Quote:
Originally Posted by
MFPhouse
➡️
...but back to Topic.
What we need is a Controller LFO.
I think the Beginning is very hard for Eventide-Vsig Users.
It´s a very very very high learning Envelope.
Especially for Musicians " Thinking".
Eventide has it´s own world and it´s sometimes realy far away from "normaly" music thinking even if you are familiar with the Midi World or similar Stuff.
In the Topic´s Case gives the LFO realy a value / pulse ( Audio ) from the DSP. Given as 1.0 to -1.0 .
The a_c is just translater in what ever you think. Can be midi Thinking: 1-128/0-127...can be Decimal. 1-10 -100- 1000, or what every you want.
Put the Word " Low Frequenz Oszillator "in the "
Google Languages Translator Maschine " and you see what i mean.
so, there are many many work to go deep inside this Eventide-World.
I get this work LFO to Decay , but even also not in the Way i want it.
Because the Decay is given as 1- 1000 seconds .
So i have a Control Signal wich gives me 0.1 to 1.0 and want to control a Value wich is given has 1-1000.
But in reality it´s Audio what to be modulate.....so why going via an C_A.
I mean why they didn´t make a Controller LFO just for generating simple numeric Values etc etc .
OK, there are the MidClock Modul and the Timer Modul who can give equal but.....its not the same.
What do you think ?
See...
this thing about Eventide "own world" being away from musicians thinking is just so wrong. I've been hearing about it for ages...
These units give you two depth levels:
-you can use the hundreds (or even thousands) presets, tweak them as any musician would tweak any preset on any fx processor...using the same language. A chorus effect has delay, rate and depth...at least... you know what's milliseconds and Hertz, don't you? If you don't, learn!
-or you can enter Vsig, create or modify existing things in a place where you see reality of tech, or at least a mediate version of the underlying code.
Now, it's just because others don't give you access to the second level that you judge it in those terms.
As long as you stay at the first level, all units are pretty much the same.
But if you own hardware (Eventide, Kyma) or software (Vsig, Kyma, Max) that give you access to THAT second level...you can't complain about the language as it's your responsibility to learn how a chorus is made...and these hard/software can teach that to you.
And even at this second level, the used language is the same! You have to know the same things.
You buy a car and use it...don't know about the engine!
You buy a set of tools and start messing with the nuts and bolts of your engine. It's your responsibility to gain the knowledge to do that...or use a mechanic..or just don't mess with your engine.
How would you call things in a "musician" language when you create a reverb?
And, if you could even answer, how can you be sure those words may mean something to a drummer? hehhehheh
Musicians are often too cool to accept the fact reality has faces, not one.
I am a musician who took the humble path to learn things in Vsig and books because finally I had the freedom to build *my* stuff, my unique stuff. My reverb is different from all others.
Or, I could have used the thousands available and be perfectly happy with them.
It's about people variety and their responsibility to walk a chosen path with the according load of work.
It was A LOT of work to learn seriously about music! Vsig is much easier than that, a lot easier!
In my experience (long one) I have found that the worst knowledge about sound and their sound belongs to musicians.
How about that for "musicians" language?
greetings
I
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) or give some hints on parameter values?
