Spending all morning making midi assignments so I can use octatrack to programme the microkorg.
Making patches on the microkorg is still no fun at all.
I have given up on that thing. So capable, yet so infuriating.
Get a MS2000r. Same engine, far better interface.
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Haha quite.
Although Im thinking of getting the roland JX 08 when it comes out. Cheaper than a used MS2000r here in Australia.
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The Patch Base app for iPad is very good:
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On the A4, you can add trig mute, accent, note slide, and/or parameter slide just like youāre plocking a trig. Just hold down a trig and tap the E, F, G, or H button, respectively.
I almost fell out of my chair when I found this. I had always func+E to go into trig mute mode and add mutes one at a time. And this was so awkward I never used it live or even bothered with accents or slides. Itās like a whole new synth!
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Oh crap. Thanks a ton!
percentages are reversible. 15% of 50 is 50% of 15.
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Mind was blown when I discovered thisā¦ but only really useful with simple multiples though, otherwise way as well use a calculator anyway
So a compressor is actually a goblin in a box.
He has a little pair of headphones and listens to the incoming audio. He always keeps a hand on the volume control for the level of the audio going out.
His whole job is to turn the volume knob if the audio gets too loud.
The threshold is the level you tell the goblin: āIf it gets above this loud, you turn it down, okay?ā āOkAyā
The ratio is how much he turns it down. Low ratios (2:1) means he only turns down the volume a little, high ratios means he turns it down a lot and squashes the sound.
Attack is how fast he turns down the knob. Fast settings means heās really on it, he turns it down right away. That means transients wonāt get through. That may or may not be what you want. Longer attack times means he takes his time turning down the volume, which can help preserve transients and sound gentler.
Release is how long it takes him to turn the volume back up. Really short times could sound unnatural, really long times could mean youāre already on the next incoming transient while heās still turning it back up.
Sidechain compression is when you plug his little goblin headphones into a completely separate audio source while his volume knob affects the signal you want compressed. So heās listening and reacting to the kick drum, but heās affecting the overall mix. (If thatās how itās routed.)
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crystal f*ckinā clear now. thanks!
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This analogy worked well for me until I tried to give the little Goblin a bit of my tuna sandwich.
Now my 3630 smells as fishy as it sounds.
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Vintage gear smells bad
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I donāt think you can say goblin anymore. They prefer micro-humanoid of the pointy-ear and sharp-toothed persuasion. I find this extremely offensive!!!
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Some does. 
Some smells like old electronics, which I actually like.
Some smells like a two pack a day problem. 
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In the case of an optical compressor, the goblin also employs a very special pair of goggles and a light source moving to the envelope of the music.
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The base/width filter in the Digitone is teaching my ears a great deal about EQ and mixing.
Iām occasionally giddy at how much more powerful it sounds than trying to blow everything into a muddy reverb-bloated overbassy mess
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You can tuna piano but you canāt tuna compressor
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Iāve always wondered about these. So, is an optical compressor just more responsive than a standard one, or is there more to it than that?
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