That was a really clear explanation, and it cleared up my confusion about the poly after touch and what parameters it has a valid effect on with a paraphonic synth. Much appreciated. Really enjoyed the video, and good luck with the channel, you’re a very good teacher.
Thanks for your comment, and for watching. It was definitely a point of slight confusion when I first got the synth. I had to sit down and think a little about how the architecture is set up to really get it figured out. It's an unorthodox type of synth, but a lot of fun and surprisingly capable.
HA! You are my savior! I searched how to pronounce the word paraphony, because i wasn't 100% sure. and UA-cam guided me to you ;) So thank you for this tutorial maybe in a completely other way you intended 🌻
I don`t think you`ll find a more explicite discription of polyphonic aftertouch anywhere on UA-cam. This guy is amazing, got his head realy screwed on the right way when it comes to presentations.
Thanks for your comment, and for watching. I'm glad you liked the presentation; I try my best to be precise and get to the point. I'm happy that that comes across; I really appreciate your support!
I have been trying to tame my Microfreak for some time and I have learned as much in three videos on your channel as on everything else on UA-cam. Arturia should hire you to teach the subtleties of their synthesizer. You make real intelligent and detailed courses and unfortunately we mostly find videos rather oriented towards marketing or retention. A big thank you for your pedagogical sense that you share with us. I suscribed and I am impatient to see other tests on the Microfreak if you make any. Kind regards
Thanks for your comment, and for watching. I think the Microfreak is a very interesting instrument, though I haven't made all that many videos for it. I'm not sure I'll do an extended series on it, but I'll try and think of some interesting use cases to showcase. It's definitely an "outside the box" type of synth that deserves some outside the box use cases: I appreciate your support!
2:23 Having release velocity is really important for a Poly AT keyboard. ASM did a great job with their "Polytouch" system used on their 73 key Hydrasynth Deluxe which Korg apparently has licensed and s using it on their new Midi 2 midi controllers with Poly AT. Looks like Poly AT is finally becoming a reality and so far ASM and Korg have it implemented correctly.
Thanks for your comment, and for watching. I've always found aftertouch a bit of a tricky subject in terms of making playable sounds. The main reason for this is that velocity, aftertouch and release velocity are 3 different properties. In some ways they all represent a continuum of interaction with the key. The Osmose recognizes this and seems to be one of the few devices where they receive the coherent treatment they deserve. The Hydrasynth Explorer has release velocity, just like the deluxe, and it can definitely be very helpful; what it doesn't do is provide truly coherent treatment of their interactions. On the Minifreak, they recognize this to an extent by allowing the sum of velocity and aftertouch to be treated as a single modulator. For me, this consistency (hit the key hard vs hit the key lightly and press down) makes for a fairly intuitive experience. Anyway, all this is just my musing on it: I appreciate you sharing your thoughts!
Thanks for your comment, and for watching. It's definitely an unorthodox synth in several ways. This makes it unique but also makes it harder to grasp how it works in practise, beyond the spec sheet. Hopefully I added a little clarity in that regard.
Thank you for a very professional AND easy-to-understand demonstration. I don’t understand how to enable poly aftertouch though. Can the internal sounds in the Microfreak be controlled by this or is it only for use with external hardware or softsynths? My Microfreak only does channel aftertouch for its internal sounds.
The keyboard only has one 'signal' that is measures, which is the surface area of contact of your finger with the key. It uses an algorithm to convert this varying and absolute contact measure to a trigger, an initial velocity, and to an aftertouch value. This isn't actually pressure, but generally the value increases as you press harder, or angle your finger down, so the pad of your finger touches. From a modulation perspective, aftertouch has no default routing, so it requires that you use the modulation matrix. The press row on the mod matrix corresponds to the aftertouch or velocity, depending on the 'press more' parameter in the preset menu. If you set this to velocity, you only get access to the velocity parameter in the mod matrix (and not aftertouch). If you set it to aftertouch, you can still use the 'velo amp mod' in the preset menu is still usable (which is helpful). As for how aftertouch works in the mod matrix, this is where paraphony matters a lot. In particular there is only one VCA, VCF, LFO, EG and cycling EG. This means if you modulate any of those parameters, then the change will affect all voices (behaving like channel pressure). The only parameters that can actually differ between the oscillator instances are the oscillator parameters: wave, timbre & shape. This means that you want to modulate those parameters with the pressure if you want polyphonic aftertouch to have any meaningful effect. As a rule I try and modulate at least one of those parameters significantly. I sometimes also modulate other parameters, but usually to a small degree as this will sound like a channel pressure change.
Thank you so much for your reply. I didn't think you would write back so quickly and so incredibly articulately. I would never had figured this out by myself, that some functions are affected by polyphonic aftertouch and others not. I have understood more of this amazing synth from you than from all of Arturia's tutorial videos and the manual combined. You have a way of making the incomprehensible very comprehensible. Count me in as a new devoted subscriber!
@@Clavinsius Thanks for the comment: I really appreciate your support! Feel free to ask any other questions, or request a video on any subject: I'm always looking for video idea.
Thanks for watching, and for your comment! I feel like these two features (on the MicroFreak especially) are often misunderstood: I hope I've added a little clarity.
@Mahen Thanks for your comment. I think the MicroFreak is a great synth, but it's unique in several ways that can make it a little tricky to comprehend. I'm glad i could help provide a little more detail!
Best explanation I’ve come across about these peculiar features. Extremely clear, thank you! I’m still on the fence about buying a MF, I probably will because besides its fun quirkiness it seems to also be a good lightweight, back-pack friendly, MIDI controller.
Thanks for your comment, and for watching. For the price, there really isn't much in the way of competition for the MicroFreak. I'd say the Hydrasynth Explorer is your "spend more, get more" alternative, but the MicroFreak is quite unique. I'm glad I helped clarify it a bit for you!
Given that oscillator two on the minifreak is before the filter, and can be used as an effect, does this mean mod matrix on the minifreak can be used to add poly AT there?
Thanks for your comment, and for watching. The Minifreak doesn't have a poly AT keyboard, but it doesn't support poly aftertouch. Unlike the Microfreak, the Minifreak is "fully polyphonic" so you can apply poly AT to any per voice parameter (such as envelopes, the filter and LFOs). It also has a paraphonic mode which is quite unique and has a different set of limitations than on the Microfreak (you get 6 instances of each per voice unit with 2 paraphonic parts sharing one voice, where the first 6 allocated parts get their own voice and sharing only happens when you play the extra 6).
Thanks for your comment, and for watching. Synths are probably the most fun to learn about when you have a (physical) one, so you are in for a great ride; the Microfreak is quirky, but can do some great things. Have fun, and I appreciate your support!
Is there a way to do a momentary octave change where it plays, say one octave higher while a button is pressed and drops back down when it's released? The 2 octave keyboard really puts me off and I still haven't got the hang of changing octaves with latching octave change buttons, while playing a tune. Saxophones effectively only have a one and a bit octave keyboard, (about one and a half in the second octave) but they have a momentary octave up button (register key) to extend the range usefully. I've yet to see that on a keyboard. Ideally, it would need a button at each end with both buttons having the same effect, so it can be done with either hand, while playing with the other hand.
Thanks for watching, and for your comment. I have one suggestion, which I haven't tried on the Microfreak, but I've done on other keyboards with a touch pitch bend wheel: you set the pitch bend range to +/-12 semitones. When you touch (and hold) at the extents of the pitch bend strip it'll jump up or down one octave and return to the regular register when you release. On the Microfreak the pitch bend is done with the horizontal strip to the right of/behind the keyboard (it has multiple functions). I presume you can set its range via some means but I couldn't tell you precisely where that setting resides. As a rule though I'd try and get used to the octave buttons (as most keyboards use them); if you have a physical pitch bend you can't get instantaneous jumps like this meaning your octave shifting tends to create unwanted bends. When playing polyphonically the bend affects all keys, but octave shift buttons allow keys you held to remain in the octave you played them. One way to practise the octave buttons is to play scales: start at the middle of the keybed and go up two octaves, down 4 octaves then back up to the middle. Generally I find this quite easy for a scale that starts and ends on the same note as the keyboard (e.g C) and scales which start far from that (e.g F) but I'm most likely to make mistakes in B or C# (trying to hit a B off the bottom of the range or a C# off the top): the only answer is to practise the same process with every root.
Thanks for your comment, and for watching. The answer is: yes. The Microfreak sends polyphonic aftertouch over MIDI works with the Peak. In fact it was my only polyphonic aftertouch keyboard until I bought a Hydrasynth and it works nicely.
The MicroFreak both transmits and responds to standard midi polyphonic aftertouch (note that this is different from MPE). If your DAW and whatever soft synth you are using support polyphonic aftertouch, then it should work. I've tried it with Bitwig in the past and it worked fine.
That was a really clear explanation, and it cleared up my confusion about the poly after touch and what parameters it has a valid effect on with a paraphonic synth. Much appreciated. Really enjoyed the video, and good luck with the channel, you’re a very good teacher.
Thanks for your comment, and for watching. It was definitely a point of slight confusion when I first got the synth. I had to sit down and think a little about how the architecture is set up to really get it figured out. It's an unorthodox type of synth, but a lot of fun and surprisingly capable.
HA! You are my savior! I searched how to pronounce the word paraphony, because i wasn't 100% sure. and UA-cam guided me to you ;) So thank you for this tutorial maybe in a completely other way you intended 🌻
This comment made me laugh. Thanks for watching and I hope you enjoyed my pronunciation guide!
I don`t think you`ll find a more explicite discription of polyphonic aftertouch anywhere on UA-cam. This guy is amazing, got his head realy screwed on the right way when it comes to presentations.
Thanks for your comment, and for watching. I'm glad you liked the presentation; I try my best to be precise and get to the point. I'm happy that that comes across; I really appreciate your support!
I have been trying to tame my Microfreak for some time and I have learned as much in three videos on your channel as on everything else on UA-cam. Arturia should hire you to teach the subtleties of their synthesizer. You make real intelligent and detailed courses and unfortunately we mostly find videos rather oriented towards marketing or retention. A big thank you for your pedagogical sense that you share with us. I suscribed and I am impatient to see other tests on the Microfreak if you make any. Kind regards
Thanks for your comment, and for watching. I think the Microfreak is a very interesting instrument, though I haven't made all that many videos for it. I'm not sure I'll do an extended series on it, but I'll try and think of some interesting use cases to showcase. It's definitely an "outside the box" type of synth that deserves some outside the box use cases: I appreciate your support!
2:23 Having release velocity is really important for a Poly AT keyboard. ASM did a great job with their "Polytouch" system used on their 73 key Hydrasynth Deluxe which Korg apparently has licensed and s using it on their new Midi 2 midi controllers with Poly AT. Looks like Poly AT is finally becoming a reality and so far ASM and Korg have it implemented correctly.
Thanks for your comment, and for watching. I've always found aftertouch a bit of a tricky subject in terms of making playable sounds. The main reason for this is that velocity, aftertouch and release velocity are 3 different properties. In some ways they all represent a continuum of interaction with the key.
The Osmose recognizes this and seems to be one of the few devices where they receive the coherent treatment they deserve. The Hydrasynth Explorer has release velocity, just like the deluxe, and it can definitely be very helpful; what it doesn't do is provide truly coherent treatment of their interactions.
On the Minifreak, they recognize this to an extent by allowing the sum of velocity and aftertouch to be treated as a single modulator. For me, this consistency (hit the key hard vs hit the key lightly and press down) makes for a fairly intuitive experience.
Anyway, all this is just my musing on it: I appreciate you sharing your thoughts!
Excellent explanation of the MicroFreak quirks, many thanks
Thanks for your comment, and for watching. It's definitely an unorthodox synth in several ways. This makes it unique but also makes it harder to grasp how it works in practise, beyond the spec sheet. Hopefully I added a little clarity in that regard.
Thank you for a very professional AND easy-to-understand demonstration. I don’t understand how to enable poly aftertouch though. Can the internal sounds in the Microfreak be controlled by this or is it only for use with external hardware or softsynths? My Microfreak only does channel aftertouch for its internal sounds.
The keyboard only has one 'signal' that is measures, which is the surface area of contact of your finger with the key. It uses an algorithm to convert this varying and absolute contact measure to a trigger, an initial velocity, and to an aftertouch value. This isn't actually pressure, but generally the value increases as you press harder, or angle your finger down, so the pad of your finger touches.
From a modulation perspective, aftertouch has no default routing, so it requires that you use the modulation matrix. The press row on the mod matrix corresponds to the aftertouch or velocity, depending on the 'press more' parameter in the preset menu. If you set this to velocity, you only get access to the velocity parameter in the mod matrix (and not aftertouch). If you set it to aftertouch, you can still use the 'velo amp mod' in the preset menu is still usable (which is helpful).
As for how aftertouch works in the mod matrix, this is where paraphony matters a lot. In particular there is only one VCA, VCF, LFO, EG and cycling EG. This means if you modulate any of those parameters, then the change will affect all voices (behaving like channel pressure). The only parameters that can actually differ between the oscillator instances are the oscillator parameters: wave, timbre & shape. This means that you want to modulate those parameters with the pressure if you want polyphonic aftertouch to have any meaningful effect. As a rule I try and modulate at least one of those parameters significantly. I sometimes also modulate other parameters, but usually to a small degree as this will sound like a channel pressure change.
Thank you so much for your reply. I didn't think you would write back so quickly and so incredibly articulately. I would never had figured this out by myself, that some functions are affected by polyphonic aftertouch and others not. I have understood more of this amazing synth from you than from all of Arturia's tutorial videos and the manual combined. You have a way of making the incomprehensible very comprehensible.
Count me in as a new devoted subscriber!
@@Clavinsius Thanks for the comment: I really appreciate your support! Feel free to ask any other questions, or request a video on any subject: I'm always looking for video idea.
GET YOUR FREAK ON! Thank you for your concise overview of the Para/Poly features on the beauty.
Thanks for watching, and for your comment! I feel like these two features (on the MicroFreak especially) are often misunderstood: I hope I've added a little clarity.
@@ChalkWalkMusic I picked up a few tips, great reminder/refresher and learned a few tricks. Appreciate your sharing!
@Mahen Thanks for your comment. I think the MicroFreak is a great synth, but it's unique in several ways that can make it a little tricky to comprehend. I'm glad i could help provide a little more detail!
Best explanation I’ve come across about these peculiar features. Extremely clear, thank you! I’m still on the fence about buying a MF, I probably will because besides its fun quirkiness it seems to also be a good lightweight, back-pack friendly, MIDI controller.
Thanks for your comment, and for watching. For the price, there really isn't much in the way of competition for the MicroFreak. I'd say the Hydrasynth Explorer is your "spend more, get more" alternative, but the MicroFreak is quite unique. I'm glad I helped clarify it a bit for you!
Given that oscillator two on the minifreak is before the filter, and can be used as an effect, does this mean mod matrix on the minifreak can be used to add poly AT there?
Thanks for your comment, and for watching. The Minifreak doesn't have a poly AT keyboard, but it doesn't support poly aftertouch. Unlike the Microfreak, the Minifreak is "fully polyphonic" so you can apply poly AT to any per voice parameter (such as envelopes, the filter and LFOs). It also has a paraphonic mode which is quite unique and has a different set of limitations than on the Microfreak (you get 6 instances of each per voice unit with 2 paraphonic parts sharing one voice, where the first 6 allocated parts get their own voice and sharing only happens when you play the extra 6).
You sir are a great Teacher. I’m the idiot who bought the device and wanted to learn about synths after the fact 😂 Thankyou so much
Thanks for your comment, and for watching. Synths are probably the most fun to learn about when you have a (physical) one, so you are in for a great ride; the Microfreak is quirky, but can do some great things. Have fun, and I appreciate your support!
Is there a way to do a momentary octave change where it plays, say one octave higher while a button is pressed and drops back down when it's released?
The 2 octave keyboard really puts me off and I still haven't got the hang of changing octaves with latching octave change buttons, while playing a tune. Saxophones effectively only have a one and a bit octave keyboard, (about one and a half in the second octave) but they have a momentary octave up button (register key) to extend the range usefully. I've yet to see that on a keyboard.
Ideally, it would need a button at each end with both buttons having the same effect, so it can be done with either hand, while playing with the other hand.
Thanks for watching, and for your comment. I have one suggestion, which I haven't tried on the Microfreak, but I've done on other keyboards with a touch pitch bend wheel: you set the pitch bend range to +/-12 semitones. When you touch (and hold) at the extents of the pitch bend strip it'll jump up or down one octave and return to the regular register when you release.
On the Microfreak the pitch bend is done with the horizontal strip to the right of/behind the keyboard (it has multiple functions). I presume you can set its range via some means but I couldn't tell you precisely where that setting resides.
As a rule though I'd try and get used to the octave buttons (as most keyboards use them); if you have a physical pitch bend you can't get instantaneous jumps like this meaning your octave shifting tends to create unwanted bends. When playing polyphonically the bend affects all keys, but octave shift buttons allow keys you held to remain in the octave you played them.
One way to practise the octave buttons is to play scales: start at the middle of the keybed and go up two octaves, down 4 octaves then back up to the middle. Generally I find this quite easy for a scale that starts and ends on the same note as the keyboard (e.g C) and scales which start far from that (e.g F) but I'm most likely to make mistakes in B or C# (trying to hit a B off the bottom of the range or a C# off the top): the only answer is to practise the same process with every root.
Great tutorial! Subscribed
Can I send polyphonic aftertouch messages out to play Novation Peak?
Thanks for your comment, and for watching. The answer is: yes. The Microfreak sends polyphonic aftertouch over MIDI works with the Peak. In fact it was my only polyphonic aftertouch keyboard until I bought a Hydrasynth and it works nicely.
@@ChalkWalkMusic thank you ☺️
Can I assign the aftertouch to daw parameters?
The MicroFreak both transmits and responds to standard midi polyphonic aftertouch (note that this is different from MPE). If your DAW and whatever soft synth you are using support polyphonic aftertouch, then it should work. I've tried it with Bitwig in the past and it worked fine.
@@ChalkWalkMusic thank u so much ✊🏻