ID: 18041
Supermax uitbreidingskaart voor Yamaha DX7 (mk1)
€75,00
Geen aanbiedingen geplaatst
Omschrijving
Uitbreidingskaart voor de Yamaha DX7 (mk1) synthesizer met waanzinnige mogelijkheden.
Specificaties:
- 512 geheugens voor geluiden en instellingen, geen dure geheugen cardridges meer nodig
- 64 preset geluiden
- Zeer uitgebreide arpegiator, 32 presets
- Delay, 10 - 9.930 ms
- Geluiden stapelen, 8x2, 5x3 of 4x4
- Sound creator, creeer je eigen geluiden door 2 geluiden eindeloos te combineren
- Rolling mode, 4 geluiden per patch
- Velocity switching
En nog veel meer.
GETEST, eenvoudig in te bouwen. Met handleiding en instructies voor het inbouwen. Solderen is niet nodig. Wordt verzonden in ESD veilige verpakking.
- Mark Vail, Keyboard Magazine, May 1988
The Super Max circuit board replaces three of the DX7's ICs. Installation is relatively easy; you probably can do it yourself. Only the pin inserts hold Super Max in place; no screws are required, though if your DX7 gets thrown around too much, you may be concerned about it staying where it
belongs.
Super Max is shipped with 64 patches, many of which are pretty outstanding. And the arpeggiator is an absolute killer-just about the best we've ever seen. What's that? You say you don't have any use for an
arpeggiator? When you hear Super Max, you might change your mind. Alain Seghir, the inventor of Super Max, has provided lots of types of control over the arpeggiation. And this isn't just a single arpeggiator; there are actually 32 separately programmable arpeggiators living inside the machine. Each patch contains an arpeggiator number as one of its parameters. What this means is that you must keep at least one arpeggiator switched off, or all of your patches will arpeggiate.
Arpeggiator modes include up, down, up and down, forward assign, backward assign, random, and off. The assign modes are based on the order in which you depress the DX7's keys. Changing the mode
works in real-time, so you don't have to restrike the keyboard to engage the new mode. You can latch the arpeggiator so that the last notes you play are held, or so that new notes will be memorized. Super Max's memory limit is 64 notes, a familiar number to computer fanatics. (Several people ran screaming from our end of the office before this test was completed.)
Velocity of individual notes in an arpeggio can be played (depends on how hard you hit the notes), fixed (no variation in the velocity), random (varies over a medium range), or random+ (varies over the entire velocity range). You can choose the number of repeats (up to seven) for each note, or the arpeggiated notes can be transposed by steps of up to a full octave, with up to seven transposed steps. Note values are half, quarter, eighth, or sixteenth. Tempo va1ues range from 40 to 240 beats-perminute. Super Max's arpeggiator can sync to an external MIDI device, and the incoming MIDI clock can be multiplied or divided by 2 or 4. The arpeggiator can send MIDI note events out to external instruments, and you can limit it to a specific zone on the keyboard.
Super Max allows you to stack a DX7 patch in modes of 8x2, 5x3, or 44. Each of the three extra voices can feature its own volume (0 to 3), coarse tuning (-24 to +24 semitones), and fine tuning (0 to .99 of a semitone).
Super Max provides some interesting delay functions. Delay time ranges from lo to 9,930 milliseconds, delay volume ranges from 0 to three, and feedback ranges from 0 to 15. You can have each repetition micro-transposed by 1 to 50 cents, or by semitones from 1 to 12. Delayed note can be sent through MIDI, but the external instrument will only play the first delay, not the original note(s) or later repetitions. Super Max also has a delay hold feature, but instead of working like the hold on a digital delay, anything you play when hold is on will repeat until you turn hold off or play and hold as many notes as are available (16 with no stacking, eight with 8x2, five with 50, or four in 4x4). The delay clock slows down, unfortunately, as you add more notes. With hold on, MIDI sends all delayed notes to the external instrument. We often got stuck notes on the second synthesizer when we turned the hold feature off. Caution: If you make changes to the delay parameters while playing, you'll get some pretty
nasty noises.
Global microtonal tuning is featured by Super Max, but it's pretty tedious to work with. Coarse tuning for each note ranges from 0 to 127 (whole values), while fine tuning ranges from 0 to 99/100s of a
semitone. Four temperaments are stored internally. The fine-tuning parameters are probably not as easy to edit as they could be, and there's no compiler to offset notes in each octave or to set up microtonal equal temperaments (both of which are provided by E! for the DX7). If you're interested in working in microtonal scales with Super Max. have your tuning scales and frequency counter ready, and be prepared to spend lots
of time figuring this stuff out.
Super Max allows you to assign up to four different patches from the current bank for cross-switching effects. These patches are affected by the stack settings. Changing between patches can be by rotation, randomly, or by using the pitch-bend or modulation wheels. This effect really isn't crossfading, but cross-switching. Neither wheel smoothly fades from one patch to the next; as a matter of fact, you must retrigger each note while moving a wheel to get the change. The patches aren't allocated to equal portions of the wheels, either.
You can cross-switch between two patches using velocity. A balancing scale of 1 to 7 allows you to adjust the velocity point at which the switch occurs.
The Sound Creator function allows you to choose two patches and get 126 variations based on the two by moving the modulation wheel forward. A random feature will select parameters from two patches to create a new patch; each time you play a note, a new patch will be created. Using the pitch-bend wheel, you can cross-fade between the first patch and a second by pushing the wheel forward, or between the first patch and a third by pulling it back. You can save any patch created by one of these methods; just make sure that the wheel stays in the same place or, in using the random function, don't play a new key until you've saved your patch.
Specificaties:
- 512 geheugens voor geluiden en instellingen, geen dure geheugen cardridges meer nodig
- 64 preset geluiden
- Zeer uitgebreide arpegiator, 32 presets
- Delay, 10 - 9.930 ms
- Geluiden stapelen, 8x2, 5x3 of 4x4
- Sound creator, creeer je eigen geluiden door 2 geluiden eindeloos te combineren
- Rolling mode, 4 geluiden per patch
- Velocity switching
En nog veel meer.
GETEST, eenvoudig in te bouwen. Met handleiding en instructies voor het inbouwen. Solderen is niet nodig. Wordt verzonden in ESD veilige verpakking.
- Mark Vail, Keyboard Magazine, May 1988
The Super Max circuit board replaces three of the DX7's ICs. Installation is relatively easy; you probably can do it yourself. Only the pin inserts hold Super Max in place; no screws are required, though if your DX7 gets thrown around too much, you may be concerned about it staying where it
belongs.
Super Max is shipped with 64 patches, many of which are pretty outstanding. And the arpeggiator is an absolute killer-just about the best we've ever seen. What's that? You say you don't have any use for an
arpeggiator? When you hear Super Max, you might change your mind. Alain Seghir, the inventor of Super Max, has provided lots of types of control over the arpeggiation. And this isn't just a single arpeggiator; there are actually 32 separately programmable arpeggiators living inside the machine. Each patch contains an arpeggiator number as one of its parameters. What this means is that you must keep at least one arpeggiator switched off, or all of your patches will arpeggiate.
Arpeggiator modes include up, down, up and down, forward assign, backward assign, random, and off. The assign modes are based on the order in which you depress the DX7's keys. Changing the mode
works in real-time, so you don't have to restrike the keyboard to engage the new mode. You can latch the arpeggiator so that the last notes you play are held, or so that new notes will be memorized. Super Max's memory limit is 64 notes, a familiar number to computer fanatics. (Several people ran screaming from our end of the office before this test was completed.)
Velocity of individual notes in an arpeggio can be played (depends on how hard you hit the notes), fixed (no variation in the velocity), random (varies over a medium range), or random+ (varies over the entire velocity range). You can choose the number of repeats (up to seven) for each note, or the arpeggiated notes can be transposed by steps of up to a full octave, with up to seven transposed steps. Note values are half, quarter, eighth, or sixteenth. Tempo va1ues range from 40 to 240 beats-perminute. Super Max's arpeggiator can sync to an external MIDI device, and the incoming MIDI clock can be multiplied or divided by 2 or 4. The arpeggiator can send MIDI note events out to external instruments, and you can limit it to a specific zone on the keyboard.
Super Max allows you to stack a DX7 patch in modes of 8x2, 5x3, or 44. Each of the three extra voices can feature its own volume (0 to 3), coarse tuning (-24 to +24 semitones), and fine tuning (0 to .99 of a semitone).
Super Max provides some interesting delay functions. Delay time ranges from lo to 9,930 milliseconds, delay volume ranges from 0 to three, and feedback ranges from 0 to 15. You can have each repetition micro-transposed by 1 to 50 cents, or by semitones from 1 to 12. Delayed note can be sent through MIDI, but the external instrument will only play the first delay, not the original note(s) or later repetitions. Super Max also has a delay hold feature, but instead of working like the hold on a digital delay, anything you play when hold is on will repeat until you turn hold off or play and hold as many notes as are available (16 with no stacking, eight with 8x2, five with 50, or four in 4x4). The delay clock slows down, unfortunately, as you add more notes. With hold on, MIDI sends all delayed notes to the external instrument. We often got stuck notes on the second synthesizer when we turned the hold feature off. Caution: If you make changes to the delay parameters while playing, you'll get some pretty
nasty noises.
Global microtonal tuning is featured by Super Max, but it's pretty tedious to work with. Coarse tuning for each note ranges from 0 to 127 (whole values), while fine tuning ranges from 0 to 99/100s of a
semitone. Four temperaments are stored internally. The fine-tuning parameters are probably not as easy to edit as they could be, and there's no compiler to offset notes in each octave or to set up microtonal equal temperaments (both of which are provided by E! for the DX7). If you're interested in working in microtonal scales with Super Max. have your tuning scales and frequency counter ready, and be prepared to spend lots
of time figuring this stuff out.
Super Max allows you to assign up to four different patches from the current bank for cross-switching effects. These patches are affected by the stack settings. Changing between patches can be by rotation, randomly, or by using the pitch-bend or modulation wheels. This effect really isn't crossfading, but cross-switching. Neither wheel smoothly fades from one patch to the next; as a matter of fact, you must retrigger each note while moving a wheel to get the change. The patches aren't allocated to equal portions of the wheels, either.
You can cross-switch between two patches using velocity. A balancing scale of 1 to 7 allows you to adjust the velocity point at which the switch occurs.
The Sound Creator function allows you to choose two patches and get 126 variations based on the two by moving the modulation wheel forward. A random feature will select parameters from two patches to create a new patch; each time you play a note, a new patch will be created. Using the pitch-bend wheel, you can cross-fade between the first patch and a second by pushing the wheel forward, or between the first patch and a third by pulling it back. You can save any patch created by one of these methods; just make sure that the wheel stays in the same place or, in using the random function, don't play a new key until you've saved your patch.