1. I only really wanted the top 8 encoders.
2. It felt so cheap, I was always worried about breaking the knobs live.
I guess you can see why I'm so excited by the Kenton.
itook4lefts wrote:@Tarekith - what's the problem with the build of the recent bitstreams? any links? cheers.
I know that Live 6 renders this somewhat academic, but really, not everybody is using 6 yet and it would be a neato feature. Plus, you could DYNAMICALLY assign multiple CC messages to the knobs this way, with Live 6 you have to hit midi learn and enter a different mode to change midi mappings. Dynamic CC message (including multiple CCs) is much easier in a performance.M. Bréqs wrote:Reference suggestions for the Killamix Mini prototype; I would recommend that the prototype's 9 buttons not be "radio" style buttons - that is, more than one should be able to be active at the same time.
There should be an option to have each button activate a bank of 9 CC messages (1 for each knob). Thus, with the touch of a button, you could activate 9 new CC messages to be output. However, with more than one button pressed at the same time, the unit should be able to select more than one bank of CC messages at the same time. That is, with two buttons pressed, each knob should transmit two CC messages as it is turned, each scaling to the last known value (or perhaps a hookup mode).
This would be useful for assigning each knob a different function in a single channel strip - for instance, the 9 knobs could be for 4 eqs, 3 send effects, 1 pan and 1 volume. Then, with two buttons pressed, you could adjust the pan of two channels simultaneously. With three, you could adjust the send value for three channels to the same send effect.
Lastly, you should be able to set the polarity of each knob as positive or negative, individually for each bank - that is, it would be wonderful to press two buttons (activating two banks), and have one knob diminish a parameter of one channel at the same time raising a parameter on the other. DJs would find this quite useful for low cut EQs. Producers could find this quite useful for recording mixer movements within applications such as Ableton Live, where the relative movement of multiple parameters occurs at exactly the same time in the arrangement.