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!