Feature Requests

Re: Feature Requests
« Reply #220 on: September 06, 2018, 11:21:43 PM »
I would like to second psionic11’s request for a 2 channel transmit.

Razmo

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Re: Feature Requests
« Reply #221 on: September 07, 2018, 12:58:17 AM »
Regarding additional features, I think the following suggestions would be useful:

- Much important for me: poly seq should keep running when you enable or disable split or stack. Otherwise there is no possibility to add an additional sound to a running sequence.

- If possible, add new mod-destinations "Osc1 / Osc2 level" (this was even mentioned in an earlier version of the manual)

- Please implement the ability to octave Osc 1 & 2 without scrolling through semitones (useful for programming). Furthermore this would allow you to octave only one layer when playing split sounds (which is not possible with the transpose buttons).

- It would be nice to have clk sync for modulation effects and Env3 looping


One more question: Anyone knows if there's a way to set the duration of the note steps in the gated sequencer? In the polysequencer as well, you only have the choice between a (for my taste) too short step-duration and "tie".

The separate Osc volume will not happen... it's the way the Curtis chip works internally... it's set with a MIX parameter, and if I'm remembering right, it's a CV input that control the mix... so it's impossible to create, and if you look at DSI's hybrid synths that has digital oscillators you'll also see that they do have separate oscillator volumes... simply because it's possible to control it in the oscillator DSP... any synth from DSI that use the Curtis "Synth in a chip" will have this Mix parameter... no way around it :)
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Re: Feature Requests
« Reply #222 on: September 07, 2018, 03:56:12 AM »
Hi,

I am very impressed by the Prophet REV-2 (1.1.4.5) and the sound. So I would like to suggest some feature and workflow ideas:

- The LFOs do not seem to be able to run "globally", non-restarting, so really "free". Seems to be kind of dependent on the playing voice? Can you add a real global-free running mode, too? Or did I something wrong?

- It would be awesome, if the glide would work for polyphonic mode, too! So simply the notes in release phase are pitched to the new playing note. Lot of synths have that, esp. VSTis.

- I wish the unison mode could play polyphonic, too! So if you set the unison mode to 2x, on the 8-voice model, there could play 3 additional notes...

- An inertia value for each OSC FREQ parameter would be great to SYNCed sounds, so you won't hear a stepping while manually modulating the OSC1 FREQ. Or a range parameter for OSC FINE TUNE, so you can actually expand the finetune frequency range EDIT: Ok found that under MISC PARAMS

- Can you add a bit more control to the noise parameter? Like some prefiltered/BPed (maybe not possible) noise types? Maybe that is not possible due hardware limitations?

- If you moved a knob of a section, let's say the "OSC1 FREQ" of the OSCILLATORS section, the display could show instead the section name additionally like:

OSCILLATORS
Osc 1 Freq
D#3

Then the PARAMETER and VALUE knobs could give access to additional, not directly accessible parameters of that section, without pressing MISC PARAMS, e.g. OSC 1 FREQ INERTIA. So it would maybe feel like the natural extension menu of the used section.

- A layer finetune parameter, so you could slightly detune the 2nd layer.

- The HP filter effect next to the other, main effect. I guess this section works digitally?

Thanks for consideration!
« Last Edit: September 07, 2018, 04:35:06 AM by ffx »

Re: Feature Requests
« Reply #223 on: September 07, 2018, 03:20:21 PM »
Two requests on my wishlist for the Rev2:

1) Ability to *transmit* on 2 channels when in split mode.  Master MIDI controllers need to transmit, only modules need receive only.

Already possible. Use Multi mode for this.
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Re: Feature Requests
« Reply #224 on: September 08, 2018, 01:22:16 AM »
- The HP filter effect next to the other, main effect. I guess this section works digitally?

An additional HP filter, even if it's just a simple non-resonant 6dB / 1 pole HPF (a'la Juno/Jupiter, iirc) that you could use along side the main effect would be very useful.

I would also like to see the unison voice selection work for polyphonic sounds, so you could have a 4 voice unison, 4 note polyphonic sound (for an example), if you own the 16 voice REV 2.
« Last Edit: September 08, 2018, 01:27:53 AM by eXode »

Re: Feature Requests
« Reply #225 on: September 09, 2018, 06:25:26 AM »
Two requests on my wishlist for the Rev2:

1) Ability to *transmit* on 2 channels when in split mode.  Master MIDI controllers need to transmit, only modules need receive only.

Already possible. Use Multi mode for this.

I confirmed that the Rev2 transmits on 2 consecutive channels, which is exactly what I expected and needed.  Thanks!
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Re: Feature Requests
« Reply #226 on: September 09, 2018, 08:40:50 AM »
Regarding additional features, I think the following suggestions would be useful:

- Much important for me: poly seq should keep running when you enable or disable split or stack. Otherwise there is no possibility to add an additional sound to a running sequence.

- If possible, add new mod-destinations "Osc1 / Osc2 level" (this was even mentioned in an earlier version of the manual)

- Please implement the ability to octave Osc 1 & 2 without scrolling through semitones (useful for programming). Furthermore this would allow you to octave only one layer when playing split sounds (which is not possible with the transpose buttons).

- It would be nice to have clk sync for modulation effects and Env3 looping


One more question: Anyone knows if there's a way to set the duration of the note steps in the gated sequencer? In the polysequencer as well, you only have the choice between a (for my taste) too short step-duration and "tie".

The separate Osc volume will not happen... it's the way the Curtis chip works internally... it's set with a MIX parameter, and if I'm remembering right, it's a CV input that control the mix... so it's impossible to create, and if you look at DSI's hybrid synths that has digital oscillators you'll also see that they do have separate oscillator volumes... simply because it's possible to control it in the oscillator DSP... any synth from DSI that use the Curtis "Synth in a chip" will have this Mix parameter... no way around it :)
The Evolver uses a Curtis synth on a chip and has per osc level control.

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Re: Feature Requests
« Reply #227 on: September 09, 2018, 08:58:00 AM »
The Evolver uses a Curtis synth on a chip and has per osc level control.

The evolver uses two curtis chips in a stereo configuration (one DCO per channel), so it's not quite the same.

Re: Feature Requests
« Reply #228 on: September 09, 2018, 09:43:34 AM »
The Evolver uses a Curtis synth on a chip and has per osc level control.

The evolver uses two curtis chips in a stereo configuration (one DCO per channel), so it's not quite the same.
Not being the same was my point: It has individual osc levels! I'm reading between the lines but I'm assuming that the Evolver pulls this off by not utilizing one of the DCOs per chip, which is a bit wasteful on a 4-voice or mono but downright expensive on a 16-voice poly.

https://forum.sequential.com/index.php/topic,1894.msg20858.html#msg20858
« Last Edit: September 09, 2018, 09:53:43 AM by guyaguy »

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Re: Feature Requests
« Reply #229 on: September 09, 2018, 01:44:41 PM »
The Evolver uses a Curtis synth on a chip and has per osc level control.

The evolver uses two curtis chips in a stereo configuration (one DCO per channel), so it's not quite the same.
Not being the same was my point: It has individual osc levels! I'm reading between the lines but I'm assuming that the Evolver pulls this off by not utilizing one of the DCOs per chip, which is a bit wasteful on a 4-voice or mono but downright expensive on a 16-voice poly.

https://forum.sequential.com/index.php/topic,1894.msg20858.html#msg20858

I actually thought the same when reading this... that means that the Evolvers could have utilized two analog oscillators and one digital per channel (L/R)... I wonder why Dave did not do that back then... would not have been that many more parameters to add...
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Re: Feature Requests
« Reply #230 on: September 09, 2018, 02:06:52 PM »
The Evolver uses a Curtis synth on a chip and has per osc level control.

The evolver uses two curtis chips in a stereo configuration (one DCO per channel), so it's not quite the same.
Not being the same was my point: It has individual osc levels! I'm reading between the lines but I'm assuming that the Evolver pulls this off by not utilizing one of the DCOs per chip, which is a bit wasteful on a 4-voice or mono but downright expensive on a 16-voice poly.

https://forum.sequential.com/index.php/topic,1894.msg20858.html#msg20858

I actually thought the same when reading this... that means that the Evolvers could have utilized two analog oscillators and one digital per channel (L/R)... I wonder why Dave did not do that back then... would not have been that many more parameters to add...
It would have added a couple more rows to the matrix interface of the desktop but probably could have been pulled off more easily on the key versions.: add a couple of buttons for the Analog Osc section, maybe tweak how sync works a bit, and the rest would be software changes. Maybe we'll see that in the PEK Rev2.  ;D

Re: Feature Requests
« Reply #231 on: September 12, 2018, 07:14:37 AM »
Hi,

I'm very happy with my Rev 2 and I especially enjoy using the sequencer to add rhythmic variations to sounds. Often however it doesn't fit to other elements of my track due to the sparse swing settings under "clock divide".
It would be great if you could add more of them. "No swing", "half" and "full" are useful but it would be fantastic to have more options in between.




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Re: Feature Requests
« Reply #232 on: September 12, 2018, 08:55:49 AM »
I'd like to see a new form of voice trigger mode... not only for the REV2, but in synthesizers in general that are polyphonic.

The mode I'm thinking about is one that mimics real acoustic instruments that are "polyphonic" like stringed instruments.

With the normal polyphonic voice allocation in polyphonic synths, if you press the same key multiple times, a new voice is allocated for that note, but in acoustic instruments, if you (like on stringed instruments for example) play the same note, it does not double... if you hit the same string twice, that string is in essence "monophonic".

This behavior is impossible to simulate on any polyphonic synth that I know of, simply because they have no voice allocation mode that take this into account.

I think it would be rather straight forward to implement... when a voice is allocated, all you need to do is store that voice's "key number" with it, and if that note comes up again later on, then simply check all voices note allocations, and if one of them has the same note, then allocate that voice instead of a new one...

Another positive result from using such a method is that it will at the same time seem like it gives you more polyphony... if you have a sound with a long release, and in sequence play three notes over and over again, it will use all 16 voices in a round-robin way... with the proposed trigger method, it would only use 3 voices since the respective voices will be retriggered whenever it's stored note value gets another keypress with that same note...
« Last Edit: September 12, 2018, 09:02:32 AM by Razmo »
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Re: Feature Requests
« Reply #233 on: September 12, 2018, 12:02:23 PM »
I'd like to see a new form of voice trigger mode... not only for the REV2, but in synthesizers in general that are polyphonic.

The mode I'm thinking about is one that mimics real acoustic instruments that are "polyphonic" like stringed instruments.

With the normal polyphonic voice allocation in polyphonic synths, if you press the same key multiple times, a new voice is allocated for that note, but in acoustic instruments, if you (like on stringed instruments for example) play the same note, it does not double... if you hit the same string twice, that string is in essence "monophonic".

This behavior is impossible to simulate on any polyphonic synth that I know of, simply because they have no voice allocation mode that take this into account.

I think the Roland Super Natural engine is the only thing that came close in the Integra 7.  I remember demos of their guitar patch that had modeled behavior similar to that. 

Re: Feature Requests
« Reply #234 on: September 12, 2018, 07:29:39 PM »
I'd like to see a new form of voice trigger mode... not only for the REV2, but in synthesizers in general that are polyphonic.

The mode I'm thinking about is one that mimics real acoustic instruments that are "polyphonic" like stringed instruments.

With the normal polyphonic voice allocation in polyphonic synths, if you press the same key multiple times, a new voice is allocated for that note, but in acoustic instruments, if you (like on stringed instruments for example) play the same note, it does not double... if you hit the same string twice, that string is in essence "monophonic".

This behavior is impossible to simulate on any polyphonic synth that I know of, simply because they have no voice allocation mode that take this into account.

I think the Roland Super Natural engine is the only thing that came close in the Integra 7.  I remember demos of their guitar patch that had modeled behavior similar to that.

I really like the way the Integra SuperNatural Acoustic voices trigger expressive articulations.  It was a big reason to add it to my modest arsenal.  The way their guitars articulate with legato playing and with physical controllers are somewhat similarly executed in Yamaha's Expanded Articulation and Korg's DNC.

From what I'm understanding of Razmo's description, it sounds like poly-chained Slim Phattys and Minitaurs or poly-chained Boog D's utilize this, shall we say, "multi-monophonic" voice allocation.   ;D
 
And doesn't DSI utilize this voice allocation method as well with poly-chained Mophos and Tetras?  Here's a video demonstration (he stops talking and starts playing at the 11 minute mark):

https://www.youtube.com/watch?v=qtjNqCK2dgY
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Re: Feature Requests
« Reply #235 on: September 13, 2018, 12:00:42 AM »
I'd like to see a new form of voice trigger mode... not only for the REV2, but in synthesizers in general that are polyphonic.

The mode I'm thinking about is one that mimics real acoustic instruments that are "polyphonic" like stringed instruments.

With the normal polyphonic voice allocation in polyphonic synths, if you press the same key multiple times, a new voice is allocated for that note, but in acoustic instruments, if you (like on stringed instruments for example) play the same note, it does not double... if you hit the same string twice, that string is in essence "monophonic".

This behavior is impossible to simulate on any polyphonic synth that I know of, simply because they have no voice allocation mode that take this into account.

I think the Roland Super Natural engine is the only thing that came close in the Integra 7.  I remember demos of their guitar patch that had modeled behavior similar to that.

I really like the way the Integra SuperNatural Acoustic voices trigger expressive articulations.  It was a big reason to add it to my modest arsenal.  The way their guitars articulate with legato playing and with physical controllers are somewhat similarly executed in Yamaha's Expanded Articulation and Korg's DNC.

From what I'm understanding of Razmo's description, it sounds like poly-chained Slim Phattys and Minitaurs or poly-chained Boog D's utilize this, shall we say, "multi-monophonic" voice allocation.   ;D
 
And doesn't DSI utilize this voice allocation method as well with poly-chained Mophos and Tetras?  Here's a video demonstration (he stops talking and starts playing at the 11 minute mark):

https://www.youtube.com/watch?v=qtjNqCK2dgY

I have not tried a polychain myself, but I do not believe that this works like the method i proposed here... it actually rather work just like a real polysynth round-robbin allocation I think... If you look in the manual of a Mopho Keyboard, you can see that each device in the chain needs to have a global parameter set, that indicate exactly how many voices are "behind it"... that way each device will know (after it's own polyphony is used up) that when the right number of note-ons has been passed on, maximum polyphony on all devices together has been reached, and the next incoming note on should start to steal notes... in essence it's exactly the same as if you had one synth with the same number of voices internally.

This is normal polyphonic triggering... not what I proposed... in what I proposed, if the same C4 key is hit repeatedly, it should NOT allocate a new voice on each successive hit... it should restart the same voice again and again like on a monophonic synth, that is, until you hit a different note than C4... then it should start a new voice and so on and on. it is simply a method i want, that is in essence "Note Monophonic"... if that makes any sense.
« Last Edit: September 13, 2018, 12:09:13 AM by Razmo »
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Re: Feature Requests
« Reply #236 on: September 13, 2018, 06:03:33 AM »
Ah, sounds more like MIDI MPE.
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Re: Feature Requests
« Reply #237 on: September 14, 2018, 06:34:17 PM »
When in Split or Stack mode, it would be awesome to balance volume levels of Layer A to Layer B relative to each other.

Suggested button combination:

Press and hold EDIT LAYER B while turning OSC MIX. 
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Re: Feature Requests
« Reply #238 on: September 15, 2018, 07:24:25 AM »
These features could be implemented in several DSI products (where applicable):

#1 Global LFO mode, alternatively "Free Sync". I miss being able to set the LFO to global operation, i.e. one LFO for all voices. If it's not possible to make an option to have one of the LFOs operate as a global LFO, an alternative could be something called "Free sync" (as opposed to Key Sync), basically that the LFOs are free running, but in sync with each other.

#2 Random (per voice) modulation source. Basically a random source in the mod matrix where each voice/note gets a new random value (bipolar). I've seen this feature in some soft synths, and it's great for getting some natural detuning between voices in a chord for an example, but can also be used for i.e. envelope times, etc to get some more variation between voices. This could also be super cool if it could be used in conjunction with unison if applied to i.e. filter cutoff with a high resonance setting (each voice getting it's own random cutoff value).

#3 Clock sync option for modulation effects. The Phaser and Flanger effects in particular could benefit from having a clock sync option.

#4 Frequency and time values on LFOs and EGs. When not in CLK SYNC mode, the LFOs would show the actual Hz rate, and the EGs would show the time in ms to sec.

+1 for global LFO and modulation clock sync

++1 for a Random mod source.

Would also be very cool to have a slew or smoothing parameter, or at least a choice of linear, exponential, or logarithmic curves.  Most useful on filter and volume (and pitch) envelopes, esp in the attack and decay portion.  If you think about it, the envelope is often a defining feature in many vintage sounds.
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Re: Feature Requests
« Reply #239 on: September 15, 2018, 07:34:47 AM »
A pretty simple suggestion: It would be very useful to be able to let A be active at the UPPER part of the keyboard and B be the LOWER part of the keyboard.

This would offer two great utilities:
1) Be able to edit the upper layer directly after selecting a preset. Now you have to press EDIT B to do so. (I often have a base patch on the left, which I don't want to tweak while playing; I do want to tweak my upper timbral patch)
2) Be able to have a typical lead sound in a preset where split is not activated, to which you can add the lower layer for your left hand (Layer B) by simply pressing SPLIT. (So I can save a nice preset with and without basepart easily in one preset)

Currently, only the opposite is possible, where you can only directly edit the lower timbral patch and where only the upper timbral layer can be added or removed from the preset.

This is already possible.  All you have to do is swap the layers in your desired sound, which will then bring the lower sound to the right side of the keyboard split, and vice versa.  Here are the steps:

1) Select the sound you wish would have the layers reversed (bottom on top, top on bottom).
2) Press and hold both the Split and Stack buttons at the same time.
3) Use the Parameter knob to select "swap layer A and B"
4) Press Write.
5) Audition the sound to verify it is what you intended.  You can also change the split point by holding Split and pressing a note on the keyboard, and then save this with the program.
6) Press WRITE again to save the new program.

Hope that helps.  It's great having your feature request implemented, even if it was already there in the first place =)
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