This is a great idea!!! It’s fun to use them as-is but it would be great to ramp the effect in when pressing, or have the option to.
1 Like
What’s your favorite Summit demos or tracks then? What sold you on it? My mate pulled the trigger once he’d heard r beny play it after a trip to Iceland.
Nord lead 2x can do that. You can assigne any parameter you want to velocity. Basiclly, all of them at once, and as also set the intensity.
Well in the Peak/Summit mod matrix you can set the source to go via another modulator to the destination so I’m reasonably sure you can have the animate go via the velocity to modulate how much effect is applied. Also eg you can have it adjusted by an LFO or envelope. But it can’t have its own A/R or ADSR envelope that triggers when you activate / deactivate the function.
What I mean is if you’re holding a big pad and you want a load of extra modulation to come in and out gradually as a performance effect, you can’t use animate for that. As soon as you hit the button it applies all the modulation that is assigned to it.
The way the Rytm does quick performance macros for example. Pressing harder on the pad or turning the quick perf knob up applies more of the modulation. Animate is more like a Rytm scene I guess.
1 Like
If they managed to pull off AFX mode on the BS2, I could totally imagine a chord per key mode on the Summit. That would be super cool and make sequencing a breeze.
I often go back to r beny’s performance of Fjorda… amazing tones… There is nothing that really made me want it. I actually didn’t care for all the Peak demos, but when I got the Peak absolutely everything changed for me. Some things you just feel drawn to and need to try out even if you think you won’t like it.
This is an excellent and well recorded Summit demo :
Alphacode… I purchased all of his sound packs… Check out 6:42 of Alpha’s demo 
MPE is note-per-channel. When my LinnStrument is in MPE mode, each note is sent out on a different channel so that each note can have its own separate strike velocity, release velocity, pitch bend (X-direction modulation), AT (Z-direction modulation), and CC74 (Y-direction modulation). The synth has to be made to respond correctly to this constant barrage of MIDI data.
@phaelam yes, I’ve got the Hydrasynth desktop so that I get the full MPE response, You need an external MPE controller for that even with the HS keyboard, so I went with the desktop module. If the Summit offered MPE, it wouldn’t be usable in all dimensions from its own keyboard. You’d need a LinnStrument, Continuum, or ROLI Seaboard. The Osmose will be the first MPE-enabled conventionally laid out keyboard.
1 Like
…so Hydra would NOT be usable for PAT?
Yes, it’s available for poly-AT since PAT is included in MPE. The Hydrasynth (module and keys) has an MPE setting. It works beautifully with my LinnStrument, and is a good complement in sound to my Super 6, as you point out, but Super 6’s MPE isn’t implemented yet. I think the Iridium/Quantum sound also fits in there. The Summit would also be a nice addition—if it freakin had MPE. Can someone put in the request for me with Novation.
A friend of mine played a demo track for me, trying to show off a guitar pedal he was using. And this bass line came in, and it sounded so rich and present – and this is a difficult quality to pin down, but the Summit feels there in a way I think we often associate with another slippery term, “organic” --… I said “Woah, wtf is that bass note?” “Oh, that’s the Peak.” Oh, that’s the Peak.
A month later, I had a Summit. (I decided it fit my needs better than the Peak.)
I listened to a lot of other demos between that sketch of a song my friend played for me and my purchase, but yeah, that was the moment. I was sold the second I heard it in that track. And I have not been disappointed. I had heard plenty of demos of the Peak when it was released, and I had sort of been lukewarm to it, so I was pretty checked out when they introduced the Summit.
Sometimes, it’s really a matter of hearing a synth in a context different than “standard internet personality doing their internet personality thing.” Although I will give a shoutout to Ricky Tinez’s video where he just geeks out on the LFO retriggering. He’s not even especially trying to show off the Peak, per se (he does work for Novation and is very forward about the fact in the video, so I’m sure he’s not reluctant to show off the synth), since he suggests it’s just a useful technique to employ for any synth that has the poly LFO options the Peak/Summit have, but:
3 Likes
I thought the Peak responded to PAT [MPE]…no?
Sorry if I’m beating a dead horse.
It’s a killer bass synth. No question. If I had room I’d trade my Peak up to a Summit so I could have the bitimbral functionality and a bass and pad or keys patch going simultaneously. With a sequencer and drums that’s a track.
MPE is more than just poly-AT, although it includes poly-AT. As far as I know, Peak and Summit aren’t set up to handle one note per channel, where every note sends, on its own unshared channel, its own separate velocity, release velocity, pitch bend, pressure, and CC74.
Yeah, it would work, you’d get polyphonic aftertouch so each note could have different modulation according to its individual aftertouch. So Hydra would make a good Peak controller.
What the Peak/Summit cannot do is respond to the extra per-note information that e.g. a ROLI Seaboard sends - it tracks the finger position on each “key” in the x and y axes, in addition to the z-axis (which is what poly aftertouch is). Same with e.g. the Linnstrument and other MPE controllers.
So if you use one of those as a controller for Peak/Summit, it will still respond to the poly-AT being sent from the MPE controller, but it will ignore the other MPE controller information (per-note pitch bend and y-axis position, usually). This is because MPE is a separate thing technically to poly-AT. So, MPE controllers don’t make bad controllers for it, as you still get poly-AT, but you’d miss out on being able to create modulation from the other per-note data that the controller is capable of sending.
4 Likes
All clear now. Thanks.
That’s what my initial proposal was to (I forget who), when I suggested using the Hydra for PAT. That was all. Not all that extra fancy info the, say, Roli sends (MPE)
Thanks again for clearing that up for me 
1 Like
No worries, it is a bit confusing as the two are so closely related! To be honest, poly AT is the most useful part for most players I imagine. It takes some skill to play well with extra dimensions, and personally I don’t normally want/need pitch bend or vibrato when playing.
1 Like
It also takes a controller that inspires you to even practice this skill. I don’t like ROLI’s Seaboards at all. The Continuum’s interface also seems limiting to me (too much friction and too little tactile feedback to keep your fingertips oriented), though I’ve never tried one due to the cost. I do like the LInnStrument a lot, but it leaves a lot of your keyboard skills unused. As a longtime Chapman Stick player, though, I already had a lot of right-hand technique ready to go. The Osmose will be an MPE choice that won’t require such a radical change from a traditional keyboard layout, but at the expense of some of the LinnStrument’s advantages, particularly when it comes to microtunings.
Oh yeah, MPE’s desirability also depends what kind of patch you’re playing and what kind of music.
Well this MPE stuff all sounds pretty cool. @blipson Something to be aware of though is that the Summit already responds to velocity-per-note (for note-on). To the poster who said they don’t use pitch bend: Dude! Subtle pitch bends while you play are the foundation of expressive keyboard play!
1 Like
Heh, that was me, I think I have a lot to learn 
I have a Seaboard (it was a gift) and I can’t really play keys well enough to make good use of the bend right now.
1 Like
I don’t disagree with you, and yet I so rarely use the conventional pitch bend on a synth. Not just because my synth technique sucks (I only like piano), but because I just hate a conventional pitch bend’s ergonomics, the way you have to, usually, devote your entire left hand to the damn thing. This is what I mean by an inspiring controller: on the LinnStrument, pitch bend sits conveniently under every finger, and I’m just automatically moved by the sound to bend pitches like on a guitar.
I’ve never liked playing a Seaboard enough to justify the expense, but a free one would be a whole lot more inspiring.
2 Likes