#Solton ms styles free registration

The voice, registration and programme bank selection keypad is in the upper rightвЂ‘hand corner. To the right can be found all primary drive access settings, along with the remaining arrangement pads.

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To the left of the display are the inevitable Page and Value increment/decrement buttons, along with most of the style and editing controls.Д«elow centre you'll find the StyleвЂ‘Select keypad, Stop/Start buttons, tempo adjustment, arrangement plus master volume slider, and the individual Parts Level buttons. Grouped around the display are the eight main function buttons which control all the primary status menus and subвЂ‘menus. All the control pads are made of a rubberвЂ‘type material which is both comfortable and responsive. I happen to be a big fan of buttons, and the MS40 has 111 of them, along with 62 LEDs. I personally found it of particular benefit for memorising session work configurations and panel settings. For live gigs, this would be very useful indeed. Almost every panel parameter can be recorded as a setup file into any one of 64 memories and saved to disk in a special userвЂ‘named file. Another innovative feature is accessed by pressing a dedicated button entitled 'Registration'. There is also a 'realвЂ‘time' on/off for each section, along with provisions for a userвЂ‘defined drum set utilising any of the 192 highвЂ‘quality percussion sounds included. The drum section has seven distinct parts, all of which have separate controls for volume, reverb and pan. There's even a floating keyboard splitвЂ‘point option that, once again, can be saved to disk. Duet provides alternating voices, while Trio changes in groups of three. In other words, one finger down, one voice, the next finger gives another voice, and so on. What you have here is the ability to set up voices so that harmonisation effects are possible. The Duet and Trio functions are quite a neat little addition, reminding me of my old CZ101. With this option engaged, you can assign your choice of voices dynamically, allowing you to trigger different sounds the harder you play. Dynamically controlled velocity switching, which works in conjunction with a variable threshold, is also provided. All three provide fourвЂ‘voice splits or layers with separate volume, pan, detune, octave shift, sustain, reverb and chorus/Leslie rotor control for each voice selected.

Similar to what other units often term as Combinations, this function allows for 128 user programs with three selectable modes: Patch, Duet, and Trio. One very welcome feature is Program Mode. Almost all user parameters can be saved to disk. No description of the synthesis method is provided, but the instrument obviously employs a sampleвЂ‘based synthesis system of some kind, and the overall sound quality is very clean.

The 256 'MultiвЂ‘Synthesis' voicings are arranged into two banks and boast 28вЂ‘note polyphony.

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Portamento, portamento speed, a global transposer function, octave down function, keyboard split, a special userвЂ‘configurable scale section called Arabic scale, and the full chord facilities are also included. There are four dynamic curves, with aftertouch assignable to modulation, pitch and volume. Available sound editing parameters comprise: DCA and DCF (attack/decay/release) CutвЂ‘Off Resonance LFO Rate, Depth, Delay Aftertouch Reverb and Chorus. The MS40 is also a 'real' synthesizer in that sounds can be edited, albeit in a slightly limited way. Looking at the sound generating capabilities first, there are 256 PCM/algorithm voices plus 192 percussion sounds spread over 12 drum sets (including one user drum set).

The MS40 sound module under review offers an 'instant gratification' Style generator/creator, scads of wonderful sounds (even the usually mundane GM set is worthy of attention), a generous backlit 40x2 display, basic MIDI recording, and an integral DSDD disk drive. Keyboards and modules with builtвЂ‘in autoвЂ‘accompaniments have always been treated as a bit of a joke by serious musicians, but are those attitudes now out of date? Ketron Lab have been making musical instruments for many years, mainly for the home and cabaret markets, but with the introduction of the MS series, they may have come up with a line deserving of a wider audience. Michael Anthony plays Orpheus in the underworld of home keyboards in an attempt to discover what level of technology lies beneath their distinctly untrendy exteriors.