@cg We release updates with no particular timeframes in mind, just when we feel they are ready! It takes a lot of work for a small team to release new updates. Watch this space and the Aodyo newsletter for news on the updates.
Thanks for the quick reply. I have just subscribed to the newsletter.
@origami23 I didn't noticed something that strong but I agree it's slightly unstable in the timing.
Also something that would be great is to be able to have all the values for the pitch. I tried to set up on 5st but it's impossible. It jump from 4.9 to 5.1st. And it the case of complexes harmonics ratios, frequencies are beating in each others a lot... Would it be possible to have every single float values (by steps of 0.1)? I also tried to modify it on the synth and in the Editor and it just seems to jump from odd value to the next odd value (0.1 > 0.3 > 0.5 > 0.7 > 0.9 etc).
Thanks : your advices will be very usefull. looking at the warbl default fingering i realize that i will need to invent a new fingering to get # and b notes and this is not easy ... and may be sylphyo offers more possibility on that. Probably there is already a best choice which has been adopted by most other recorder players...(?)
@peter-ostry I should also point out another issue: cross-fingered key bends produce no bend at all. For example, key-bending from <xox|ooo to <oox|ooo does not produce a key bend. This is critical for the Native American flute fingerings I typically play, and I am guessing is probably an issue in other fingerings.
The challenge (I'm guessing) is knowledge of the pitch of the target note of the key bend. The static default of +2 semitones needs to be replaced by a look-ahead to what pitch will result when a key-bend is initiated and carried to full-bend ...
The motivation is different in my case. I'd like to do sound design with the Anyma Phi as a standalone device, no keyboard (in whatever location I want, sofa, park), then when I'm done, connect a keyboard.
You can kind of hack round this using the piezo with envelope follower rise and fall as ADSR type controls, but that's not really the same thing.
@ladide A priori il suffirai de faire passer le Sylphyo sur CC2 pour le souffle (plutot que CC11 par défaut). Et ensuite il est probable que ça marche mieux avec le port DIN 5 broches du Link (MIDI out du Link vers MIDI in du Fantom XR).
If I've been playing for longer than a few minutes, I will swab out some of the moisture at the top (breath end) of the bore with my pinky and a paper towel. I feel this gives me a head start on removing moisture and makes the oboe swabs more effective.
I use two swabs at once, and I let the body of the swab sit in the bore for maybe 20 seconds to absorb moisture, not just move it around.
I have tried three swabs at once, but they will not go through the bell port at the bottom.
@andyhornblower Thanks for your suggestion.
The issue with that, is that we designed the physical model to play well in a certain range. And while we could feasibly extend it a few semitones lower, it becomes a slippery slope, as we need to rework the physical model to include lower tones, which then prompts people to ask why we can't go even lower, etc.
I hope this makes sense, we will consider your request as much as we are able but can't promise anything to that end. Let me know if you have any further questions.
My Yamaha Reface CS works too - plugged in with a USB cable to the USB host socket. That's a better choice than the PSS-A50 because it has a pitch bend lever, and 13 sliders/faders that send a continuous CC value, from 0-127... actually 14, if you don't mind using one with detentes (the Poly / Portamento selector isn't just a multi position switch - it can send values in between the positions).
Those can be assigned to control A, B, C & D (in the anyma phi settings menu), which is more convenient than turning the encoders.
The Reface CS can't take power from the anyma phi though - it needs an external DC supply, or a set of batteries.
I have the others in the Reface series, so if anyone wants me to check a particular one, let me know, but I assume they all work the same for USB-MIDI. The other logical choice would be the Reface CP, because it has 8 knobs that send continuous CCs, but no pitch bend, unfortunately.
@jay-ayliff There are two ways to play the middle C in the recorder mode (assuming you are in base key of C), first with the index finger of the left hand (OxooOooo_), and second with the middle finger of left hand and the octave thumb (XxooOooo_). If your thumb is incorrectly pressing the octave key you might be accidentally playing a C instead of a B?
I was thinking of the way Dave Smith / Sequential do it, which is to have a full set of NRPN parameters, plus a much more limited set of CCs that duplicate some of those, making them useable with just a CC based MIDI controller.
Alternatively, it might be practical to do a general numbered parameter via sysex or NRPN that's just an index into the patch data, like indexing an array. In which case, it wouldn't take so long to program, but it would still be a fairly large task to document it all, for the user manual.
while I generally agree, Sysex and Ableton is still problematic, as in, you can only do sysex via a maxforlive device. Ableton itself has no knowledge whatsoever about sysex (when it comes to external instruments)
I'm the programmer. Once the arpeggiator is done and the current bugs are ironed out, we'll release a v1.0.
But don't get too hung up on version numbers, they're just numbers and don't mean much. What matters more is that you're satisfied with your Anyma as it is.
I'd like to support SysEx-based loading/saving/renaming of patches some day, for the reasons you describe.
We don't plan to end support of old operating systems for now. In fact, I'm fiercely opposed to that due to the waste it generates, and I hope we'll be able to continue supporting old systems (Windows 7+, OS X 10.9+) as long as we realistically can.
Any detailed info about your crashes/restarts are very welcome (descriptions, videos, specific circumstances, any reproducible steps if possible; send to email@example.com and say they're for join). Our personal Anymas don't crash, and they can run for days without freezing in any way. If yours do, this is something we need to fix. As opposed to some other "reliable" bugs, these ones tend to be nasty because they don't appear reliably, every time you do a particular thing, so it's very difficult to observe them and find where they come from. Some aren't even software bugs, but hardware defects, which makes the problem even less trivial. Hence, the more data we get, the better the chance to catch them.
I want to upload @Broken-Gadget 's patches, how do I bulk import them into the editor? Drag and Drop would be great as well!
I made a start on them, then got distracted. I'll get back to it... However, I figure if it's not a problem to have the PC/Mac editor connected at the same time as the instrument or keyboard you want to try them with, it doesn't matter much because you can import one, try it briefly, then import another, and so on.
Again, could you please show the current version with a version number?
I've been thinking it should show the version number on the update download page. Otherwise, the only way to tell for certain if it's a new one is to download it and open the zip.
I've been wondering how we'll know when there's a new release, unless we haunt this forum regularly. I don't see any way to ask for a notification, or to get notified of new threads, for example in the "anyma phi general" sub forum.
4 I seem to have lost my great patch, although it was definitely shown as saved. What happened here? (Windows)
After finding the problem with renaming, and finding the workaround for that, I've been doing the same with each patch edit, to make sure I don't lose it. I don't know if that's needed, but it seems like the best bet:
Use File->Export, so you have a backup in a single patch file
Use File->Import, to import the same patch back again - because that's currently the only way I can be sure it's saved permanently on the synth.
The philosophy seems to be that changes are only saved from the front panel of the synth (with Shift+Right arrow), which personally, I don't think fits well with using a PC/Mac based editor. I'm not sure if there are other exceptions to that, but File->Import always works.
Basic is this : Sylphyo -> Link -> computer running Respiro (3 Respiro instances for this video) -> antelope orion 32+ outputs -> Girardin C206 mixing desk -> SSL SiX mixer -> monitors + Antelope DAW input
And there is also the Synthstrom deluge which is going to the Girardin on a separate track (at around 1:00) I turn it up on the console fader which goes to a separate bus on the C206 and back into the Antelope to DAW.
The whole thing is a a bit more convoluted actually but the essential idea is that I can grab the sound at multiple spots in the chain, either straight from Respiro, or right after the Girardin desk or after the SSL desk (with a choice of pre or post EQ / fader / G-bus compressor). This gives me quite a bit of flexibility and multiple points of redundancy as I can record all of these at the same time in case of overload or for some parallel processing. I could also add some of Antelope's rather good DSP effects and create some extra loops or something like that for even more processing... The possibilities are endless.
For live shows I've also done a few with a modular eurorack setup with a Midi to CV converter with a few modules and even once or twice a semi-modular synth with some live patching which was cool.
A wind controller in my opinion remains the most expressive way to control monophonic instruments (like Eurorack tends to be except when taken to some budgetary extremes...). Our friend Pedro Eustache also has a lot to say about that! Have a look here for a jam with Eric Persing and a full run-through of his rig (based on some of Ian Fritz's great work on synthesis theories as well as Martijn Zwartjes' cool SteamPipe software synth) https://youtu.be/t98BP-S7Ock
The patch-specific internal arpeggiator (the Arp parameter of the matrix that's currently unused) is the only feature missing before we can release a v1.0 firmware. We have no release date to offer, but it's in the high priority list.
Thanks. Good video, and both good patches. The Raspish Tenor is great.
I'm having to blow quite hard on my Yamaha WX5 to get the buzzy flute to sound, which makes me wonder if your WARBL has a different response. The WX5 is adjustable, but it's fiddly to do, so I leave it alone now I've got it mostly comfortable.
My monitor is only 1360x768, so I watch YouTube videos in 720p. I gather yours is much higher resolution. I was still able to follow it though, and I guess most people have more pixels than me. FWIW, the editor works fine at that lowish resolution, though it starts with the window a bit too big. I have to make it full screen, by double clicking the title bar, to make it fit. There's more scrolling of boxes to do, but I can still get to all of the controls, which are all a fairly reasonable size.
Here's a couple more patches. One is another variation on Clari1, using the EQ filter with the peak, making something between an alto and a tenor... maybe, so I've called it CMel1, for C melody sax.
The other started as an experiment to see if I could get playable bugle series overtones with the EQ filter, which I can, but don't have any way to take away the original sound to leave just those, so I scaled my ambitions back a bit. In the lower octave, it sounds a bit like a bowed cello or double bass, crossed with throat singing, with overtones chosen by blowing harder or softer.