and tiara!! | Thu Jun 15 1989 14:06 | 60 |
|
>(1) What is the brand and model of your synth(s) that you have programmed?
Yamaha 4-op, Roland MKS-30 (JX3-P), Ensoniq Mirage.
>(2) Have you ever developed a new patch (i.e. timbre/instrument) for your
>synth?
Yep...
>(3) Do you program via the front panel buttons and knobs or via the MIDI
>interface using SYSEX?
Panel...
(4) If you were playing a patch and decided that some characteristic
(e.g., the decay rate) was a bit off, how long would it take you to change
that? How frequently would you do this?
Seconds. As often as needed.
(5) If you were at a convention of interesting early musical instruments, and
you heard one that you simply *had* to play, how likely is it that you
could go back to your synth and program a "good enough" patch to have fun?
How often does this sort of thing happen?
Unlikely, but if I had a recording of it to play at home I could probably
do it. I custom design lots of patches for 1 song...
>(6) What parameters do you consider most important on a synth for
>duplicating the sounds of real musical instruments? Other sounds?
Couldn't possibly decide...
(7) If you won the lottery, what synth *today* would you buy to provide you
with the most flexibility in parameters mentioned in (5)?
Synclavier.
(8) What's are the features on your ideal programmable synth?
A decent UI.
(9) Do you use layering and/or splits *instead* of reprogramming the synth
to get a particular sound?
I'm not sure I understand this question...
(10) What do you use or what would you like to see in layering and/or
splits as a supplement to or as a replacement for programming?
...or this one.
(11) If you find a patch that is "just right" on a synth, do you find you
are "inspired" to play it, e.g., using it to create/compose new music,
etc.?
Yep.
Edd
|
| 2024.3 | my 1�� | SUBSYS::ORIN | Got a bad case of VFX | Thu Jun 15 1989 15:01 | 81 |
| (1) What is the brand and model of your synth(s) that you have programmed?
ARP 2600
ARP Pro-DGX
KORG Delta
KORG CX3
Yamaha DX7 and some other model I forget
TX81Z
Roland S50
Roland S550
Roland D50
Roland D110
Roland R8 drum synth
Roland SRV2000 and SDE2500
Kurzweil K250
Kurzweil 1000PX
Ensoniq EPS
Ensoniq VFX
(2) Have you ever developed a new patch (i.e. timbre/instrument) for your
synth?
Yes, I'm selling them thru Ensoniq and Kurzweil
If you answered no to (2) please skip to question (9).
(3) Do you program via the front panel buttons and knobs or via the MIDI
interface using SYSEX?
front panel
(4) If you were playing a patch and decided that some characteristic
(e.g., the decay rate) was a bit off, how long would it take you to change
that? How frequently would you do this?
Depends on the instrument. It is easiest on Ensoniq keyboards.
(5) If you were at a convention of interesting early musical instruments, and
you heard one that you simply *had* to play, how likely is it that you
could go back to your synth and program a "good enough" patch to have fun?
How often does this sort of thing happen?
I'm still trying for steel guitar, bagpipes, bazooki, and vibraslap 8^))
(6) What parameters do you consider most important on a synth for
duplicating the sounds of real musical instruments? Other sounds?
amplitude, filter, and pitch envelopes <==> Ensoniq wins
poly aftertouch <==> Ensoniq and Kurzweil MIDI board win
(7) If you won the lottery, what synth *today* would you buy to provide you
with the most flexibility in parameters mentioned in (5)?
Ensoniq EPSm
(8) What's are the features on your ideal programmable synth?
Everything the VFX has plus 200 voice polyphony
(9) Do you use layering and/or splits *instead* of reprogramming the synth
to get a particular sound?
Yes, if the sound is intended to be very complex, such as a bell-voice-flute
patch I'm working on. You use "presets" and "tracks" on a VFX. You still end
up tweaking the volume, panning, f/x, and other common parameters.
(10) What do you use or what would you like to see in layering and/or
splits as a supplement to or as a replacement for programming?
You combine parameters in patches, and patches into layers and splits. You
can have one or many layers; none or many splits. This is flexibility. You
really need them all.
(11) If you find a patch that is "just right" on a synth, do you find you
are "inspired" to play it, e.g., using it to create/compose new music,
etc.?
definitely
dave
|
| 2024.4 | So many bits, so little time | GUESS::YERAZUNIS | Just a puppet who can see the strings. | Thu Jun 15 1989 19:06 | 117 |
| SYNTHA-HACKER QUESTIONNAIRE
(1) What is the brand and model of your synth(s) that you have programmed?
(this includes synths that aren't mine, just borrowed )
Seil DK-80
Yamaha 4-op sinewave & 6-op sinewave
Yamaha CS-80
Prophet 2000
Prophet VS
Many Modulars (can't remember types, but one was a PAiA UltraDrift :-)
Ensoniq ESQ-1
Oberheim Xpander
Moog (mini, micro, Source...)
Arp 2600
Chroma Polaris
Synclavier (school had one, FM only, program it in not-quite-Pascal,
what a pain! I got thru the user manual, tried three
things, and went for the Prophet 2000 instead. No regrets.)
(2) Have you ever developed a new patch (i.e. timbre/instrument) for your
synth?
All except the Sink. (like I said, not fun)
If you answered no to (2) please skip to question (9).
(3) Do you program via the front panel buttons and knobs or via the MIDI
interface using SYSEX?
Usually with the front panel buttons, knobs, sliders, etc. (yeah
Oberheim for the multiple digitizing knobs on the Xpander!)
(4) If you were playing a patch and decided that some characteristic
(e.g., the decay rate) was a bit off, how long would it take you to change
that? How frequently would you do this?
Less than ten seconds... and I'd do it whenever I wanted to. More
likely I'd tie the decay time to some modulator somewhere (if the
synth supports such things) and then play with it in realtime until
I was happy.
(5) If you were at a convention of interesting early musical instruments, and
you heard one that you simply *had* to play, how likely is it that you
could go back to your synth and program a "good enough" patch to have fun?
How often does this sort of thing happen?
I've never met a sound I downright couldn't program on at least
ONE synth I own. The Oberheim doesn't do percussives very well,
but the DX does, so they complement each other.
It used to happen a lot; not much anymore. I guess I'm getting
old and boring.
What's even more bizarre is when I have a dream and the dream has
a wonderful synth soundtrack! I'll jump out of bed, power up the
rack, and program it! This might be considered "anomalous behavior"
by some mental health experts. :-)
(6) What parameters do you consider most important on a synth for
duplicating the sounds of real musical instruments? Other sounds?
1) Good modulation sourcing and routing. The Seil was the pits.
2) Good "basic oscillators". You gotta have a good range of wave
forms and enough oscillators per voice to get good thickness.
3) If you're weak on (2), a good set of filter(s) is right up there.
The Oberheim realtime programmable filter is great. The Moog
"sound" is mostly because of the Moog filter, not the osc. or
other electronics, and it's hard to fake without a darn good
filter.
(7) If you won the lottery, what synth *today* would you buy to provide you
with the most flexibility in parameters mentioned in (5)?
Either a PPG Realizer or a Waveframe, with the full program
development software kit included.
(8) What's are the features on your ideal programmable synth?
Nice keyboard (not piano-like). Velocity, poly-pressure, and
maybe even another dimension or two of controller (horizontal sliding?)
Fast CPU, lots of memory, and the ability to get in and change the
way the bits move around.
A good bank of starting sounds, so I don't have to code
up a hundred different patches before I start enjoying myself.
Ability to use lots of external modulators inward.
(9) Do you use layering and/or splits *instead* of reprogramming the synth
to get a particular sound?
I'll often take two entirely different synths (an FM and an Obie,
say) and have them play the same trackline in unison. Or, run a
relatively HF signal (like out of an FM or drum machine) into a
signal processor like a comb filter, and then _play_ _the_ _filter_
as if it were an instrument in realtime.
(10) What do you use or what would you like to see in layering and/or
splits as a supplement to or as a replacement for programming?
I don't like keyboard splits "per se"; I'd much rather have
a second keyboard controller. Or a third...:-)
(11) If you find a patch that is "just right" on a synth, do you find you
are "inspired" to play it, e.g., using it to create/compose new music,
etc.?
Yep. And sometimes it even sounds good. The bad news is that if
you come up with something good, it's almost impossible to get it
down on paper for later elaboration.
-Bill
|
| 2024.5 | | RAD1::DAVIS | | Fri Jun 16 1989 10:07 | 72 |
|
(1) What is the brand and model of your synth(s) that you have programmed?
ARP 2600
CZ-101
ESQ-1
Yam TX-81Z (is that the right model # ?)
(2) Have you ever developed a new patch (i.e. timbre/instrument) for your
synth?
Lots on the ARP, a few on the CZ. The ESQ and TZ aren't mine. The ESQ
is one of the nicest synths to program I've ever seen. Love the
menu/funtion button structure, and the modulation capabilities. FM
synthesis I can't get a handle on at all, just not intuitive. And the
TX-81Z has probably one of the worst user interfaces I've ever seen.
(3) Do you program via the front panel buttons and knobs or via the MIDI
interface using SYSEX?
Front panel
(4) If you were playing a patch and decided that some characteristic
(e.g., the decay rate) was a bit off, how long would it take you to change
that? How frequently would you do this?
Generally not long. I'd do it any time. The TZ is sometimes a pain
to modify.
(5) If you were at a convention of interesting early musical instruments, and
you heard one that you simply *had* to play, how likely is it that you
could go back to your synth and program a "good enough" patch to have fun?
How often does this sort of thing happen?
I do sometimes try to duplicate sounds I've heard, and can generally
do pretty well on the CZ. It's not always other acoustic musical
instruments.
(6) What parameters do you consider most important on a synth for
duplicating the sounds of real musical instruments? Other sounds?
For duplicating other instruments, I would think a large selection
of basic waveforms/samples would be most important. For me, the
most important parameters are flexible envelopes and modulation
functions.
(7) If you won the lottery, what synth *today* would you buy to provide you
with the most flexibility in parameters mentioned in (5)?
Probably take a look at the top-o-the-line Oberheim (Xpander?)
(8) What's are the features on your ideal programmable synth?
See above.
(9) Do you use layering and/or splits *instead* of reprogramming the synth
to get a particular sound?
No
(10) What do you use or what would you like to see in layering and/or
splits as a supplement to or as a replacement for programming?
(11) If you find a patch that is "just right" on a synth, do you find you
are "inspired" to play it, e.g., using it to create/compose new music,
etc.?
Yeah. A lot of my stuff is inspired by sound textures and what kind
of musical feel they lend themselves to.
Rob
|
| 2024.6 | | NRPUR::DEATON | | Fri Jun 16 1989 11:27 | 110 |
| Some of these questions are incomprehensible to me and others seem to me
to have no purpose. But what I do understand I'll answer...
(1) What is the brand and model of your synth(s) that you have programmed?
Korg MS10, Yamaha CS15, CS01 (analog mono synths)
Korg DW6000 (Wavetable analog hybrid)
Juno 106 (analog - my all time favorite to program)
MKS-30 (analog polyphonic synth)
JX8P (analog polyphonic synth)
MKS-100 (12-bit sampling)
CZ101 (phase distortion synthesis)
Matrix-6 (Best analog sound I've ever owned - still learning it)
DX21/DX100/TX81Z (4-operator FM synthesis - the alltime hardest to
program (for me))
(2) Have you ever developed a new patch (i.e. timbre/instrument) for your
synth?
I do it whenever I have the time. Otherwise, I look for the closest
thing to it from the presets of from third-party patch developers.
(3) Do you program via the front panel buttons and knobs or via the MIDI
interface using SYSEX?
Both. I program from the front panel when I'm doing a major patch edit
or creating a new sound. I use SYSEX when I just need to tweek a
sound for a particular part of a song (like alter the envelope or
somthing).
(4) If you were playing a patch and decided that some characteristic
(e.g., the decay rate) was a bit off, how long would it take you to change
that? How frequently would you do this?
It depends. I'm much more adept on analog synthesis than on FM.
What may take me only a second or two on analog may take me upwards
of a half hour on FM. On my MKS-7, it can only be edited from SYSEX
so it takes a bit longer to determine the right code and to enter
it into the sequencer for transmission. I do this as often as it
is necessary (no rule of tumb).
(5) If you were at a convention of interesting early musical instruments, and
you heard one that you simply *had* to play, how likely is it that you
could go back to your synth and program a "good enough" patch to have fun?
How often does this sort of thing happen?
I have never tried to program early instruments. I often just start
fiddling with voicing parameters and come up with something new. Once
lately I was playing on the DX100 and came up with what is somewhat
like a cross between an oboe and a flute. I like it a lot. I have
this one sound I want to get out of the Oberheim that I have heard
it doing on records but have had no success. I'll probably try a few
more times before I go to third-party developers.
(6) What parameters do you consider most important on a synth for
duplicating the sounds of real musical instruments? Other sounds?
All of them.
(7) If you won the lottery, what synth *today* would you buy to provide you
with the most flexibility in parameters mentioned in (5)?
I think Oberheim has the best sound and the most flexibility in the kind
of synthesis that gets me going. An Xpander or the ultimate - the
Matrix-12!
Still, with the amount of programability I have in the Matrix-6, I
haven't gotten my programming chops up to speed yet.
(8) What's are the features on your ideal programmable synth?
The single most important feature I would look for after I got the
sound that I wanted would be having the knobs and slider immediately
accessable (or have a programming add-on like Roland does - I wish
Oberheim would do it). This digital access to parameters is for the
boids!
(9) Do you use layering and/or splits *instead* of reprogramming the synth
to get a particular sound?
Only once did I use a layer to duplicate a sound I was unable to
program. That is because I have yet to see FM synthesis come up with
a good spacious string sound. I threw three different string patches
together in the performance memory and detuned them appropriately and
came up with a decent string patch. I have yet to use it, though.
Apart from that, the types of synths I use offer me the sounds I want
without resorting to layers.
I don't understand what splits have to do with it.
(10) What do you use or what would you like to see in layering and/or
splits as a supplement to or as a replacement for programming?
Huh? What do layering and/or splits have to do with programming?
(11) If you find a patch that is "just right" on a synth, do you find you
are "inspired" to play it, e.g., using it to create/compose new music,
etc.?
Nah, I only get inspired by bogus presets.
&^)
Really, what is this question supposed to mean? Doesn't the idea that
a patch is 'just right' *imply* its usefulness?
Dan
|
| 2024.7 | | GIBSON::DICKENS | What are you pretending not to know ? | Fri Jun 16 1989 13:40 | 82 |
| > SYNTHA-HACKER QUESTIONNAIRE
>
>(1) What is the brand and model of your synth(s) that you have programmed?
Ensoniq ESQ-1
>(2) Have you ever developed a new patch (i.e. timbre/instrument) for your
>synth?
Yes
>If you answered no to (2) please skip to question (9).
>
>(3) Do you program via the front panel buttons and knobs or via the MIDI
>interface using SYSEX?
Front panel
>(4) If you were playing a patch and decided that some characteristic
>(e.g., the decay rate) was a bit off, how long would it take you to change
>that? How frequently would you do this?
Seconds, and quite often, usually when I'm either
#1 Laying down the first track, and the sound isn't quite right
or
#2 When I'm trying out new patches on an existing track, looking for
something new.
>(5) If you were at a convention of interesting early musical instruments, and
>you heard one that you simply *had* to play, how likely is it that you
>could go back to your synth and program a "good enough" patch to have fun?
>How often does this sort of thing happen?
Not likely.
>(6) What parameters do you consider most important on a synth for
>duplicating the sounds of real musical instruments? Other sounds?
Any parameters that allow control over the "evolution" of a sound over time,
either by adding transients for the attack, or by adding "motion" in a
sustaining sound.
>(7) If you won the lottery, what synth *today* would you buy to provide you
>with the most flexibility in parameters mentioned in (5)?
I don't know. I'd like a sort of synth/sampler hybrid that I could use as a
sampler, or a wavetable synth, with loadable wavetables. You tell me, what
do I want ?
>(8) What's are the features on your ideal programmable synth?
See 7 above
>(9) Do you use layering and/or splits *instead* of reprogramming the synth
>to get a particular sound?
Rarely. I'm more likely to copy the track to another with a different
patch and then possibly edit out notes.
>(10) What do you use or what would you like to see in layering and/or
>splits as a supplement to or as a replacement for programming?
Got me. I've been playing with "hocketed" melodies, and let me tell you,
without a graphical editor, it's a bitch. It works for simple repetitive
tunes, where for example, the 1st note in each phrase is on track 1, the
second on 2 etc etc. I think I just need more sequencer, not more sound.
>(11) If you find a patch that is "just right" on a synth, do you find you
>are "inspired" to play it, e.g., using it to create/compose new music,
>etc.?
I know exactly what you're getting at. Long-time ESQ owners may not
remember this now, but the first time you heard the now-clich� DIGPIANO
patch, were you inspired to sit down and bang away at the chord pattern that
just jumped into your head ?
I think all good "big" patches are like that. You hear it and your mind
immediately fills in something. I call it inspiration.
|
| 2024.8 | | DNEAST::BOTTOM_DAVID | The sea refuses no river... | Fri Jun 16 1989 15:20 | 58 |
| SYNTHA-HACKER QUESTIONNAIRE
(1) What is the brand and model of your synth(s) that you have programmed?
Roland JX3-P
(2) Have you ever developed a new patch (i.e. timbre/instrument) for your
synth?
Yes
(3) Do you program via the front panel buttons and knobs or via the MIDI
interface using SYSEX?
Front panel
(4) If you were playing a patch and decided that some characteristic
(e.g., the decay rate) was a bit off, how long would it take you to change
that? How frequently would you do this?
Seconds
(5) If you were at a convention of interesting early musical instruments, and
you heard one that you simply *had* to play, how likely is it that you
could go back to your synth and program a "good enough" patch to have fun?
How often does this sort of thing happen?
Not very likely,but I might try
(6) What parameters do you consider most important on a synth for
duplicating the sounds of real musical instruments? Other sounds?
I'll pass on this one...
(7) If you won the lottery, what synth *today* would you buy to provide you
with the most flexibility in parameters mentioned in (5)?
I'd buy a Kurzweil PX1000 or whatever it is and a KX88
(8) What's are the features on your ideal programmable synth?
Ease of the user interface and a full allotment of features
(9) Do you use layering and/or splits *instead* of reprogramming the synth
to get a particular sound?
No my synth doesn't split,if it did I would use splits
(10) What do you use or what would you like to see in layering and/or
splits as a supplement to or as a replacement for programming?
N/A
(11) If you find a patch that is "just right" on a synth, do you find you
are "inspired" to play it, e.g., using it to create/compose new music,
etc.?
Yes
|
| 2024.9 | Hack when i Hafta..! | HPSTEK::RENE | set profile/nopersonal_name | Fri Jun 16 1989 16:14 | 87 |
| (1) What is the brand and model of your synth(s) that you have programmed?
Yamaha Sk-15
Crumar Orchestrator (ugh should I even mention this!)
Realistic mono synth (Moog buyout)
Octave Cat
Ensoniq Esq-1
Ensoniq SQ-80
Ensoniq Mirage
Ensoniq EPS
Oberhiem Matrix-1000 (verrry little)
(2) Have you ever developed a new patch (i.e. timbre/instrument) for your
synth?
Many, Many. I have tweaked factory patches, as well as started from
scratch. I usually develop a patch for use in a particular tune.
I don't usually develop a patch for the 'fun' of it. When I have
a 'need', I'll do some programming.
(3) Do you program via the front panel buttons and knobs or via the MIDI
interface using SYSEX?
Front panel exclusively
(4) If you were playing a patch and decided that some characteristic
(e.g., the decay rate) was a bit off, how long would it take you to change
that? How frequently would you do this?
A few seconds, unless the characteristic is that of a complex modulation.
i.e. an envelope generator modulating an LFO modulating an OSC.,etc. This
could take an hour or more!
(5) If you were at a convention of interesting early musical instruments, and
you heard one that you simply *had* to play, how likely is it that you
could go back to your synth and program a "good enough" patch to have fun?
How often does this sort of thing happen?
I could (from memory) get a reasoable approximation of the patch. One that
comes to mind is the patch on the Car's "Let's go". I got the basic timbre/
attack/etc just by hearing the patch a few days before. When I played my
patch with the recording however, it needed more 'refinement'. in my
opinion, without a real time A-B comparison as you develop the patch, you
will never get all the nuances into the patch.
(6) What parameters do you consider most important on a synth for
duplicating the sounds of real musical instruments? Other sounds?
Modulation, MoDuLaTiOn, mmmmooooDULATiiiioonn, makes a patch come ALIVE
as you play it. It appears to take on different subtle differences every
time you hit a key. Velocity, aftertouch, etc..,,
(7) If you won the lottery, what synth *today* would you buy to provide you
with the most flexibility in parameters mentioned in (5)?
I don't think ONE synth does it ALL (excluding the Synclaviers/Fairlights).
My wish-list includes:
1) Ensoniq VFX 2) Ob Matrix-12 3) Kurtzwiel 1000PX 4)Hammond B3 (dont
laugh! I got an infatuation with this sound!!!!!)
(8) What's are the features on your ideal programmable synth?
Think of the sound of the patch in my head, have the synth reproduce
it exactly.
(9) Do you use layering and/or splits *instead* of reprogramming the synth
to get a particular sound?
Never *instead*. I use layers and splits as well as new programs.
(10) What do you use or what would you like to see in layering and/or
splits as a supplement to or as a replacement for programming?
I don't really understand what you are asking for....
(11) If you find a patch that is "just right" on a synth, do you find you
are "inspired" to play it, e.g., using it to create/compose new music,
etc.?
YES. Ever get 'patch OD'? Find a patch that you just LOVE and you want
to use it everywhere! Then you get horribly sick of it! ....For all you
ESQ-1 owners out there, this happened to me regarding the ANABRS patch!
Frank
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