Quatschmacher

Added a few new patch clips: https://drive.google.com/drive/folders/1u2-dJaWdaAbPDnDdWkipu-P7IH_GHLQ2 They should appear first in the folder when sorted in last-modified order. 

I’m guessing not many have one. Most of us who were interested went for the C4. I do think the Spectrum is priced a little high compared to C4 (in terms of consumer appeal as opposed to recouping development costs).

Riddle and Enigma are the same size. God it has been slow around here.😆

Really? Maybe 3 at a push.

It does take some patience to dial in. The Fwonk only has three knobs and a more limited parameter range so is easier to dial in. Every sound I got on the Fwonk I was able to replicate on the Enigma (I had both for a good long while).

Six? I think that’s an overestimation.

Also try the EHX QBalls Enigma, it does what the Fwonk can do and more (though is a bit noisier due to its being analogue and the fwonk’s being digital).

Not quite. The Spectrum has two parameters per knob on the lower two; C4 (currently) only has one. Also, there are some knob assignments which are possible on Spectrum but not on C4, notably lo retain, both filter frequencies combined, both filter resonances combined and both envelope speeds combined.

That is correct.

Update from Andras about v3: https://www.talkbass.com/threads/future-impact-now-available-was-deep-impact-reissue-interested.1115025/page-265#post-23028343

My plan to check it out today was thwarted by the music shop being shut for two days to reconfigure their systems.

Thanks. Sorry, I overlooked the phrase “the latter” as I only glanced briefly. Obviously you answered my question the first time.

I can’t speak for the Ernie Ball volume pedal as I don’t know the specs. Most passive expression pedals will work (I use a Moog EP-3). You can set up the Hub (via the neuro editor software) to send out any midi cc number from the expression and external control inputs. You need to set it to “midi out” otherwise it doesn’t send out the expression control cc CC 11 and 74 are hard routed on the FI to control the filter. It depends on which CCs are programmed in the patches as to what will be controlled. Midi CC1 is the most common as it’s the one which is the mod wheel on pretty much all synths. That’s the one I’ve used consistently. If you don’t already have a source Audio Hub or any Source Audio pedals then there are probably better choices out there that offer a few other useful functions.

So it allows dry bass to be played on top?

It’s not even the most exciting new feature.

You’ll need a sustain or an expression pedal and something that will send the midi CCs from those to the FI. I’m using my Source Audio Hub at the moment but there are other devices ( from Morningstar, Disaster Area, etc) that would do that and allow you to send program change messages and other midi CCs. Having an expression pedal will be essential to getting the best out of v3 with the new flexi controllers (mod matrix). Most of my patches have some kind of morphing applied to midi CC1. If you check out the clips I posted earlier, you can hear some of that.

What does the freeze feature on the SY-1 actually do? Does it allow further triggering of synth notes while sustaining others (if so, what is the maximum polyphony)? If not, is it just allowing dry bass to be played over a synth wash?

It’s a forthcoming (post-v3) rather than currently-available feature. There is no sustain stage in the envelopes in the current publicly-available version so would have probably been tricky to achieve.

Not yet but is on the roadmap. @owen I had to amend this as I had mistakenly thought it was coming in the update.

In the course of cleaning up the English in the manual, I came across a nugget of information that I’d overlooked: I always knew that if the sum of the “volume” sliders of two or more oscillators exceeded 127 then foldover distortion occurred. What I hadn’t realised was that a similar thing occurs within a single oscillator. That is to say, if the sum of the volumes of two (or all three) waveforms within a single oscillator exceeds 127 then foldover distortion also occurs. This is a big discovery for me and I am annoyed I overlooked it. It could lead to some pretty cool sounds. Likewise, it explains why I was getting unexpected results when adding a triangle wave in a single oscillator block where the saw was already at 127! While we are on the subject, I’d be interested to know if sections of the manual that users find unclear as it might help me to know which sections to expound upon. Currently I’m cleaning up the English and adding information I feel is lacking.

C4 does (configurable) arpeggiators.

I might see if I can try one in Just Music in Berlin on Monday or Tuesday. Hoping to meet up with @SICbass there.

Depends what you want from it. I still think the FI is capable of way better sound shaping than the C4, especially now that v3 has full ADSR control (my constant nagging paid off). The C4 has the advantage of a slick interface for auditioning and saving sounds whereas the FI is still a bit clunky in comparison (though I’m hopeful of some improvement in a post-v3 release and have made suggestions which didn’t fall on deaf ears). C4 has a bigger range of filter types but for envelope control, oscillator options and parameter routing possibilities, the FI blows C4 away. Both have great tracking. I do enjoy both though but if I absolutely could only choose one, I personally would choose the FI.

Thanks. I still learn new stuff all the time. Working on the new v3 manual for the FI made me discover a nugget of information I’d overlooked before.