I agree with ESPI and j.m. the less is more mentality and reserving DSP for features that make the sampler and sequencer exceptional at what they do, I’d like to see these take priority before cramming in too many effects that will go unused, or even under-used.
the best use of effects for me would be in a live performance situation, where per-track effects with the ability to be controlled by the sequencer might be nice. or perhaps one or two internal buses for the effects, with the sequencer automating the send amount. and I’m basically just talking about reverb and delay here. dynamic stuff that can be tweaked, “played” live, or played into while using the looper/live monitor function. then you don’t have to deal with sequencing phrases of a bar (or more) with long tails overlapping into the next, if you follow me.
how awesome would it be to use the faders and concentric knobs to perform live dubs of your own tracks? bounce down stems and maybe have the looper going for live vocals and/or other instruments… even DJ tracks or some of the bounced stems with control vinyl.
a serviceable compressor to use with live looping might be useful, but most other effects can be applied going into the sampler, or re-sampled through an external effects loop – a separate mono or stereo pair out to pedals and back into input(s) 3/4 with live monitoring.
In that case my vote would be for a multi-band parametric EQ (with a spectrum analyzer if extra cycles available and there would be no detriment to track functionality). That would essentially enable the S2400 to function as a mixer as well – also reducing post editing and multitrack mixdowns in a DAW prior to mastering. I think that would be more useful than colorful effects as effects preferences are quite personal taste-wise and can easily be handled with outboard gear.
For French House music producers you could do the 60Hz boost trick on the kick with a 3630 compressor without an external mixer.
multi-band EQ is a great suggestion, I’d love that! wouldn’t hold out for a spectrum analyzer but an 8 band para-EQ, pre-fader on each track in addition to the digital filters would be awesome for sculpting and mixing. even just a simple but excellent model of a Baxandall curve for high- and low-shelf before the Mix out might sound nice.
Yes.
That would be fantastic and makes total sense with the interface.
Again the key would be quality of sound and crucially that sound isn’t degraded.
I’d def like to have a core set of fx like the OP mentioned above. “NORMALIZE” would be a great feature too.
It would be cool if @bradholland offered additional FX options using an expansion board that could be purchased separately. I know this was mentioned before. Keep the expansions similar to the old Roland 909 groove box expansion boards. Sell a FX board upgrade.
I wonder how easy it is to swap out expansion boards?
Hi all, this is my first post here.
This is just my point of view of course but instead of effects I would love to have more filters mode, a la Zplane if possible, or also some kind of Vast synthesis, if you are familiar with it, with simple algorithms made by blocks of different filters and sound manglers.
To me the sp should have a simple old school soul but mixed with the best of the latest technologies. Also a bit of modulation matrix would be great.just my two cents. Cheers folks!
If I am allowed to be greedy, I will also throw in “Tape Distortion” to my original wishlist.
Somehow, with all the live looping, “possible future” expansion to 16 voices and the works, I reckon there won’t be much cycles left to have a wealth of effects. I still root for basic mainstream effects to fit the expectation of having an effects dedicated button and would much prefer going the expansion card route for more flavors down the line for demanding users groups.
If the dev team reads anything from this post and want a quick summary of digital effects, just implement the Ensoniq DP4 effects under the effects button and call it a day. That was my greed creeping in (again).
well we saw yesterday where the filter boards go in, case off and plug in by all accounts and we will perform this ourselves
he said that once the machines are out there he will start dev: on the boards, some will be filters which we all know about - maybe he will do other filters too? others possibly fx , others yet to be confirmed but i imagine he and his team have some great ideas planned
we could be looking at very cool little upgrades here and there
well normally a slope would be linear (a diagonal line if you like) so you get an equal amount of cutoff per octave
if you scoop it out (like you would with an exponential envelope for example) you get an uneven amount, but it wouldn’t sound the same as just using an envelope to do it due to the cutoff pot moving
draw a filter slope then draw one with a scoop in it and imagine the difference in audio being let through, visualise it then it may make sense better than my crap words
I was listening to a Jungle track the other day and there was an insane hook that took the previous 1 bar and randomized it to create a new breakbeat glitch sort of pattern. I have seen a similar version of this sort of FX across the pocket operator range. Few of those FX are great when automated on the fly to add new possibilities. Can an Arp programmed to randomize achieve this?
Thanks! Exactly! Having an effect which makes arpeggiating pattern and random melodic structures based on timing would be a great “effect” addition for the S2400. Very useful IMO for Dn’B/ Jungle beat makers.
That was my greed creeping in (again).