moog etherwave -good instrument?

[i]
Anybody out there wanna cyber?[/i]

Only if you pretend to be an underage catholic school girl in a pleated skirt

HOORAY! HERE COME THE FEDS! =D =D =D

cool get hep daddyo !
OK not quite got this compuspeak.

Actually Rob Schwimmer told me he prefers the standard etherwave because it is logarythmic scalewise whereas the Pro was linear. He was used to logarythmic thru other instruments eg violin etc.

I find I swap from 1 to the other easily enough. These days it's my ears that do the playing (almost).

Beat me daddy - eight to the bar.
damn - still not with it.

I found the logarithmicness to be pretty obvious, yes - I didn't realise the Pro was linear though, I'd really like to give that go now.

If you want me to give you 8 beats with a bar, call me daddy one more time.

Dang - maybe that's why the ePro I had a quick try on a while ago didn't do what I expected.

Now I get why it has a whole bunch of coils - or so I'm told - it's straightening out the curve. I don't know sufficient about coils to know how, but that's ok. So the ePro isn't strictly linear, but it's a lot closer that the etherwave - which does get compressed around the highest pitches, and rather stretched out around the bass.

I'm curious - did it take long to adjust to the ePro after the etherwave? Or did you just find that playing was the same and you had a larger range of usable pitches?

Also - do the coils affect the playability in other ways - do they introduce any latency?

By the way, adjusting the pitch range of the Standard to include just the high pitches is underrated. With the compression relaxed, it's just beautiful.

Thank you. I just tried and you are quite right. I anticipate using that. It's good.

Also it works very nicely with a straight octave down from my ps2 pitch shifter - a pleasantly soft tone somewhere between a dusty 78 opera singer and a whistling kettle and long glisses get a little pulse to them as if slightly quantised - not completely stylophoney but pointing in that direction.

I really didnt have a problem changing between etherwave standard and pro. In fact I often go out live with the standard on small gigs and have the Pro set up to play in the studio.

I guess the linearness of the pro is another reason (apart from convenience) for the 3 way octave switch.

Thanks.

I think I'm starting to get it. Alex's tip of making the pitch field bigger to stretch out the high notes does make the etherwave apparently more linear. Until you take a step or two backwards to find the low notes. My word they are far apart. It's not so much aerial fingering as doing the Hokey Cokey. When the warm weather comes I'll be taking my instrument out into the garden to escape the various lumps of ballast that adorn my studio - washing machine, fridge freezer, cooker, well I [i]call[/i] it my studio - to find out just how big it can get.

So that's how they get the linearity on the ePro - darned big pitch field - which as Chris notes would explain the need for an octave switch. And also the crosstalk between ePros at a great distance.

The Standard's field is BIG. Certainly difficult to ascertain just how big, though.

Crosstalk, yeah. Dorit and I had to set up really far apart in Bristol as hers was just screaming its head off.