![]() I think this idea took a wrong turn at the traffic lights. It makes some pretty decent noises, but by arcane and mysterious means. Just think 20 knobs for scraping the two balls. That means you can change aspects of the scape such as how big it is, and how stringy or noisy it is via the three balls, then change aspects of the ‘sphere’ and you end up with scapesphere… look I’m trying OK. So to make a noise you start with a sample, which has been turned into a ‘scape’. ![]() Two balls with a column between them makes 10 v-balls or 20 knobs. ![]() Then there are two v-balls for the environment that your object resonates – two more X’s and Y’s. Three v-balls are the parameters of the object making the noise. You see each of those ball things is a Resynator. I don’t have the Nuke controller so had to set up an orchestra of knobs to do the business. After I sacrificed a few kittens – it works! But just yesterday a very kind man John T showed me how to set this up on my Music PC. Like everyone else years ago I downloaded the free this only works on a Mac built between April and May 2001 if the wind is blowing in the right direction version, tried to get it working and realised that I was closer to death than before I started. a percussive sound (like a voice) and a constant sound (like a tone) will give the most recognisable results. I’m sure Bernsee would be cross with me for using the V word, but you will find that e.g. ![]() With some fiddling you get A vocoding B on one side, B vocoding A on the other and cross fades between these in the middle. Then to place your A sound on the first, B sound on the second and route these to the third track on which you place your Morph plug in. You need to make three audio tracks in your DAW. It’s where the Neuron went, like a cicada, leaving the empty shell for people to collect from Reverb. Instead of requiring a long computation to create the models it does so in real time and you can capture that flow. Morph is not an instrument, you process your sounds on the fly. It’s possible the problem exists between computer and chair but there is no magic here – there are as many horrible noises out of this as the Neuron. Along the way, this research resulted in the highly regarded morphing algorithms in Prosoniq’s sonicWORX series of sample editors, the morphing synthesis engine in the Hartmann Neuron synth, and MORPH’s predecessor, Prosoniq Morph.” Yes that sounds familiar – as the do the results which are much the same as any other vocoder. Neuron – well, there is still Zynaptiq and they still lead the world in techno-babble.įrom the manual: “The MORPH technology is the latest result of research that goes back to the 1980’s, when our lead scientist Stephan Bernsee created the world’s first audio morphing algorithm on the then top-of-the-line SGI platform. Hartmann – little red knobs laid out back to front on grey surfaces with teeny tiny lettering Here I celebrate all things Hartmann and Neuron The funny thing is … the Neuron does make that same penny whistle sound. If you throw the effects off both the WSA actually sounds better.”Īs a previous WSA1 owner I appreciate the chutzpah. And it can still be had for a few hundred bucks. The VL7 shares the VL1’s two-processor DSP power, while the VL70-m and PLG150-VL have only one processor.This page was inspired by a YouTube comment: “You wonnah have a laugh? The much underrated Technics WSA1 from about 1995 does about the same without all the stupid rethorics and so called revolutionary technology claims. The 49-key VL7 and half-rack VL70-m are monophonic, and the PLG150-VL soundcard ($199.95) provides monophonic VL synthesis for the Motif, S80, CS6X, MU100, and other Yamaha synths. Twelve control parameters per voice, including tonguing, embouchure, breath noise, throat formant, growl, and scream. The VL-1 is a duophonic synth with a 49-note velocity- and pressure-sensing keyboard, three wheels (pitchbend and two assignable mod), and inputs for breath controller, two footswitches, and two VC pedals. ![]() The rest of us can sit and bite our fingernails hoping that a more affordable version does not appear to tempt us (but it probably will, eventually)! I can see some session players earning lots of money from the VL1 - and that is probably where it sits in the market: for serious professionals only. This is one of the most desirable instruments I have ever heard. Sound On Sound’s review of the Yamaha VL-1 said: This is a demo of the biphonic vintage breath controlled physical-modeling synthesizer Yamaha VL-1. ![]()
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