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@@juno6 what's nice? 😅

@@MrCaliforniaD I like how destroys the sample. But the S612 is like clear and punchy.

@@maxseifarth9512 I've just cut a trace from the power and bridged it with a N.C. switch.

It was probably me

Hand it over

Timestretching is impossible in realtime.

@@DaveWhiting01 Depends what you mean by real time. It's at least theoretically possible for a time stretch to *start* in real time and then gradually go out of sync with real time because it's being stretched, essentially acting as a delay that just gets longer and longer. The opposite, however... Speeding up in real time (without starting with a delay) is impossible, because the input would fall behind the output, and there is no output without input, so you'd just end up with silence. ...Or do you mean specifically with this machine?

no realtime, only sampling (which has to then be encoded onboard to use the time/formant/pitch controls but you can tweak those in realtime with the 3 big orange knobs real time pitch shifting can be done with a Drolo Stretch Weaver pedal

@@Heathcliff_hensel what do you mean? Have you compared both?

@@MrCaliforniaD the V-Synth is like a super deluxe version of the VP-9000 with a keyboard and a touchscreen.

@@Heathcliff_hensel The V-Synth XT is the rackmount version of a V-Synth GT keyboard which ironically came out before the GT. The V-synth IS insane!

I came to say this!

It's 12am here and it was kinda hard not to burst out laughing when reading this 🤣🤣

first thing I thought of ... first comment I read ... lol !

LMFAO

Lol! You need to add whale juice and road kill to have it make sense.

good luck finding one

Heihachi unreleased ambient works vol 1

Yeah. They were intended as loopers to flesh out stuff doing mixing. This goes super far back to the establishment of the music industry. Noises and atonal things are not writing and no one wants the engineer to ever have writing credit like how producers can get that. Therefore, your guitar player friend was probably just told that it's a way to finish songs and you need them to finish your music. If your guitar sounded thin, this could loop a section, you could mess it up and put it in as a layer to bridge the rhythm section with your guitar. He'd buy three because he didn't bounce things down and he'd just like them running at the same time. That makes total sense actually. If he didn't wanna sell them, he was probably just doubling down on thinking it was a way to finish songs.

@@wesleywild-s9x It's special, because it would be soooo nice with today's technology. I'll try to make a full video soon where I explain what it does and how bad it does some on the things.

@@evilrainbow it's actually pretty bad at that. The loops are clicky in most case even if the loop point was fine before the encoding. Still I'll try to show something more classic soon.

@@MrCaliforniaD oh no. I'm... morbidly excited to see that?

why is this comment so negative?

@@MrCaliforniaD dang, that's kind of disappointing given I just saw (on Hainbach's channel) there was a French company called Publison in the late-70s which did an effects-processor/sample-looper/mangler and they had a method to ensure zero-crossings so no pops (or just "glitches" as they called them) in the loops. The actual effects sounded clearly rudimentary digital, but the loops were really clean. So it's a shame Roland couldn't get a similar loop method in the 80s.