CRUMAR DMC-122: some anticipation

Written by Enrico Cosimi on February 11, 2014. Posted in Events, Gear

A pleasant afternoon at Quarto d'altino, with Guido Scognamiglio and Andrea Agnoletto

(respectively, CRUMAR software and hardware) and a more pleasant evening with Max and his

Temple The Theachers, characterized the presentation (for press and friends) of different novelty

badged CRUMAR and GSI; among these, the new DMC-122 master keyboard it will bring surely new topics for discussion all italica among which is the right way to find the perfect clone.

By Enrico Cosimi

We suffered from the DMC-122, which-again- it is the only new CRUMAR-GSI, but for sure is

that visually more impressive. It is a Dual MIDI controllers to 61 + 61 note (hence the acronym

...) with waterfall keys and included natively set controls for managing virtual tonewheel organ

cloning, but (finally) ri-ri-programmable be characterised for managing any virtual synth, single

or double, which is to go to the vicinity.

Thanks to the 16 x 3 display, you can proceed with programming in complete independence; all

parameters of the edge, the drawbar, potentiometers, switches, the two wheel mod and pitch, the

connections on the back panel all, leisure ...-can be configured to handle SysEx, MIDI NRPN, CC etc. In this way, two-way dialogue takes place (three MIDI Out and a USB port configurable)

between the two manuals waterfall (with Dynamics and channel aftertouch) and the outside

world.

The construction is made of metal with side panels and terminal blocks brushed aluminum

(Jupiter 8 Virus TI2, the echoes are pleasant ...) and wooden pillows color Marc (the photo

makes it little justice) that facilitate transport and characterize the object. Lava red Display with

red characters.

But, the most interesting thing is the presence the rear panel a slot provisioned to the housing of the future tabs sound generation produced by CRUMAR GSI; We speak, of course, a elettrofonico clone (with technology still to choose between X66, FPGA or DSP), a stamp card

"stage alternative keyboard" (Vox, Farfisa, Rhodes, etc.), a "generic" synthesis and many other

possibilities. If to this we add the base price of the DMC-122 (widely below 1000 euro) and the

expected price for each card (even a few hundred euro), it becomes very interesting for the

musician.

VB3 II

Also the software has not been stopped and, now, the version II of the synthesis engine GSI (one

step away from being available stand-alone), the adjustments of Matching Transformer, for use

at the discretion of the user levels of nine harmonics in fact, completely reconfiguring the timbre of the instrument. In addition, has been enhanced editing entries relating to rotary speaker

simulation, today particularly convincing as much about mic classic, the most extreme positions,

rude and aggressive of the best vintage rock; also the allocation of virtual generators grew, with

new additions to the library.

Mojo Editor

One of the biggest hassles with earlier versions Mojo, was the need to connect to your inner X66

to clone video LCD monitor on which to browse for changing parameters; Alternatively, it was

always possible to reel with Panel selectors but always flying blindly ... provided that, especially

in the excitement of "live pre" could lead to dangerous results. Today, GSI has placed at the

disposal of the musicians, a small hardware Editor which can be connected to USB Mojo and,

with two buttons, a display 16 3 and an encoder/switch, allows all but every timbre editing

operations provided for in VB3 II engine. The scatolicchio little larger than a regulation thermostat -you still with strip snap the keyboard dashboard, keeping content dimensions and

wide accessibility.

News interesting and relaxed. Not bad!