I have Waves Codex, it’s a quite nice wavetable VST. I think the issue is that while it’s a good value when it’s on sale, the full price is a bit too steep for what it is.
Judging from the macro tags, it seems the Warbl has tilt, yaw and roll sensors, in addition to fingering and air pressure. In order to make it sound good, you'd need to practice just as you would on a real wind instrument. And even then, once you transition between notes, it sounds a bit synthy, regardless of how realistic the sound might be otherwise. It has been true for decades, and it still is, if you're a keyboard player who wants more natural-sounding wind instrument sounds, you'll still have to put in a lot of hours for playing technique. That said, it looks like one of the better, and certainly more compact, options right now.
Thank you Nick and Sonic for giving us an hour each week where we can put aside the utter madness of the world and tune our brains into a different (lovelier) kind of madness. Happy New Year to everyone! And again, Thank you! 🙂
"My wind instrument knowledge begins and ends with the Tin Whistle." I almost fell out of my chair laughing at the matter of fact way this was said. Well done, Paulee.
Unfortunately, the show lacked a discussion about Roger Linn's reaction to the Behringer LinnDrum and the GForce LinnDrum plugin. He writes that he doesn't support "Uli" because of Behringer's amoral business practices. Interesting: he doesn't support Dave Spiers's LinnDrum plugin either because only sounds were cloned, but not the sequencer of his hardware LinnDrum. You can understand that, because it is precisely the swing/shuffle of the LinnDrum (and later the swing/shuffle of the MPC-60, the ASQ-10, the MPC-60 MK2 and the MPC-3k) that makes the difference to today's DAWs. Roger once explained his swing/shuffle concept very clearly to Attack Magazine. I quote: “My implementation of swing has always been very simple: I merely delay the second 16th note within each 8th note. In other words, I delay all the even-numbered 16th notes within the beat (2, 4, 6, 8, etc.) In my products I describe the swing amount in terms of the ratio of time duration between the first and second 16th notes within each 8th note. For example, 50% is no swing, meaning that both 16th notes within each 8th note are given equal timing. And 66% means perfect triplet swing, meaning that the first 16th note of each pair gets 2/3 of the time, and the second 16th note gets 1/3, so the second 16th note falls on a perfect 8th note triplet. The fun comes in the in-between settings. For example, a 90 BPM swing groove will feel looser at 62% than at a perfect swing setting of 66%. And for straight 16th-note beats (no swing), a swing setting of 54% will loosen up the feel without it sounding like swing. Between 50% and around 70% are lots of wonderful little settings that, for a particular beat and tempo, can change a rigid beat into something that makes people move. And unlike the MPCs, my Tempest drum machine makes it very easy to find the right swing setting because you can adjust the swing knob in real time while the beat plays. I first introduced swing - as well as recording quantization - in my 1979 drum machine, the LM-1 Drum Computer.” www.attackmagazine.com/features/interview/roger-linn-swing-groove-magic-mpc-timing The interesting thing here is that Linn advises musicians who program strictly binary beats to use his swing because the function even makes beats that aren't supposed to be ternary better. I think Nick should take on the topic. In my opinion, he hovers too much on the meta level. He should go more into concrete programming of the devices. And I don't mean sounds, but patterns and their feeling, their groove. Kind regards.
I agree with Yoad about the EaganMatrix products... it very much benefits from an appropriate expressive controller... ideally the Continuum or Osmose. The wind controller, that Ed demonstrated in the video, doesn't seem to change the Y dimension, so keep that in mind when choosing a controller. Maybe his does, but I didn't see it... do your own research on what controller you'd like. The Continuum is easier to play than some people claim. As Yoad says, it's got variable pitch quantization, because it IS difficult to raw-dog if you want to play more than 2 or 3 voices in chords. They just gave the synth's users an overlay (access) for the LORIS engine, which is additive resynthesis of samples... in addition to all the physical modeling stuff.
Scott said he had nothing against name calling, but there had been "threats from the synth community" against him. These caused him to stop making videos and to withdraw from YT. I would like to make it clear that I have nothing to do with this. I am considered an aggressive, impudent commentator. In the past, I have been accused, not unjustly, of hurting people's feelings here. Scott seems like a nice guy. I particularly liked his video when he traveled to Sweetwater HQ in his own plane. How cool was that?? I really hope he comes back. Best wishes.
No, he said he can take the name-calling … But, obviously, he shouldn’t have to do that, even. Unfortunately, all communities have their little cretins. There is a regular here who made it his mission to harass an older gentleman/synth-user online for ages, until he got called out on it. I just saw some flowery, white knight comment from him over on Woody’s latest video … 😏. There are some sick individuals about the place. The kind that will track down a well-meaning guy’s private cell-number and doxx him, all because he temporarily got the wrong end of the stick. Chill out, people. We’ll all be dead, REAL SOON. 💀 Life is too short …
Personally I think that 2025 will be the year of AI and software not hardware 😉 Hardware synthesis days are on decline and will disappear by the end of 2026… Too expensive to produce. Currently all PC’s available on the market are more than capable of reproducing analog and digital representations of their hardware counterparts 😉 I used to have room full of analog and digital hardware synths and modules and now I’ve reduced it to NI Kontrol 49 keyboard and various software plugins on my Mac 🥳 Noad, DaVinci rules, good choice 👍
I have to say that Florian Pilz's videos are annoying. Good products called "bad gear" just because that's what his stupid show is called. He's a wannabe comedian. I'm still waiting for the first punchline.
Omg, just change the name of the channel. It's so annoying. 'The world's most hated audio gear' and then he covers stuff that nobody hates whatsoever. It just really snags on me like a picture hung at a weird angle or something. Just no. Stop it.
I’d like to collab with him properly, as I have a couple of pieces of gear with TERRIBLE UI’s, thinking Evolution EVS-1, Kawai K11, Roland D5 (which actively tries to hurt your fingers with little buttons if you dare to program it!) etc.
Bad Gear is a superb show format. Florean is a great music-tech communicator. Lots of gear I've owned and still own has been the subject of Bad Gear episodes and I've largely agreed with the treatment they received. In fact, devices getting the "Bad gear" treatment has encouraged me to investigate and even purchase that gear for myself.
I have Waves Codex, it’s a quite nice wavetable VST. I think the issue is that while it’s a good value when it’s on sale, the full price is a bit too steep for what it is.
Judging from the macro tags, it seems the Warbl has tilt, yaw and roll sensors, in addition to fingering and air pressure. In order to make it sound good, you'd need to practice just as you would on a real wind instrument. And even then, once you transition between notes, it sounds a bit synthy, regardless of how realistic the sound might be otherwise. It has been true for decades, and it still is, if you're a keyboard player who wants more natural-sounding wind instrument sounds, you'll still have to put in a lot of hours for playing technique.
That said, it looks like one of the better, and certainly more compact, options right now.
Thank you Nick and Sonic for giving us an hour each week where we can put aside the utter madness of the world and tune our brains into a different (lovelier) kind of madness. Happy New Year to everyone! And again, Thank you! 🙂
"My wind instrument knowledge begins and ends with the Tin Whistle." I almost fell out of my chair laughing at the matter of fact way this was said. Well done, Paulee.
Unfortunately, the show lacked a discussion about Roger Linn's reaction to the Behringer LinnDrum and the GForce LinnDrum plugin. He writes that he doesn't support "Uli" because of Behringer's amoral business practices. Interesting: he doesn't support Dave Spiers's LinnDrum plugin either because only sounds were cloned, but not the sequencer of his hardware LinnDrum. You can understand that, because it is precisely the swing/shuffle of the LinnDrum (and later the swing/shuffle of the MPC-60, the ASQ-10, the MPC-60 MK2 and the MPC-3k) that makes the difference to today's DAWs. Roger once explained his swing/shuffle concept very clearly to Attack Magazine. I quote: “My implementation of swing has always been very simple: I merely delay the second 16th note within each 8th note. In other words, I delay all the even-numbered 16th notes within the beat (2, 4, 6, 8, etc.) In my products I describe the swing amount in terms of the ratio of time duration between the first and second 16th notes within each 8th note. For example, 50% is no swing, meaning that both 16th notes within each 8th note are given equal timing. And 66% means perfect triplet swing, meaning that the first 16th note of each pair gets 2/3 of the time, and the second 16th note gets 1/3, so the second 16th note falls on a perfect 8th note triplet. The fun comes in the in-between settings. For example, a 90 BPM swing groove will feel looser at 62% than at a perfect swing setting of 66%. And for straight 16th-note beats (no swing), a swing setting of 54% will loosen up the feel without it sounding like swing. Between 50% and around 70% are lots of wonderful little settings that, for a particular beat and tempo, can change a rigid beat into something that makes people move. And unlike the MPCs, my Tempest drum machine makes it very easy to find the right swing setting because you can adjust the swing knob in real time while the beat plays. I first introduced swing - as well as recording quantization - in my 1979 drum machine, the LM-1 Drum Computer.” www.attackmagazine.com/features/interview/roger-linn-swing-groove-magic-mpc-timing The interesting thing here is that Linn advises musicians who program strictly binary beats to use his swing because the function even makes beats that aren't supposed to be ternary better. I think Nick should take on the topic. In my opinion, he hovers too much on the meta level. He should go more into concrete programming of the devices. And I don't mean sounds, but patterns and their feeling, their groove. Kind regards.
That’s part of the story …
I agree with Yoad about the EaganMatrix products... it very much benefits from an appropriate expressive controller... ideally the Continuum or Osmose. The wind controller, that Ed demonstrated in the video, doesn't seem to change the Y dimension, so keep that in mind when choosing a controller. Maybe his does, but I didn't see it... do your own research on what controller you'd like. The Continuum is easier to play than some people claim. As Yoad says, it's got variable pitch quantization, because it IS difficult to raw-dog if you want to play more than 2 or 3 voices in chords.
They just gave the synth's users an overlay (access) for the LORIS engine, which is additive resynthesis of samples... in addition to all the physical modeling stuff.
Haken Audio Micro still using outdated mini usb instead of usb c…
wtf…?!
Scott said he had nothing against name calling, but there had been "threats from the synth community" against him. These caused him to stop making videos and to withdraw from YT. I would like to make it clear that I have nothing to do with this. I am considered an aggressive, impudent commentator. In the past, I have been accused, not unjustly, of hurting people's feelings here. Scott seems like a nice guy. I particularly liked his video when he traveled to Sweetwater HQ in his own plane. How cool was that?? I really hope he comes back. Best wishes.
No, he said he can take the name-calling … But, obviously, he shouldn’t have to do that, even. Unfortunately, all communities have their little cretins. There is a regular here who made it his mission to harass an older gentleman/synth-user online for ages, until he got called out on it. I just saw some flowery, white knight comment from him over on Woody’s latest video … 😏. There are some sick individuals about the place. The kind that will track down a well-meaning guy’s private cell-number and doxx him, all because he temporarily got the wrong end of the stick. Chill out, people. We’ll all be dead, REAL SOON. 💀 Life is too short …
Wow! I've beaten somebody from the gear commentariat to the preorder punch on the new Sonicware box. Is Soniclab going to review the Elz1 Play?
How can Mr Bow have forgotten the Techno heritage of Birmingham????? 😳
Personally I think that 2025 will be the year of AI and software not hardware 😉
Hardware synthesis days are on decline and will disappear by the end of 2026…
Too expensive to produce. Currently all PC’s available on the market are more than capable of reproducing analog and digital representations of their hardware counterparts 😉
I used to have room full of analog and digital hardware synths and modules and now I’ve reduced it to NI Kontrol 49 keyboard and various software plugins on my Mac 🥳
Noad, DaVinci rules, good choice 👍
Did the Beatles and Led Zeppelin use quantize?
Nope, and that’s why they always sounded out of time 😉
@@leslie1526 Fools!
No, these bands were not fools, they just didn’t have “quantising tools” available 😉
I have to say that Florian Pilz's videos are annoying. Good products called "bad gear" just because that's what his stupid show is called. He's a wannabe comedian. I'm still waiting for the first punchline.
Omg, just change the name of the channel. It's so annoying. 'The world's most hated audio gear' and then he covers stuff that nobody hates whatsoever. It just really snags on me like a picture hung at a weird angle or something. Just no. Stop it.
I’d like to collab with him properly, as I have a couple of pieces of gear with TERRIBLE UI’s, thinking Evolution EVS-1, Kawai K11, Roland D5 (which actively tries to hurt your fingers with little buttons if you dare to program it!) etc.
@@magicalsynthadventure3216 I really like him! He's a good reviewer. It's just the inaccurate channel name. It messes with my head 😆.
The Punchline is he is Maxheadrooms Son.
Bad Gear is a superb show format. Florean is a great music-tech communicator. Lots of gear I've owned and still own has been the subject of Bad Gear episodes and I've largely agreed with the treatment they received. In fact, devices getting the "Bad gear" treatment has encouraged me to investigate and even purchase that gear for myself.