Hi Diki.
I'd be fascinated to hear some of the country Karma stuff, James (and any other 'real-world' examples). A bit of basic demonstration (leave off the right hand altogether unless it triggers Karma's actions, perhaps?) showing the potential for variation that does mimic what REAL players do. I'm sure you didn't QUITE mean that first sentence, as I'm sure you understand that, although the arranger's performance might be locked down, exceptional care was taken in its' creation to be VERY accurate idiomatically to what a real player would play.
Easier said than done. I'm not setup to record video and proper sound right now. It would take me an hours work between the setup and then merging the video with the sound afterwards.
It's a lot to do in order to demonstrate sometime I know KARMA already does.
What several of us are asking, I think, is just exactly HOW do you create rules for Karma that ensure that what IT generates past the basic pattern input in the first place (which can be as real as arranger patterns - often made on MIDI guitars, drum kits, etc.) is still idiomatic to the instrument it emulates..? Can you restrict it to only certain voicings that are guitar accurate? Can you restrict the drums to only play what is humanly possible?
OK, lets look at it in a simplified way.
You have your Style on KARMA and that's connected to a bunch of KARMA Sliders and on screen settings. While all these KARMA settings are set to 0 the style will play back exactly like a style on an arranger keyboard.
However, if you start to increase any of those value, the KARMA effect your modifying is allowed access tot he Style playing and it in turn start to make it produce new notes.
Here's an example..... You have a style playing back with all the KARMA settings at 0, and then at the press of a button you move onto the next KARMA Scene that has the exact same settings as the previous one, only the Note Repeat value has changed from 0 to 10.
At this point your now hearing a variation of the same Style as KARMA has been allowed to add to and modify a percentage of the original notes.
You obviously have quite a bit of experience with it... do you find yourself making Karma the main base of a composition if you are trying for a real-world sound, or do you still find yourself reaching for the PA2X when you want to lay something down?
I would be one of many totally converted over to KARMA at this point. So much so that it worries me to see that KORG haven't reversed a dump truck up to Stephen Kays house full of money and a contract that gives them exclusive rights to the technology.
How do you consider the differences, weaknesses and strengths, beteen arranger use and Karma?
Right now KARMA is only found an workstations so the content (GE's) it comes with, the layout and functions all operate in a way suitable for Workstation users work flow. So obviously that's something that would need to be addressed if it was to come to Arrangers.
If that happened, then there would be no weaknesses because arrangers can only do a small fraction of what KARMA already does.
Imagine.... some guy buys a PA3X with KARMA on-board but he lacks all ability to program the keyboard or write his own styles. Now with KARMA he can take a style he likes and by moving a few sliders he can create an entirely new style. How difficult does that sound.
The on the other hand, some programming freak could get lost in KARMA for weeks and surface with a huge smile on his face. So it can be both complex, and also as simple as it gets.
Regards
James
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