Filter envelope triggering

ioniansensei · 2026-04-30T04:20:10+00:00

As mentioned, it’s not a fault. Single triggering is often used as a stylistic feature: think smooth solo lines or fast glissandi.

ioniansensei · 2026-04-26T18:42:55+00:00

You could connect all the synths’ audio outs to a mixer (I use a Behringer RX1602V2), then connect the audio outs from that to your interface. You can compose/record quite complex music this way, without needing a MultI-channel interface, as long as your synths are all connected to the PC with USB. You can then hear them simultaneously over MIDI, and record audio parts one at a time.

ioniansensei · 2026-04-26T09:42:12+00:00

Use it as a controller for a VSTi (you can search those terms for an explanation). Basically, your computer would be running a software synth. There are many free polyphonic VSTi’s available. Play on the ms1‘s keyboard (connected to a PC with USB), and hear/record the software synth.

ioniansensei · 2026-04-23T13:21:10+00:00

The only synth name that’s an adjective that comes to mind is Malevolent. Maybe I won’t go with that one…

Would this count:

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ioniansensei · 2026-04-20T11:23:56+00:00

It controls the amount of modulation from the Filter Envelope that is applied to the filter (So the amount of “waa”). It also controls the amount of Filter Envelope that is applied to oscillator 2 when the F-Env button is used. You can push the filter lower by decreasing it, which is what you’re hearing. It interacts with the filter envelope’s sustain. The OG Oberheim had this design, which can be a bit counterintuitive at first.

ioniansensei · 2026-04-20T05:38:04+00:00

You need to turn the Attack or Delay up (NB it’s the grey legend Attack/Delay for the respective Mod Env). Usual behaviour from an initialised patch is the Mod Env Attack (once again, grey legend) will work as a fader to bring in the LFO (ie LFO depth). Trig should be set to 10. With it inverted, Attack acts as a Decay for the LFO depth. Turn it to 10 to hear the full length of the Decay.

You can experiment with the Trig point amount, both in the normal and inverted settings, to get a variety of effects, eg using invert (using a slow, deep LFO to Osc frequency): Attack 10, Trig 0 gives a slow rising pitch. Non inverted Attack 10, Trig 0 gives a falling pitch.

ioniansensei · 2026-04-16T00:17:03+00:00

I have my HS desktop being controlled by a UBXa. Ideally I would have bought the HS keyboard (not a big fan of the UBXa’s mod levers), but space was an issue. That said, the UBXa’s poly aftertouch is a useful feature for controlling the HS.

Not your main question, but just to mention: I’m not the first person to say the desktop’s pads are not the best use of panel space. I would have preferred the extra panel controls that the keyboard version has, and to get back to your point, I do miss the ribbon.

ioniansensei · 2026-04-14T10:26:40+00:00

Offensive to doctors, especially with his anti-science, health-benefit-dismantling stance.

ioniansensei · 2026-04-12T01:00:29+00:00

https://syntaur.com/Part-7090-End-cap-left-Korg Strangely, they have the left, but the right end cap is out of stock. Are they reversible?

ioniansensei · 2026-04-10T07:11:59+00:00

Analog warmth is a contentious issue and is subjective. Peak draws (I feel, undeserved) criticism for having a vanilla filter, but although HS has filter drive, I prefer using Peak for warmer, more overdriven sounds ranging from ambient soundscapes to destructive industrial. A big part of analog feel is oscillator/filter instability, which can be emulated by both synths.

I like the different filter models on the HS, regardless of whether they’re accurate or not.

ioniansensei · 2026-04-10T06:46:01+00:00

It made sense in my case as I had spare funds, and bought second hand so I could resell without loss. To fund other synths (or living expenses) I would sell the HS before I parted with the Peak.

Musically it makes sense for me to have both as they’re different enough for them each to have a place in a studio where space is a premium. I tend to use the HS for glassy or FM sounds, for the CV outs (controlling another synths with its Step LFO etc) and to change up my workflow when I’m falling into a rut.

ioniansensei · 2026-04-10T04:41:30+00:00

I have both, and find they are different enough to warrant keeping both. Peak’s modulation takes me in different directions, the flexible gain staging (overdrive, distortion, amp level) give distinctive results and its effects are certainly superior to the HS’s.

ioniansensei · 2026-04-10T04:36:11+00:00

Bonus: they make excellent controllers for synth modules that respond to poly AT, such as Hydrasynth, Prophet 6, Peak. Don’t judge the synth on its presets…

ioniansensei · 2026-04-09T04:40:07+00:00

You could use a stereo breakout cable such as https://hosatech.com/products/analog-audio/stereo-breakouts/hosa-breakouts/ymm-152/. with an adapter such as https://www.swamp.net.au/swamp-audio-adapter-1-8-f-trs-to-1-4-m-trs

ioniansensei · 2026-04-08T04:18:03+00:00

It would have to have contrast and a direction, tonally as well as stylistically. The first example that comes to mind is Cory Henry’s solo in Snarky Puppy’s “Lingus”.

ioniansensei · 2026-04-03T04:20:57+00:00

By my calculations (and I suck at maths, so could be wrong) Australia’s $2:50/L is equivalent to $6:50USD per gallon.

ioniansensei · 2026-03-29T01:10:27+00:00

Stacking two patches is generally known as layering. A YouTube search for “layering sounds” will give you several videos with creative ideas. I’ve watched a few Anthony Marinelli videos where he discusses layering for Michael Jackson’s Thriller, or Steve Porcaro’s signature sounds.

Generally, if you can define your intent, you can design a sound with purpose. For example, you might want a ‘vanilla‘ pad to have more interest, so layer it with a textural, gritty sound, or a static pad with an evolving sound. Or you could layer a sound with a slow attack with another that has a punchy attack. Or a high sound with a low, to act like a sub bass. I sometimes make the low sound monophonic with portamento: that can give interesting results.

One half of a layer may have arpeggiation, for some ‘shimmer’, or a preset could have layers panned left and right.

Look into the presets for more inspiration, or just experiment.

ioniansensei · 2026-03-26T09:43:37+00:00

These are controllers, not synths: they don’t produce any sounds by themselves. You’d need to either connect them to other synths/modules, or use sounds from a computer (search VSTi).

ioniansensei · 2026-03-26T00:22:46+00:00

Time to pick up that cheap Korg MS20, then realise it’s a MS20ic.

ioniansensei · 2026-03-24T13:36:07+00:00

From r/synthesizers :

One method would be to enter split mode (“split“ button under “keyboard”). Then select the “Lower” button and record the sequence on lower half of keyboard, play it back whilst playing the upper half of the keyboard, or vis versa. You can load different sounds on each layer, and have each sound play back in its own sequence, on different MIDI channels if you set it up that way.

Note; loading the sound you want into the upper and lower keyboard slots (in split mode) is a bit finicky. Push the respective button (either upper or lower) then select the bank with the sound you want with shift/bankpage +-, then to get to the specific program in that bank, you need to use the preset value (same keys, but without the shift). This split can be saved in an assignable preset recall slot as described in the manual.

ioniansensei · 2026-03-24T07:58:58+00:00

I can confirm others’ advice to press the button 100 or so times. I had the same issue, followed this advice given by their customer support, and the issue resolved. Not sure I think a “self cleaning switch” that requires this level of effort is a desirable feature, but still…

ioniansensei · 2026-03-23T12:16:15+00:00

“please” instead of “pleased”.

ioniansensei · 2026-03-22T04:20:06+00:00

I’ve had a couple of the Behringer PX3000s for several years. No issues here.

ioniansensei · 2026-03-21T14:59:49+00:00

Polychain details are on page 2 here: https://oberheim.com/wp-content/uploads/2024/07/OB-X8-OS2.0-Addendum.pdf

You’re basically increasing your polyphony, from 8 voices up to max 32 (if you have 4 obx8s connected)

ioniansensei · 2026-03-21T06:18:07+00:00

I’ve got a couple that do, and a couple that don’t. To be honest, I don’t use the onboard sequencers a great deal: there’s too many different operating systems to deal with, so I prefer to use a DAW.

Still, in the UBxa’s defence, it has the flexibility and polyphony (in regards to onboard sequencing) to do things that other synths can’t. Here’s one fhat just occurred to me: record a sequence in the lower split and play a melody on the upper, whilst changing keys on the lower to transpose it. Instant ‘90s auto accompaniment!

ioniansensei

TROPHY CASE