View other reviews for this product:
Aerodrink « An exceptional machine for lovers of sound design »
Published on 08/04/13 at 05:26- 128-voice polyphony, 32 MIDI channels (2 sets of IN / OUT / THRU)
- 128 MB RAM max (we would have liked more, but the capacity for synthesis of the machine allows you to have great sounds occupying very little memory)
- (!) An internal digital mixer 12 Stereo with 6 inserts per bus and two departures to
- Plethora of inputs / outputs (analog converters with very hot and quality in digital ADAT, AES etc.).
- An impressive effects card (RFX-32), 2 for Shark DSP effects ... 32 bits!
- An array of brilliant sound design for modulation, with a very thorough and careful selection of sources / destinations
UTILIZATION
The EOS v4.7 is well thought out. Each main access (media edition presets, samples edition) has a dedicated button. This is the architecture of the RFX is a little complex to understand at first because it is so powerful.
Clearly, by reporting to Akai and USB ports, the interaction is more difficult with a computer (SCSI, not chummy with Windows 7 in particular). Personally I installed a compact flash drive instead of a floppy drive, and I have a CF of 32 gigabytes installed and recognized (and here I must say, this is the top).
The front keypad is a little older ("old") but you can connect a computer keyboard on the back of the machine.
Please note: there are 12 simultaneous MIDI controllers each assignable to a parameter of the sound (they are called Midi A, B Midi, Midi ... L) in addition to modulation, pedal, etc.. When you create a sound, you can assign each of the 12 controllers to a dedicated setting. The mapping of the continuous controller numbers and South A ... L is a global setting sampler, so that even if you change the master keyboard for example or no keyboard controller side, just make the setting in the E-Mu to find instantly control your sounds . Basically instead of assigning a No. controller directly to a parameter is assigned an alias (A Midi, Midi B, etc..). The idea is great.
SOUNDS
I would not say that the converters are transparent. A simple wav, listening via my RME Babyface does not sound like the E-Mu (even with it connected to the ADAT Babyface). It sounds right now a little bigger, a little warmer, a little thicker (but not too much, which is perfect).
The dynamics are excellent.
Filters are one of the strengths of all the E4 series. I have owned several Akai (including Z8) and this is the day and night. With the E-Mu filters are really fun to vary the cutoff and resonance (*), the result is musical, warm, pleasant. It's just exactly the opposite of Akai.
(*) May provide a rotary controller "step" that allows to slowly increase the values at a slow speed, to hear all the subtleties of the filters. FYI I use a Kenton Killamix Mini fulfills this role perfectly.
OVERALL OPINION
I got to the sampler after having generations of expanders hands. He really missed me being able to find the machine that allows me to import my own samples but also be able to have more:
- Really warm, musical filters
- A worthy internal synthesis of the name (Workstation type and I must say that the series of E4 on it frankly to top)
- Credible vraiments effects and have full power at the same time ^ ^
Platinum, as the whole series of E4 also is a machine not recommended for people who do not like to open a manual. It's a real creative Workstation and makes a hundredfold time spent on understanding it.
If you're the kind pressed, and / or you like to have everything on 1000 sounds in fingers, rather orient yourself to a good expander (Yamaha Motif-type).
If like me you're an obsessive hair (a little, nothing serious ^ ^), you like to work your own samples and sound thinking A to Z, Platinum will be your friend, perhaps even for life
I use Kontakt since v1.0, but nothing replaces in my opinion a good E-Mu. I probably would not say the same of Akai (poor filters unnecessary and ditto effects) while with Platinum was a complete machine, well thinking, powerful synthesis, stimulating creativity and inspiring in its musicality.
To return to the "versus software" when I kindle my sampler in 10 years, I'll find sounds that I made "custom" and with whom I enjoy playing immediately. I will not be trying to fight my bank to convert to the latest trendy sampler (even though it would still be possible).
- 128 MB RAM max (we would have liked more, but the capacity for synthesis of the machine allows you to have great sounds occupying very little memory)
- (!) An internal digital mixer 12 Stereo with 6 inserts per bus and two departures to
- Plethora of inputs / outputs (analog converters with very hot and quality in digital ADAT, AES etc.).
- An impressive effects card (RFX-32), 2 for Shark DSP effects ... 32 bits!
- An array of brilliant sound design for modulation, with a very thorough and careful selection of sources / destinations
UTILIZATION
The EOS v4.7 is well thought out. Each main access (media edition presets, samples edition) has a dedicated button. This is the architecture of the RFX is a little complex to understand at first because it is so powerful.
Clearly, by reporting to Akai and USB ports, the interaction is more difficult with a computer (SCSI, not chummy with Windows 7 in particular). Personally I installed a compact flash drive instead of a floppy drive, and I have a CF of 32 gigabytes installed and recognized (and here I must say, this is the top).
The front keypad is a little older ("old") but you can connect a computer keyboard on the back of the machine.
Please note: there are 12 simultaneous MIDI controllers each assignable to a parameter of the sound (they are called Midi A, B Midi, Midi ... L) in addition to modulation, pedal, etc.. When you create a sound, you can assign each of the 12 controllers to a dedicated setting. The mapping of the continuous controller numbers and South A ... L is a global setting sampler, so that even if you change the master keyboard for example or no keyboard controller side, just make the setting in the E-Mu to find instantly control your sounds . Basically instead of assigning a No. controller directly to a parameter is assigned an alias (A Midi, Midi B, etc..). The idea is great.
SOUNDS
I would not say that the converters are transparent. A simple wav, listening via my RME Babyface does not sound like the E-Mu (even with it connected to the ADAT Babyface). It sounds right now a little bigger, a little warmer, a little thicker (but not too much, which is perfect).
The dynamics are excellent.
Filters are one of the strengths of all the E4 series. I have owned several Akai (including Z8) and this is the day and night. With the E-Mu filters are really fun to vary the cutoff and resonance (*), the result is musical, warm, pleasant. It's just exactly the opposite of Akai.
(*) May provide a rotary controller "step" that allows to slowly increase the values at a slow speed, to hear all the subtleties of the filters. FYI I use a Kenton Killamix Mini fulfills this role perfectly.
OVERALL OPINION
I got to the sampler after having generations of expanders hands. He really missed me being able to find the machine that allows me to import my own samples but also be able to have more:
- Really warm, musical filters
- A worthy internal synthesis of the name (Workstation type and I must say that the series of E4 on it frankly to top)
- Credible vraiments effects and have full power at the same time ^ ^
Platinum, as the whole series of E4 also is a machine not recommended for people who do not like to open a manual. It's a real creative Workstation and makes a hundredfold time spent on understanding it.
If you're the kind pressed, and / or you like to have everything on 1000 sounds in fingers, rather orient yourself to a good expander (Yamaha Motif-type).
If like me you're an obsessive hair (a little, nothing serious ^ ^), you like to work your own samples and sound thinking A to Z, Platinum will be your friend, perhaps even for life
I use Kontakt since v1.0, but nothing replaces in my opinion a good E-Mu. I probably would not say the same of Akai (poor filters unnecessary and ditto effects) while with Platinum was a complete machine, well thinking, powerful synthesis, stimulating creativity and inspiring in its musicality.
To return to the "versus software" when I kindle my sampler in 10 years, I'll find sounds that I made "custom" and with whom I enjoy playing immediately. I will not be trying to fight my bank to convert to the latest trendy sampler (even though it would still be possible).