Hi Rainer,

schrieb:

> Some remarks/questions:
> 1. Where have all the Aftertouch destinations gone? In fact, I miss
> quite a lot of modulation destinations. I think being able to modulate
> the 3P really makes it an expressive synth.

The central question is: in which direction should the Kiwi3P go? Who is
target group that Murray wants to reach with the 3P upgrade?


Should it become another Matrix-1000 (and like a lot of other synths)
for sound tinkerers?
Or should it keep its base character as fast live synth with some
features, that are not available at any other synth in the world?


No need to say, that I even could live with the original Roland sound
creation part under MIDI control as I have it already in the Organix
expansion.
If I'd need a sound tinkerer synth I'd buy a Matrix1000 or a used Nord
Modular or a ESQ1. Those are cheaper than a JX3P with the PE or PG200!
The additional sound parameters make the JX-3P being one in a list of
hundred others, may be a little more up in the ranking list, but still
hundred others.


For the Kiwi3P I am totally excited about the sequencer, arpeggiator,
patternmode, chordmemory, the assign modes and the new hold function.
These are the features, which makes the Kiwi3P unique. If you want to
have this, you must by a Kiwi3P - no other choice. That is where to my
opinion the sales will come from.

> 2. Can you switch LFO Rate and LFO Delay in the Excel sheet, so the
> Delay comes first?

of course it could be done, but I like the major parameters first and
then the subsidiary parameters.

> 3. Will the Patterns be global?
> 4. If the Patterns are global, I doubt that it will work in practice to
> store the Pattern Number with a patch ("VCA\Pattern number"), as you
> will never know which patches a pattern has been assigned to.

I suggested originally only a single pattern (similar as we have only a
single sequence). But Murray liked the idea of having several and relat
them to patches.

I personally would not(!) relate the patterns to patches, as I develop a
sequence or a pattern and then I am searching for a sound. So a fixed
relation between the pattern and the patch is not wanted in my eyes.

And btw: I use a Boss SL20 with my JX-3P which has around 60 slicer
patterns. Funny enough it took around two weeks to know all the
patterns. I don't think it is a problem, to remember the patterns.

> 5. I am actually not that happy with the current way the modulation
> depth of f.e. the Modwheel is implemented. It would be super if every
> "modulation source-destination combination" could have its own Depth
> control, like Modwheel VCF ENV Depth (-63 to +64), Modwheel DCO ENV
> Depth (-63 to +64). If there's enough parameters to store, a setting of
> 0-127 per combination and "Polarity" (direction) switch might be even
> nicer.

Yes, that is what I would prefer too. As you see, I already planned it
for the velocity that way (this is because I can play piano, so velocity
is much more important to me than the modwheel).

> I think a modulation matrix would be a better solution then though.

Modulation matrices have the big problem that they are very theoretical,
and not very handy in the actual situation (if you ever tried to make
live sound with a Waldorf Microwave, then you know what I am talking about).

> 6. In the explanation in the first msg in this thread you refer to "07
> Voice Detune Mode" but in the sheet 7. is "Arpeggio Mode".
> 7. I miss the Voice Detune Depth

You are right. The excel sheet and the description are different versions.

> Some small corrections:
> VCF\Keyboard -> VCF\Pitch Follow (or "Keyboard tracking" if you like)

The PE says "key" ;-)

> So I hope that Murray doesn't feel completely overwhelmed by all these
> suggestions...

:-) I asked him about that, before I posted the list here too, and he
said he would not mind...