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How would I go about turning off the velocity sensitive keys so that no matter how hard or softly I play it will come out all the same volume.

It's just frustraing that I have to hammer my keys to get out a solid string sound which keeps chaning dynamics particularly during the fast parts where you can't afford to really press down on the keys.

There's no global way to do this. You can edit individual programs and change the effect that velocity has on volume for each oscillator though.

If you are having trouble getting a consistent velocity, then you could try the different velocity curves available in Global Mode too. It won't turn it off, but it will change how the velocity reacts.

Easiest way is to get to the Tone Adjust tab. Then select the Timbre you wish to adjust the velocity to, tap on the first modifier and scroll thru the list to the very first option to the left that is not grayed out (Amp Velocity Intensity), set the amount to -99 and save your combi. Now your strings will be pretty consistent in volume regardless of how hard or soft you play. It will still have some velocity, you won't be able to remove it completely, but it will make a better experience.
It has happened to me not only with strings but with choirs and brasses.

You will also have to bring down the level of that particular track on the mixer settings a tad bit, since it will now have a more (apparent) volume than when you previously designed the combi.

Any more help or doubts, just ask.

Thanks tones Mocando. That worked wonders. It sounds great now and the change in velocity is almost unnoticable.

I had an idea where the weighted keyboard on the M50-88 could have a parameter that physically disengages the hammer mechanism rendering the keyboard with a feather light non-weighted touch. It could be produced magnetically, or with a small lever. This way a consumer could get by with 1 keyboard instead of two, a synth action and a piano action. Organ and synth sounds are better if played on a light keybed where mulit velocity sampled piano and rhodes type sounds work better on a hammer action keybed. The effect could be stored per preset and possibly have a split point.

A further modification could be made to the point where sound is triggered by depressing a key. A hammond organ waterfall type keyboard triggers the note after only a millimeter or so or key depression, a synth after a few millimeters, and a piano after almost a centimeter.

Ensonic also had polyphonic aftertouch at one point.

Strings (at least acoustic ones) are meant to have multiple velocities, if not, they sound unnatural: am I missing something? Synth strings (Mellotron) are another story.

dhmartens wrote:... A hammond organ waterfall type keyboard triggers the note after only a millimeter or so or key depression...

It depends. A REAL Hammond organ has 9 key contacts (per key) and, depending on the cleanness of the busbar, you get all the harmonics, just one, two, five or none at all.

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kikedeolivos wrote:Strings (at least acoustic ones) are meant to have multiple velocities, if not, they sound unnatural: am I missing something? Synth strings (Mellotron) are another story.

Yes, and so does choirs and brasses. But in my particular case, where I'm covering Genesis songs, I use lots of mellotron strings, choirs and some brasses, so is really frustrating when a chord sounds at full volume, and the next one is just blunt. On the heat of the moment sometimes is difficult to hit the left hand hard enough to get a full sound while leading with the right hand.

This amp velocity solution is a godsend for those cases.