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E-mu Proteus 1
Submitted by: snolan@slic.com
The Proteus is a very versatile synth which works well with the GI-10. It's refreshingly NOT
a typical GM box and contains a wide variety of atypical sounds along with the standard instrument types. It's synthesis engine is "rompler" based with a 4 meg ROM which is expandable to 8 meg all selected from the
Emulator III library of samples. Of note is the high degree of programmability allowing you to create an almost infinite variety of sounds which can be stored in 192 preset locations. It's 16 channel multi-timbral with a maximum
polyphony of 32 voices (see drawbacks). It also features 3 sets of stereo outputs which can be configured as 6 mono audio outputs which very conveniently means that, in mono mode on the GI-10, each string can be routed to it's own
audio output on the Proteus allowing for independant processing and mixing... a very neat capability! It also features a layering capability which allows you to layer up to 8 sounds per note which can produce some wild sonic
possibilities.
Drawbacks: As mentioned earlier, the Proteus is advertised as being 32 voice polyphonic, but, in keeping step with an increasingly common trend, this level of polyphony is only attainable under very
limited circumstances. If you use a "linked" patch, it cuts the polyphony in half... and if you use a patch with the chorusing effect, it cuts the polyphony in half... if you use them BOTH simultaneously... you can max
this thing out at only 8 voices. This doesn't present a problem for the GI-10 itself, but it severely limits it's use in a sequencer/GI-10 scenario if you plan to use it to reproduce the background tracks as well as the GI-10
tracks. I would beseech the industry as a whole to adopt a "truth in polyphony advertising" practice!
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ENSONIQ MIRAGE
Submitted by: snolan@slic.com
-This is the
last incarnation of the Mirage keyboard with the disk drive located on top of the pitch and mod wheels. It has stereo audio outputs and lacks the expansion port. I would assume that ALL Mirage versions would work the same provided
they are running the same operating system.
With the standard OS v3.2, the Mirage is not a multi-timbral device. Use the GI-10 in poly mode with a bend range = 2 and touch sensitivity set to "Hd". The Mirage tracks
the GI-10 reasonably well including hammers, pulls and slides and it's pitch bend follows string bends pretty well although you are limited to only being able to bend a string if only one note is playing. This is a limitation of
the GI-10's poly mode which is forced on us due to the Mirage not being multi-timbral. The unit tracks hammers so well that a further reduction in velocity may be necessary in order to stop double triggers (once when your left hand
frets the note, and again when your right hand picks it.) Try lowering parameter 23 (Kybrd Velocity Sensitivity) on the Mirage to 0.
Alternatively... The Soundprocess operating system, formerly available from a now
defunct company called Triton, will turn your Mirage into a multi-timbral device allowing the use of the GI-10's mono mode with independent string voicing and pitch bend. It tracks reasonably well as long as everything is kosher
with the bend ranges. You should set both the Mirage and GI-10 to a range of 12 (parameter #51 on the Mirage with Soundprocess). A range of 2 causes a second note to be generated if you hit a note and bend it AFTER a slight
sustain... I don't know why.
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KORG P3
Submitted by: snolan@slic.com
This piano module will support other types of sounds via ROM cards, but was definitely
designed to be a piano. It does not respond to pitch bend data at all... after all, what piano can bend a string? If the GI-10 is sending any
pitch bend data, the P3 will not track hammers very well. Turn pitch bend off and use the GI-10 in mono mode if the P3 is set for OMNI reception (it's default) or use the GI-10 in poly mode and turn OMNI OFF on the P3 and match up
the MIDI channels. It tracks quickly and accurately.
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KORG X5DR
Submitted by: carl@netaxs.com
The Korg X5DR is 8
channel multi-timbral MIDI module with 64 voices. If two X5DR units are used, it can allocate voices for an effective 128 voices. This may not be useful for GI-10 players (21.333 voices per string! :-) but may come in handy for big
band or orchestral MIDI charts. I haven't pushed the limits of it yet with 64 voices though. It only has a stereo output, the usual MIDI In/Out/Thru, and a propietary serial interface (which I haven't used yet but may look into to
free up my computer) for PC's or Mac computers. The unit is a half-rack space, and is a good companion space-wise with the similarly sized GI-10. I bought a 1 rack metal shelf and a 2-space case to keep them both in.
Each
channel of the 8 in the combination mode can be selected to trigger either via a different MIDI channel, volume setting, or MIDI note #. Also, each timbre can have it's own overall volume and pan setting. This can create some
interesting effects for the GI-10 user. In addition to the usual "upright bass string on E & A strings, piano on the rest" you can create a piano sound that turns into an organ when you really hit it. I have a patch I
like where it's a normal string section when I play it soft, but turns pizzicato when I play hard.
You get 100 user-defined combinations and patches each, and it has about 150 General MIDI sounds in ROM which are useful for
making performance combinations. The only caveat is that most of the GM sounds have pitch bend 'hard-coded' at 2. You can change the 100 patches in RAM of course to whatever PB value you want. The max PB range on the X5DR is 12,
which gives me enough accuracy. I haven't heard a synth with a PB range of 24 (the max on the GI-10) so I can't compare it to anything. Also, velocity-wise, I can get a good range of dynamics between the GI-10 and X5DR (depending
on the patch of course). Since I mostly 'fingerpick' I leave the GI-10 in fingerpicking mode, which I believe outputs a greater range of dynamic MIDI volume information. The X5DR doesn't seem to mind, although I imagine most of the
MIDI information is in the tons of pitch bend info the GI-10 can send if you have PB turned on.
Although I think the sounds and capabilities are great, it would have been nice if it could be set up for more than 8 channels,
as I'd like to have at least twelve so I can double strings (now that I use mono mode on the GI-10 a lot). 8 timbres in program mode seems to be the usual for synths though...
Tracking with the GI-10 was great out of the
box, even on the piano/organ/harpsichord sounds which (for me) usually glitch like crazy on older synths and gtr/MIDI controllers. Hammer on's and pull off's are excellent. I use a lot of sweep picking and fingerpicking, and it
does a good job with my different styles (I don't know whether to credit the GI-10 or the X5DR though). My best example of this is a rendition I do of ELP/Aaron Copland's 'Hoedown' which is usually a guitar controller nightmare but
I can pull it off OK on the GI10/X5DR. For the price (about $600 'street' price) I think the Korg X5DR is a pretty good companion for the GI-10 based on features, tracking, and sound. I'd especially recommend it for people who
would like to have a good MIDI module for their sequencing work, as I doubt a 'straight' GI-10 user would ever push the limits of a 64-voice module. Plus the computer interface may come in handy so you don't have to tie up the MIDI
ports when making patch sets with the librarian software.
PS: It includes Unisyn patch librarian software for the Mac as well as a program for PC
Windows users. If you send in the registration card, they will send
you the Unisyn program for Windows (just written -- I received it recently). This makes setting up the X5DR much more user friendly than using the front panel, and is pretty much a requirement since I imagine most GI-10 users
fiddle around with patches & combinations to get the right sounds and effects (unlike keyboardists who just use things right out of the box!
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KORG Wavestation SR
Submitted by: martino@ctron.com
The Korg
Wavestation SR is simply a great guitar synth. It handles data quickly and even has a chapter in the manual for optimizing the module for wind and guitar synth controllers. The only thing I had to do was set the pitch range on the
SR and GI-10 to 12 semitones and I was all ready to go. Accurate tracking, with pitch bend thin OFF and the module kept up with everything. They must have designed the thing with alternate controllers in mind, as the Wavestation is
sort of a unique, esoteric synth to begin with which exploratory musicians would be attracted to. It specializes in complex, evolving textures and is incredibly deep programming wise (but you'd want a computer editor for the SR
with it's tiny LCD display). It's got some decent standard piano, brass, guitar, bass etc. but this is no general MIDI machine, it's designed for some unusual and unique sounds.
Specs:
32 note polyphonic, 16 part mulititimbral, no voice stealing algorithm that I can tell. Several velocity curves, tracks bends/hammers/pulls OK but doesn't sound realistic with sharp
percussive sounds.
I have not had to modify any patches but maybe will write a supplimental article in the future after experimenting some more. I have not tried the Champan Stick yet (it's still being worked on) but have
heard great reports using a Wavetstaion SR with it.
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Roland M-GS64
submitted by: snolan@slic.com
Since this unit is essentially an SC-88 in a full rack unit, all the comments submitted by
marchi@frogjump.corp.sun.com
about that unit apply. It's really a nice unit to use with the GI-10. Sporting dual midi inputs, 32 channels and a maximum polyphony of 64 voices, 24 drum sets, 654 preset sounds and 256 user programmable presets... you can do a lot with nothing more than this unit. Effects include Reverbs, Chorus, Delays and EQ. Two sets of stereo audio outputs can be assigned as you wish. With the two midi ports you can use 1 side for the GI-10 input and the other for a sequencer input. With the available polyphony you can run a full blown accompaiment from your sequencer and still have enough left over to do layers in mono mode on thje GI-10! Fully GM compliant which makes it "internet ready" for all those GM midi files that are starting to show up on everyone's web pages.
Drawbacks: 3 character LED display
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ROLAND MT-32
Submitted by: snolan@slic.com
This synth module
works great! Hopefully it's just a coincidence that the unit is manufactured by the same company that built the GI-10 and we will see similar performance levels from other synth manufacturers. The unit is 9 channel multi-timbral
with one channel being devoted to the drum set. Voice allocation is dynamic with up to 32 simultaneous voices possible so there's more than enough synth power to cover the needs of the guitar synthesist. The default bend range for
all channels is 12, set the GI-10 accordingly. The default channel allocation is 2-9 with 10 reserved for the drum set. Set the GI-10 to channel 2 in mono mode with normal touch sensitivity and your set to go. All six channels can
be set to the same sound with a single push of the GK-2a UP/DOWN switches.
Drawbacks:
The MT-32 has a nasty habit of occasionally distorting when it runs out of headroom. Either lower the master volume (can be controlled with the GK-2a) or play softer. This only seems affect certain sounds. Also, a few sounds don't track hammers and pulls at all. Most are extremely responsive and will follow all those cyclical hammer/bend/pull rock guitar icon riffs flawlessly (again... provided you play them cleanly!)
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ROLAND SC-55
Submitted by: snolan@slic.com
This one works
just as well as my MT-32 did and sounds much better to boot. It also offers a couple of neat features that make it a particularly good choice for use with the GI-10. For starters, there are two midi inputs which are not mutually
exclusive! They are both active at all times and merge the MIDI streams from both! This means that you can have the GI-10 plugged directly into the SC-55 and still have another MIDI input connected from your sequencer and the SC-55
can process both sources! The SC-55 can sound up to 24 (single partial) voices at a time over 16 channels. The guitar could (at the very most) take up 6 out the 16 channels and 12 of the voices (using double partial sounds). That
still leaves another 12 unused voices that you can spread out over a range of 10 unused channels... Not counting the drum part! You can use it live and have your sequencer completely control patch changes as well as realtime
control of all the programable parameters.
It sounds real good for a synth in it's price range and has the basic complement of digital
effects. It has memory (unlike the MT-32) and will remember you setting channels 1-6
to a bend range of 12! And if I ever get overly emotional about missing the MT-32 there's a special power up sequence that emulates the 32 very closely. The only noticable differences are things you probably would have wanted
different anyway. The typical MT-32 distortion is gone and it seems to have a higher output level as well. The sounds are a significant improvement, the first piano I encountered sounded better than my dedicated Korg piano module.
Drawbacks:
A lot of functions not labeled on face of unit (mucho time reading manual for references and reminders). A lot of keypresses (eg: two buttons simultaneously) that are difficult to perform if the unit is not securely rack mounted and impossible to perform if it is (with one hand anyway). The typical Roland documentation, and of course, Rolands SYSEX implementation.
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ROLAND SC-88
submitted by: marchi@frogjump.corp.sun.com
I'm
currently using my GR-09 to trigger my SC-88. There is a slight delay. I will be posting a comparision of the GR-09 vs the GI-10 for triggering the SC-88 once it arrives at my local guitar shop and I buy it. (back ordered).
GR-09-->SC-88. Set attack mode high on SC-88 to reduce delay time. This was recommended at my local shop and does help a bit. Ensure bend ranges are equivalent on both sides of the house. Always set bend ranges to 0 for any
non-bending instrument. (but everyone probably already knows this) My recording strategy is to go out my GR-09 to a patch bay and then into both Cakewalk and my external synth simultaneously so I can hear what I'm playing and the
other instruments I have previously recorded into Cakewalk. This avoids the delay of going through my PC sequencer and out to my external module when I'm recording. This is highly recommended!! Local off must be used on the GR-09
for decent tracking. I expect a 25% improvement in tracking with the GI-10 based upon discussions I've had with Roland.
The SC-88 offers 32 parts (channels) via two midi input ports. This offers a significant advantage if
recording in mono mode. With drums on channel 10, I can truly have 5 instruments played back through the SC-88, with one part left over. Unfortunately, I find mono mode too much of a pain when I want to change sounds as it requires
changing the sound on 6 channels via the SC-88 or Cakewalk.
[ED. NOTE:
The GI-10 will send out the same program change number on all 6 consecutive channels (in mono mode) when you press the S1 or S2 button on the GK-2a pickup if the GI-10 display is set to Play Mode, which makes this process painless.]
Thus, I'm recording in Poly mode almost all of the time with good tracking results. As mentioned in the FAQ, this limits me to one note bends which is OK as I'm recording guitar direct onto my 4-track today. I plan on using
Cakewalk's upcoming product which will support hard disk recording when that becomes available vs other available packages.
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YAMAHA TX-81z
Submitted by: snolan@slic.com
If you plug the
GI-10 into a stock, right out of the box TX-81z, you'ld swear that something had to be broken! The mis-triggers, non-triggers and wild hammer and slide results will boggle your mind. Fear not! It can be tamed and end up quite
useful. For starters, almost all the preset sounds use very odd bend ranges, mostly falling between the 3 and 7 range which don't match up with any of the GI-10's acceptable settings. This will always cause unpredictable results.
The solution is to edit the preset and set it's bend range to 12 (2 does not work very well even though it's an acceptable GI-10 setting.) Now your all set for use in the GI-10's poly mode. In Performance Mode, the 81z is 8 channel
multi-timbral allowing for use of the GI-10's mono mode. Different patches can be set for each string and each channel can be set for either of the two audio outputs (or both) allowing for some wild stereo effects! It does not have
dynamic voice allocation so you will have to specify 1 voice for each channel and you will have 2 left over. If you set the P.Change parameter to "ind", you will be able to set all 6 voices simultaneously using the GK-2a
UP/DOWN switches, however, holding either switch down continuously (trying to advance 20 or 30 patches at a time) will overload the input buffer! The response time is quick with very little lag time unless a particular patch has a
slow attack. The velocity expectations of this unit are also considerably lower than most other synths I've used. Set the GI-10 Touch Sensitivity to "Hd" to lower the velocity levels coming out of the GI-10. The 81z's
voice registration is also an octave lower than most other units. Set the GI-10 Octave Shift to "UP" to compensate for this if needed.
The overall sound of this 4-OP FM synth is a little dated but I find it a great
box to do layers with. It provides a nice, solid base (no, not bass) sound that can be layered really nicely with another synth for some really lush textures.
Drawbacks:
Only 32 RAM locations to store your edited patches into.
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