@paul-flute Hi Paul, the Sylphyo does not contain the listed chemicals phtalates, DEHP or BPA. The Sylphyo body is made from ABS plastic with a V0 treatment for uninflammability. The mouthpiece is made from food-grade ABS plastic. The Sylphyo has also been approved by the FCC. You can find the documentation for this online.
It turned out to be not too difficult to find the mathematical explanation of the "vertical yaw" response. In fact it is sitting in plain sight in the standard expressions describing 3-dimensional spatial rotations. Indeed, the response is the sum of two terms, which could be send over separate MIDI channels.
For the record: the Sylphyo mentioned above was returned to Aodyo for a checkup. I got it back in March, and while the functional issues were solved, there was still a problem with the fit of the outer casing: the upper half of the bell doesn't quite match the bottom. Bax has sent me another Sylphyo as a replacement, which appears to work fine. It has the same problem with the bell though.
@peter-ostry These are placeholders! You can use them as you would the normal sounds or you can just ignore them. They get progressively replaced as we add new sounds to the Sylphyo and are essentially there to fill the empty slots. It can also be convenient when for example switching from sound 34 back to sound 1, you can just switch over to sound 36 instead.
Checked again and disabled the Sylphyo's movement CCs. Really cannot tell what is going on. Stuck notes, changing/losing the Sylphyo's internal sound (I mix with the Link's stereo input) and weird behavior overall. Turned everything off and on in different order – no change. Turned everything off, went back to direct MIDI connection and it worked fine.
Never mind. I believe some devilish ghost in a parallel universe prevents me from using USB hosts. A Keith McMillen host did not work here. A Kenton USB host didn't. Why should the Link do. I blame the ghost ;-)
In order to make as realistic a sound as possible, we've had to sacrifice a bit of expressivity in Flute Phi. This means that certain playing techniques such as staccato are restricted on that sound because of the difficulty of adapting the algorithms. We prioritised the realism over the expressivity.
In order to get a sound that will work better for these playing techniques, you can try out sound number 8 Chalumeau or maybe number 2 Daphnis Flute? Let me know how you get on with those!
We will of course do our best to improve this in the future and will let you know how this progresses.
@clint Thanks for all the technical details. For your concerns, I don't think you need to be worried unless you are being particularly harsh with your headphones and the Sylphyo! People have been using the Sylphyo for almost 6 years and we have had very very few complaints about the 1/8" connector or the USB port.
@steviek Hello! You need to change the buffer size in Logic Pro and Mainstage. Set it as low as possible so that you don't get any CPU overload and reduce the latency.
If you have a powerful computer you can get away with settings like 64 or even 32. If you also reduce the sampling rate (down to something like 44.1khz) that should also help with latency as you will then be able to reduce the buffer size.
Thanks Maxence ... yes, I've got that ... but the "3" in "C3" could mean (as I've found out recently) many different things depending on the octave numbering you use. The Sylphyo (from my examining the MIDI stream it puts out) puts out MIDI hex 3C = decimal 60 for "C3" which is Middle C. That's the same standard that Kontakt, Apple Logic, Cubase, Steinberg, and Yamaha keyboards use.
However, the ISO standard that is used by Korg, Roland, and most of the piano tuning and composing world (and also the Native flute world) use "C4" for Middle C. That's why I was always off by an octave before I understood these issues.
Cakewalk Sonar actually uses C5 for Middle C, which is really confusing!
A discovery I made about 40 years ago is that it works really, really well to use a longer reaction time for any interval that involves a register key. It doesn’t seem to hinder performance significantly — presumably, as woodwind players we learn to anticipate the extra delay.