Hi All,
Tony, I totally agree that we should pick each others brains on this topic. After all, there's quite a few of us now with the Fantom, and I think it would benefit us all, if we all shared our thoughts, likes and dislikes about it. Mind you I feel a bit of a "fraud" since I'm not using it all for theatre sounds, but having said that, I'm getting into the editing of sounds, which is really easy and can make a huge difference, and that might prove useful for others that may be unfamiliar with the Fantom's layout.
Your query re touch sensitivity - there is no 'on/off' touch for the whole thing, you have to set each part individualy. Don't fret though, this is actually a bonus once you get used to it. I know what you are saying about the strings....some of them can be...er...not too good, but some are excellent. Don't know how much you have tried to dabble with the internal sounds, but even if you think some sounds aren't great, it's surprising what a bit of tweaking can acheive. For instance, I don't know about anyone else, but I think the saxes are pretty poor... but if you take, say, PRC 045 Solo Alto Sax, it's not too bad....but the touch is a tad fierce and the sound quite soft and mellow. If (in performance mode) you go to the 'velo' (velocity offset) and take it back to -12, skip back a few pages to the 'cut', 'res' (filters) page and increase them to, say +20/25, the result :- not only can you hear the difference, you can feel the whole dynamics of the sound changing. I've found many of the sounds are quite extreme on the initial/aftertouch compared to what I'm used to, but, I'm trying to persevere with getting to grips with it as many of these samples are like the Yamaha's 'Super Articulated' voices... in other words, if you lighten the touch up too much, it can spoil it. Having said that, it took me a week to get to grips with the touch on one of the acoustic guitars!!! Rome wasn't built in a day....
I've also fitted the SRX 'orchestral' and 'world' expansion boards to mine which has given it a huge boost, but I wouldn't urge anyone to purchase these unless you are obsessive about Orchestral sounds. My husband nearly choked at the dinner table one night as I casually metioned I'd ordered them, and they were costing £225 EACH!!!! Thankfully, he now agrees that they were, indeed worth the money (Phew!), but for someone like Keith that has some excellent sounds on the AT 60, I don't know if I would recommend adding any expansion boards.
To update you all re the expression problem :- the Roland chap is investigating it, and if he gets no solution from Roland UK, he will try Roland Japan and/or Italy. This may take a while though, and if any of you are "champing at the bit" to get it resolved, the quickest solution may just be to get the box....
Keith, I don't want you to feel left out here with us chatting about Reg Rawlings. I don't know if you have previously made contact with him? I'm just wondering what is the easiest solution for you to get the box if you do decide you want to get it?
Tony, what do you think? Would Keith be best to contact Reg like the rest of us, or would he be better trying to source the box in New Zealand? You know more about the ins and outs of how to purchase it than me :-)
I'll be back again to pick your brains to see if I could program the box to do pitch bend :-)
I think that's enough of me droning on for now though.....
Regards All,
Nicola
