Runningonair is a channel that deals with music technology and production. It includes Synth demos ranging from early classics to the latest VSTs. It also includes music videos by Runningonair.
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The only differens between the two is that the CZ-1 have stronger fundamental frequencies then CZ-V and that CZ-V have louder high-mid to high frequency harmonics then the CZ-1. Which to me gives the CZ-1 a more pleasant rounder sound plus that some of Arturias presets seem to have a slight detune between the oscillators. My guess is that it’s either a programming issue of the Arturia presets or that CZ-V waveforms can go a bit further with its phase distortion than the CZ-1. Either way it should be a quite easy fix for Arturia to make it sound identical. Nice comparison between the two 👍🏻
This vid helped greatly. ESQ was not working properly and displaying another text on the screen and was not able to load patches. I had no clue if it had some major error, but I followed the steps in this video and it works as normal now!Relieved
Hi thanks for this - helped me unravel the mysteries - good video. I notice it's three years old now when you ask for similar voice synths. Are you aware of Emvoice One?
After when you posted this video, 2 years ago, you probably know what ENH means now lol. The Behringer Wasp has been for ages now been my GOTO for fat bass sounds. I have a Roland Jd-xi and love it as a Groovebox style synth (I have an MC-303 as well), I think everyone that agrees that has one realises that it lacks in Analogue capabilities. This fills the gap for me
The best walk around video that I could find. You didn't just cover the pre sets. Such a standard thing these days - it seems. Therefore, it was refreshing to see someone explaining the function buttons and capabilities. Well done.
@@RunningonairMusic nice. Yea i have an old ensoniq fsw1 that i sorta fixed up but still i find that style to be flimsy, but other piano style pedals ive tried dont work with the ESQ1 for the most part
People commenting without considering the main difference between the two: one is sample-based, the other is an emulation. Comparing sounds head to head really only speaks to the ‘realness’ of the emulation. That said, even an actual ESQ-1 head to head with these samples won’t sound identical given the innate differences in everyone’s signal chain. Samples are typically recorded with a bunch of outboard gear to sweeten it up too.
Just got one of these, and your videos are how I'm going to learn it. Also have a Mirage, so hopefully I can find some similar videos on that, as well.
Great stuff. As in all old gear there is a lot of dust collecting in holes. Midi holes: Why is there no sound? Data holes: The data card has holes in it, so the receptor has sticks that protrude upwards, well, not under a cover, like in the DX7, but they tend to become "greasy" at least after not cleaning them up. Nobody cleans them up, when cleaning the rest of the visible machine. It was never an issue, until some nerd thought to buy very expensive cards.
One thing I don’t understand: why do the waveforms change over time? I would understand that they change if you have enabled some short of envelope affecting the algorithm, but the goal of the video was supposedly to see the basic pure waveforms, so seeing they evolve over time makes it difficult to understand…
Ah, ok, I found your follow up video, in which everything is cleared: m.ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-ZF1AFMeWue0.html Thank you, I understand now.
Very useful thanks! Nice to know that someone else also goes through that phase where it all sounds really horrible for a while whilst you are looking for that elusive sound. It made me understand the pain my partner has to endure😞
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Which is which? 😂 Seriously, I don't know as I don't own either one, but I'm not sure if the weirdly colored mean active or inactive. They sound different but I like both.
Comprei todos os plugins da AIR, são excelentes! Já compús muitas obras com o uso dos plugins, o xpand 2 para mim foi o melhor, porém o Hybrid 3 é muito versátil e tem um motor síntese incrível!
Big takeaway is that the og ESQ has more treble (drastically noticeable in the sync lead @ 14:32 MINI M). So I can either take this optimistically two ways. 1) the software plug leaves more room for highhats in the mix, OR # 2) just turn up the treble on the softsynth's EQ, pre-amp saturation modeling, or effects send. At the end of the day, it's the synth for me as I liked every single patch that you demonstrated for one reason or another. Thanks for this video! PS... I've officially acquired a taste for nyquist frequency scatter thanks to this demonstration. Sublime aliasing -- if that isn't an oxymoron to audiophiles. ( see 15:41 NOISTR )
Vsts have got so realistic now that it's looking like a limitless production Scape for us all. My vsts are sitting by analog synths and standing shoulder to shoulder. It's crazy what we can do now at very little cost. Golden era. We live it
I am going to try that moving filter, beautiful. It took me a while, but it seems like to me that all the patches prior to the effects are operating on the sines prior to being generated. Like the whole thing is one complex generator, and the modules give you different ways to specify how the sounds get generated. For example, the filter doesn't generate a signal then filter the signal, it calculates the partials that would be removed prior to generating the sound and doesn't generate them in the first place. EG the filter is applied in the space of partials not on the generated signal.
Yes, it's just a bunch of sine waves with different algorithms to change pitch and level. I've not used it for a while but it does have quite a distinctive sound.
On my Kawaii K1 II, the lead weights on 3 of the black notes fell out. To repair, I had to open up the instrument, remove the keyboard, detach the electronic boards on the back of the physical keyboard, remove the neighboring white keys, and reglue the lead weights back in. I used Gorilla Glue. Then to be proactive, I added glue to all the lead weights of the white keys. And then fashioned a long nozzle out of a 1.5” plastic drinking straw (slitted then taped into a cone). Then glued (super glue) and taped the nozzle to a medical syringe, filled the syringe with Gorilla glue, then used the syringe & nozzle to dab globs of glue onto the weights of the black keys. This meant I did not have to remove all the black keys. Being a bit careless with the amount of glue, some got too much and I had to remove those keys to scrape off the excess glue. After the glue set overnight, I began to reassemble the keyboard. Unfortunately, it had sat disassembled for several years and I had either not taken photos, or had deleted them. This video gave me enough glimpses of the inside to make it possible to reassemble everything properly. I hope! I’ll update when I finally get it together & it works properly!
Now I don't have volume nor does it communicate with Finale. All this worked fine before I took it apart and replaced the battery. All cables are plugged in. Not sure where to go from here.@@RunningonairMusic
Problem solved after removing those little black spacers between the keys & the contact boards. Now everything works fine. I don't know why I had to remove them. There must be something else out of alignment. But as long as everything works... Thank you for posting your videos!
Hey, would you be interested in knowing about ways to squeeze even more out of the SC-7? There's a few things that can be done with SysEx, like changing the reverb and chorus type, and enabling channel aftertouch, which lets you adjust the low-pass-filter cutoff. I ended up creating my own tool to help me with this. Thanks for your videos, by the way; they were quite useful and helped convince me to go ahead with buying an SC-7, which I've had a lot of fun with!
Yes, I was able to do a little bit of that stuff but I'm not a coder so it started to get too difficult. I guess what it really needs is an editor or control panel. I recently upgraded to the SC55 which resolved all of those issues but It's good to hear someone took it further.
I think my follow-up reply may have gotten caught in the spam filter? If you check the "Held for review" section of "Comments" in RU-vid Studio, it might be there.
@@RunningonairMusicAh I see, I'll just write a new comment. For the SC-55 it's much easier indeed because there's better tools available, it supports NRPNs for most things, and it generally has more controls. I only have an SC-7 though, so I made a tool called “SoundPalette” (you should find it if you search online for “SoundPalette SC-7” or something like this). It's a bit fiddly, but it can generate and send almost all the SysEx messages that the SC-7 supports, and some of the SC-55/GS ones too. The one I've had most fun with is the “CAF TVF CUT OFF CONTROL” in the “Patch parameters”. If that's set to something other than the default value of 40H, then sending a Channel Pressure (Channel Aftertouch) message will adjust the filter cutoff. It's also nice to be able to tweak the reverb and chorus. Sadly the SC-7 is quite limited otherwise, it doesn't let you adjust envelopes etc, but I've enjoyed the challenge of finding creative ways to get more sounds out of it.
@@RunningonairMusicMy second attempt also didn't show up… anyway, I made a web app called SoundPalette to help me with my SC-7. It can generate almost all the SysEx messages the SC-7 supports, and many of the SC-55/GS ones too. The “CAF TVF CUT OFF CONTROL” is fun, if that's set to something other than the default then you can send Channel Pressure (Channel Aftertouch) messages to adjust the filter. It's definitely easier to work with the SC-55 though, it has much better tools and it's just generally less limited.
Great video! Question, so when people say that ring modulation is just really fast tremolo, that is incorrect because tremolo is amplitude modulation which maintains the fundamental pitch while ring modulation does not?
@@RunningonairMusic Hey there! Rewatching this video today to review and had another question if you get a chance! This might be a bit more of a general electronics question, but I am very confused by the idea of negative voltages such as shown here. It took me a very long time to finally realize that graphs of actual sound waves in the air use the 0 point to refer to the standing rooms atmospheric pressure, so general sound wave graphs show the compression and decompression of air molecules relative to the given ar pressure. I still dont understand this in regards to electricity though and an AC of analog audio signals. What is the 0 point here? Thanks in advance if you find the time to respond!
Imagine having a 20 volt power supply with a 20 volt connection and a 0 volt connection. Now we add a third connection in the middle which would naturally be 10 volts. Now we are going to rename the terminals so that they look 10 volts less each. 20 volt becomes 10 volt, 10 becomes 0 volt. So what should 0 volt be? Well, 10 less so minus 10 volt. So essentially we choose the numbers that we use.
It's a reference point for all other voltages. The other important thing is that it is generally connected to ground. If you want to know more I would suggest looking for videos on electricity and then electronics. That should clarify things further.
