Don't have the functionality I need at the push of a button? No problem. I'm geeky enough to know how to make that happen.

1. you can embed one or more SysEx commands in a MIDI file

2. you can turn that MIDI file into a 'song' and WAV file

3. you can load that WAV file into a bank in a user waveform (a 'waveform' can have 256 such banks)

4. you can assign that user waveform to an element and restrict that element to an EXTREME key (e.g. C7). If you want

you can velocity restrict those custom 'keys' - hit it soft you get one 'macro', hard you get another.

5. you can now 'play' your macro to make any number of parameter changes you want at any time you want.

6. repeat the above for a 2nd, 3rd, etc set of parameter changes and you, essentially, have created your own custom set of 'scene' buttons (keys) that are MUCH MORE powerful than the 8 scenes provided.

There are those who advocate for approaching an instrument with curiosity and wonder.  Like a child.  No manuals.  Close your eyes, turn knobs randomly until you hear what you want and build a relationship with the instrument.  There are keyboardists who famously leaned on this approach. 

There are those who approach a digital instrument like a science experiment where the "physics" of the sound created can be attributed to a formula.  A highly technical approach.

I don't see any problem with either or a combination of the two.  We're all, hopefully, trying to create something that lifts spirits of ourselves and the audience (including anything from a pet to a stadium).   That's a noble pursuit no matter how you arrive there.   There's no right way.

I've been faced with critique about my approach.  No matter, my approach not a subject of debate nor does it impact anyone else who would have a different approach.   Helpful suggestions are welcome but are also fair game to ignore if not aligned.

Sometimes the accusations of an "over analytical" approach has come from support.  My read of that is sometimes Yamaha may sense some threat of possible competitors making attempts to reverse engineer and not for lifting audience spirits.   At the same time Yamaha presents experts like Manny who clearly take this "analytical" approach.  And, in doing so, features not even expected were coaxed through "happy accidents".  So clearly, there's a service to the music by taking this approach.

I'm not going to knock either approach.  You do you.

Helpful suggestions are welcome but are also fair game to ignore if not aligned.

Exactly - presenting a way of doing something is merely saying 'this is the way I do things and this is why I do them that way. That isn't meant to imply that is the best or only way to do things. Nor is it an attempt to convince others to do it that way.

It is merely information presented for consideration by others. It is great if they find it useful and even better if they comment on how it can be made better or if they can point out limitations or pitfalls.

For me, trading information I how I learn best. A question like 'why do you do that?' isn't at all meant to suggest you shouldn't be doing that or that there is something wrong with doing that. It is a simple query to understand the benefit you get by doing it.

Too often in text things are taken too literally and there isn't enough context to smooth the edges.

Posted by: Jason

↑

Like a child. 

Well, at least I have that part covered!

Posted by: Toby

↑

Don't have the functionality I need at the push of a button? No problem. I'm geeky enough to know how to make that happen.

1. you can embed one or more SysEx commands in a MIDI file

2. you can turn that MIDI file into a 'song' and WAV file

3. you can load that WAV file into a bank in a user waveform (a 'waveform' can have 256 such banks)

4. you can assign that user waveform to an element and restrict that element to an EXTREME key (e.g. C7). If you want

you can velocity restrict those custom 'keys' - hit it soft you get one 'macro', hard you get another.

5. you can now 'play' your macro to make any number of parameter changes you want at any time you want.

6. repeat the above for a 2nd, 3rd, etc set of parameter changes and you, essentially, have created your own custom set of 'scene' buttons (keys) that are MUCH MORE powerful than the 8 scenes provided.

 

 

what a smart way! 😲 

Posted by: Daniel

↑

Posted by: Toby

↑

Don't have the functionality I need at the push of a button? No problem. I'm geeky enough to know how to make that happen.

1. you can embed one or more SysEx commands in a MIDI file

2. you can turn that MIDI file into a 'song' and WAV file

3. you can load that WAV file into a bank in a user waveform (a 'waveform' can have 256 such banks)

4. you can assign that user waveform to an element and restrict that element to an EXTREME key (e.g. C7). If you want

you can velocity restrict those custom 'keys' - hit it soft you get one 'macro', hard you get another.

5. you can now 'play' your macro to make any number of parameter changes you want at any time you want.

6. repeat the above for a 2nd, 3rd, etc set of parameter changes and you, essentially, have created your own custom set of 'scene' buttons (keys) that are MUCH MORE powerful than the 8 scenes provided.

 

 

what a smart way! 😲 

 

could you with these macro, programing keys that will trigger multiple articulated waveform like you do in kontakt choirs or strings  libraries?

could you with these macro, programing keys that will trigger multiple articulated waveform like you do in kontakt choirs or strings libraries?

Answered in detail in the other thread.

No - a Note On event is what becomes associated with one sample, from one keybank, from one waveform that is associated with an element in an AWM2 part.

You can have multiple elements triggered by that same Note On event and you can use small delays and detuning for each element to have that one event create what sounds like an 'arpeggio' of sound that might more typically be produced with multiple events.

Play and hold just ONE key (e.g. middle C) of the 'Chordz 2 Chill 2' performance and you will hear what sounds like an arpeggio. That is an example of the type of thing that can be done. But each different sound you hear is being produced by a different element.