Mar 02, 2019 There two top brands and they are Akai Professiona l and Roland. Each brand and electric wind instrument is unique to the brand and how the user intends to play the instrument. Each brand and electric wind instrument is unique to the brand and how the user intends to play the instrument. Now, open the Preset Editor software. It will prompt you to select your MPK Mini as the USB device. Choose the Akai MPK Mini from the drop-down list and then press Done. At this point, you can make changes to any of the presets currently stored in the MPK Mini. For example, click on Preset 1, 2, 3, or 4. You will notice that by clicking on each.
Download my free demo sounds & presets for WIND CONTROLLER
These soundbanks require breath controller data ( MIDI CC2 ) in order to make any sound
Download my free demo sounds & presets for WIND CONTROLLER
These soundbanks require breath controller data (MIDI CC2) in order to make any sound
Sep 11, 2009 A question for those familiar with both instruments- For a sax player, wanting to try an electronic MIDI wind controller, which of the two would be easier to learn? A couple obvious advantages to the EWI USB-one can hook it directly to the computer via USB, whereas the WX5 would need a MIDI interface in between. Also, the EWI USB is powered by that USB connection, whereas the WX5 needs. Vocal Planet Akai CD-Rom Listing 1 Akai CD-Rom Listing 2 Akai CD-Rom Listing 3 Akai CD-Rom Listing 4 Akai CD-Rom Listing 5 Roland CD-Rom Listing 1 Roland CD-Rom Listing 2 Roland CD-Rom Listing 3 Roland CD-Rom Listing 4 Translations Credits. Related Products. Symphony of Voices Omnisphere.
CHECK OUT ALL OF MY SOUNDBANKS FOR YOUR WIND CONTROLLER
THE BREATH OF FALCON
Akai Ewi And Omnisphere 2 4
“FALCON is an advanced hybrid instrument that presents you with virtually unlimited sound – sculpting possibilities. FALCON fortifies your sonic armory with state of the art oscillators, effects, modulators, and event processors all in a scriptable environment you can easily customize to suit your workflow preferences. It’s great for everything from simple sample slicing and synthesizer design to exorbitantly modulated multitimbral hybrids”.
THE BREATH OF SERUM
“SERUM is an oddly named synth built around refreshingly clean, low aliasing wavetables. Even when forced to be filthy, it somehow retains a refined and polished character, which is no mean feat. With its zappy envelopes, highly malleable LFOs and extensive Warp tools, SERUM is not just a source of shifting pads and atmospherics: it’s a very capable and versatile synthesizer. It also happens to possess one of the most elegant interfaces”.
THE BREATH OF PROPHET
Akai Ewi And Omnisphere 2016
“When you are looking for great sounding polyphonic synthesizer, the DSI REV2 is certainly a valid candidate for a decent price. The filter is subject to taste but can be applied with decent subtlety. Overall the sound palette is diverse, and the REV2 sounds wide and deep. The versatility is enormous ranging from basses to leads and pads with endless variety. The many waveshaping and modulation possibilities give the REV2 a solid and unique character”.
Programming tips … playing on an Wind Controller is only half the story, you must also think about the sound source you’re controlling and how it is programmed. There are few basic synthesizer types to consider: samplers and sample – based synths, analog synths ( either real or modeled ), wavetable synths and physical – modeling synths. FM synths can also be used to good effect with Wind Controllers.
If you want to try your hand at programming your synth for an Wind Controller, here are a few tips to get you started. These general ideas apply to all sample – based, analog, wavetable and FM synths, but the specific procedures for implementing them vary from one instrument to the next.
First, it’s important to understand that most wind – oriented sounds do not have preprogrammed envelopes. Instead, they are sustained and vary their amplitude and timbre over time according to the breath pressure. Therefore, intermediate envelope decays in the patch should be changed ( 0 – 84 ms ), and the sustain portions should be maxed out ( 100 -127 ms ). The attack and release portions should be relatively fast ( 5 – 30 ms ), but if the attack is too fast, you may experience more glitching. If the release is too fast it will sound unnatural, if it is too slow the notes will overlap, which is inappropriate for sounds that emulate acoustic wind instruments. Don’t forget that the Wind Controllers Velocity should be fixed at a high value when playing these sounds.
The message generated by the Wind Controller in response to breath pressure can ( and should ) be routed to control a variety of parameters in the synth. At minimum, it should be used to modulate the final amp stage in order to control volume. Another significant parameter to modulate with breath pressure is filter cutoff, this is especially important for brass sounds, but less so for strings. Other possibilities include effects parameters and any other parameter that responds to continuous control.
To maximize the expressiveness of an Wind Controller performance, it’s critical that you turn off LFOs in a program and generate vibrato with the jaw or right thumb sending Pitch Bend. Sometimes I use LFOs in very small amounts ( 2 – 4 ) to control Fine Pitch in individual oscillators . You can also generate tremolo or wah – wah with the breath by assigning its messages to control amplitude or timbre. This is far more expressive than an LFO, which most people immediately identify as synthetic.
When playing a sample – based synth, the Pitch Bend setting is also important. For most acoustic instrument emulations, the Pitch Bend range shouldn’t be more than a whole step or so. This not only simulates the capability of the acoustic instrument but also prevents the sample from being transposed too far from its root pitch, which sounds very unnatural.
Most synths are polyphonic, which is critical when using an Wind Controllers harmony functions. However, many synths can be set to a mono mode, which can be useful, especially with analog synths, because the envelope doesn’t reattack when slurring. That can sound unnatural when you play samples over a wide pitch range, because they are transposed beyond their normal limits.
Thanks to the continued development and evolution of Wind Controllers, wind players have more ways than ever to join the MIDI band. There are also plenty of resources, check out PATCHMAN MUSIC or EWI REASON SOUNDS. The controllers have become more sensitive with sophisticated MIDI implementations, and there are many synths that respond well to breath control. If you’ve ever wanted to expand your playing into the electronic realm, there’s never been a better time to blow!.
18th February 2019
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Akai Ewi And Omnisphere 2 5
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Will Omnisphere 2.5 sync with Pro Tools First and Akai MPK249 midi controller?
I'd like to know if I need to plan on eventually get a copy of Pro Tools (regular) in order to use omnisphere 2.5 or 2 (which I also don't have yet) with my akai mpk249. Assuming omnisphere will run smoothly with the most recent version of Pro Tools in Windows 10 and the Akai will integrate with omnsiphere. I hope i'm explaining things properly, im kind of new to this - any help greatly appreciated, thanks.
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