The other limitation, which like the limitation on the number of voices, applies
to other samplers too, is that there are only eight individual outputs for multitimbral
operation. I’m not a multitimbralist myself particularly but many people
are and they would ideally like at least as many outputs as there are voices.
Sixteen outputs on an S1100 would be good. But would having thirty-two outputs
be even better? Of course it would, but we are taking a flight of fancy now.
The absolute ultimate would be to have a separate output for each sample that
the unit can store. Maybe I’d better just keep dreaming.
So, assuming that you have a few pounds to spare and you think that a single
S1100 isn’t enough to do full justice to your talent, you may have been
considering buying a second S1100 and are wondering whether you can save some
cash by getting the S1100EX instead. Will it be a compromise? Will you wish
you had paid the extra. No, you won’t. You’ll be glad you went for
the S1100EX because it actually has more to offer than a second S1100 would.
Another S1100 would just be another box that has to be programmed and otherwise
cajoled and cosseted, but the S1100 works as part of a team. It communicates
with the S1100 and together they do a lot of the donkey work for you. All you
have to do is choose whether you want extra voices or extra multitimbrality.
After that it’s go-go-go with some serious music making! But try not to
think how much better still things would be if you had another S1100EX – the
system can accommodate six altogether. Not even Hans Zimmer uses that many!