I’m starting to get results, but I think what I’m going to have to do is - start reverse engineering some of the sound-pack downloads.
I really like what Nicholas Lem is doing with the MnM here btw.
I know he has a sound-pack for download which I’ve tried, but when I tried it, it didn’t massively grab me.
My usual machine for doing this kind of thing is my Korg Z1, but I don’t want to take it gigging if I don’t have to. It’s rather large.
A lot of what works well for me on the Z1 is: filtered noise with slow-moving LFO modulation. Maybe a sin wave for slightly discernable melody. That’s polyphonic though. Maybe I should be thinking of double or triple tracking on the MnM (as you suggest sicijk)?
I should also add that I have an A4 on order, so I can move some bass and arps over there. Hopefully the A4 and MnM’s different architectures should complement each other nicely.
Completely! they will be gooood friends.
About trig stacking is a way.
Other is Poly mode. Depends what multi-timbrality you need during gigs.
I would expect more as you can.
so trig stacking will be an option since you can have different layers for one big mono sound. And modulations capability multiplied.
Give us some example of when the MM is giving satisfaction.
Im curious of what kind of timbre you’re speaking about. Or do you have references?
I’ll go check some Z1’s example! something like http://www.youtube.com/watch?v=5MP3rAxjwA4?
(there was a period i would have loved to own one)
The Z1 covers an astonishingly large range of synthesis possibility.
The various pads from around 2:50 on this video are in the territory I’m after I guess.
As for the MnM, Nicholas Lem’s video link above is very close to the kind of thing I’m after I think. A lot of what he’s doing there, is applying varying amounts of reverb via Octatrack. That’s something I should also possibly be considering (I have an Octatrack).
I’ve had my Z1 almost from the day they were released. I managed to find a rare voice expansion a few months ago. Was painful to fit without the original mounting kit, but very pleased it’s now 18 voice.
Part of what makes it very good at pads is the 4 LFOs and 4 envelopes per voice. Stack them up with polyphony and you can get some huge sounds.
The Mono’s reverb is great for pads. Also try to find something for each of the 3 LFOs plus Filter envelope to do. Lastly turn the distortion down to -7 and the gain up for smoother sounds. The distortion default makes things a bit brittle.
That depends entirely on the sound you want. I turn HPF keytracking off almost all the time as it tends to thin out the timbre in the higher registers. It is essential to turn off keytracking for thru machines and effects, otherwise you’ll end up being one of those “the monomachine sounds thin” people. LPF keytracking is good for most synth-y things. Not as good for percussion and effects. Try different things, see what sounds right to you.
The MnM is my favorite machine ever! It is so “modular” and endless.
The ENSEMBLE machines (they make chords) are a great place to start for making pads. Then filter and EQ out the low end and some mids, and drench in reverb to get that ghostly effect. Lots of cool things can be done to a basic pad sound once you get into P-locking stuff and creating movement.