Can you expand on this please.Skijumptoes wrote:Well, i would even go further to say that a bigger deal is voice polyphony being saved, i.e. in that you don't need to Mute parts anymore using this method if you wanted to multi-select in multiples of 2 or more.stevel wrote:The big deal here is the Keyboard Groups - before, if you wanted an effected version of a sound and an unaffected version of the same sound, along with other multiple instruments, you had to use two studio sets or two versions (one with FA, one not) in the same studio set.Seamlessly Switching Between Multiple Sounds While Performing (Sound Remain)
Muting via the sample pads would be the only option for this, and of course muting still takes up voice polyphony in the background on the muted parts.
Keyboard groups mean that only the parts selected will be processed by the FA. Which is a huge bonus.
I'm not sure how muting uses polyphony.
If a part has the keyboard switch on, but is muted, it makes no sound, so I wouldn't think the engine is using up polyphony.
Is it the same if the keyboard switch is on for a part, but the volume is at zero?
This actually may be why the 4 parts I was using were running out of polyphony at what I felt was a much earlier point than they should - because I have those 4 (2 parts layered on the bottom, 2 parts layered on the top) all "On" with the switch, but I also have 3 more parts with the switch on with their volume at "0".
I did this because I can have the sequencer send CC7 messages to turn and and off the various parts (I have a total of 7 Parts with the kbd switch on, some volume 0, and some with volume on, which changes throughout the song with up to 4 sounding simultaneously).
There are some places where I have an 8th or quarter rest to change the kbd group, but other places where there's no time so I need the sequencer to do it, so I just let the sequencer do it all.
Because of that I don't thing I could intermix the two, but it's at least nice to know for future reference.