So then what’s the wish for the OP-Z? A different , more Deluge-like interface?
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Z-Plane filters first appeared on E-Mu’s Morpheus (a very powerful sample-playback synth hobbled by the fact that is was crammed into a 1U Proteus-style enclosure with a tiny LCD. Still worth looking into, though). They were 14-pole filters consisting of six (initially) parametric EQ-style filters and a lowpass filter. They could be used to model a vast number of resonances - some very acoustic-sounding, others… not. More than that, they could morph seamlessly from one resonant model into another. Z-Plane filters were introduced just as both morphing and physical modeling were first being explored by manufacturers. Eventually, E-mu would stick 'em on nearly everything.
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Korg Kronos.
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I want one of those just for the wavesequencing.
I’m still confused lol. Got a good video? 14-pole? 4 pole is 24db/octave, so that’s like what…72db/octave filter? Is the thing that makes it Z the fact that you’re morphing resonant models?
I don’t even know what resonant modeling is!
OPZ would be perfect if it had Sampling, more sample memory and a deeper synth engine. The workflow and interface is the best I’ve used. I’d put Tempest in the almost there catergory. I’d it had Sampling and slice it would be unparalleled. Hope Linn gets busy with his new machine soon!
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Resonant modeling is essentially modeling the behavior of a resonator such as a cavity (for example a tube for maybe a woodwind or drum) or other physical object (a string or skin) when it is excited into action, or even an electronic circuit. At its simplest level, physical modeling consists of mathematically recreating the behavior of one or more resonators when they are set into motion by an exciter such as a plectrum, strike, or another resonator. A simplified example would be a plucked guitar string. The plectrum is the first exciter, and it stimulates the plucked string. That string is a resonator. The other strings are stimulated into vibration by the first string, which, in this case becomes the exciter for the remaining strings. All of these strings become exciters for the physical cavity of the hollow guitar body.
Video? Here’s E-mu’s own straight-to-VHS explanation. Skip to 3:00. This was early on, and their Z-Plane filters evolved mightily after that.
Also, this page has a bit about designing Z-Plane filters for Ableton:
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(it’s really difficult to simplify an explanation when talking about a contender for the “deepest machine”…)
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No one’s raised the XV-5080 (or it’s siblings yet). If you’ve never played with one of these beasts, this is why:
128 voices.
4 stereo ‘tones’ per sounds (that’s Roland speak for each sound being made out of 4 separate sound sources, each which its own modulation and level control).
And then get this, each tone made of 2 (stereo) parts. That’s 2 seaparate stereo voices each with 4 lfo’s, 2 filters, envelopes, yada yada. And THEN, you can assign different waveforms to the left and right channels! And Then you can use samples as the waveform source. And then there’s a whole modulation and effects chain matrix. And it’s multitimbral out the wazzoo, and it accepts 32 channels of midi to control it all.
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Pretty much that. You can look at Z as a time parameter to morph between sets of parameters of two different types of filters. The Lexicon Vortex was the similar idea morphing between parameters of different fx types.
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That ableton guide is great, thanks for posting
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E-Mu Proteus 2000 series of that era had very similar architecture.
Emu Command Stations
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