yeah I misunderstood that part, I thought you bought second hand for 400…
not only
you completely misunderstood what I’ve said, I said I feel like I barely touched the surface of the DN, and I intend to spend time to dig into it once I’m finished with my current ongoing rytm project.
over the last couple of years I’ve heard insane things being done with the DN, various styles of music, various sounds, I’m not there by any means but I’ve heard what other people doing with it and I know this thing is deep and capable, I don’t think you can discredit the DN just because “limited tracks” or “that new thing has more”, that music was done on that machine, and that’s probably why you bought it too.
sure the timing of the purchase might be unfortunate but your comment came off as if you’re contemplating life choices just because a new thing came out, which is ridiculous imo… it’s just fomo… shake it off and move on, there’s only so much you can do about it anyway
No, but it now has KeyTracking as a modulation source - so you could apply different modulation per key - but nothing really anything like poly-aftertouch, it only has global aftertouch per track/channel
Do you ever need this? Would a transposition not just be a transient application of scale quantisation at play back?
Yes indeed
You’d have to lose conflicting notes. I don’t actually know what the OT does in this case. Will test.
I can totally see there are cases where behaviour will need to be defined and sometimes perhaps it will do unexpected things due to limitations (lose notes). But to me that doesn’t mean it wouldn’t be musically useful to have this.
of course it would be useful/preferable, but it’s not trivial to make robust or non-destructive or properly musical
In illustrating the edge cases you can understand the challenge of making it work - that was my point
My philosophy for the way things are implemented is usually why-this-way? and rarely why-not-differently? … i presume i don’t understand until i have thought about it - if it is definitely a case of why-not-differently i will pursue that, if i can follow it as why-this-way i accept it
sorta put yourself in the developers’ shoes as well as the users’ shoes, it makes for a lot less disappointment i think
DN Drums makes it way easier.
Transient parameter & noise + dedicated amp env and BP filter feels a bit like cheating.
16 notes in total. With dynamic allocation.
This is indeed missing for now.
I feel like MPE could also be implemented in the future.
But for now, what we have is already a blessing. To me at least.
As I said earlier, you can record velocity, length and microtiming per note within the same track.
It’s awesome.
I think you’re slightly misunderstanding me. I’m not particularly disappointed - I mostly was surprised/interested in why you don’t think it can be implemented in a robust enough manner to be musically useful.
Did you try my pack? A lot of people told me they liked these sounds - should be compatible with DN2 as well, quite interesting given the extra voice count.
