Thinking about how polyphonic aftertouch works, this technique would not work in the same way. For example, I can hold a chord down or bass note down, and then use the aftertouch there, to get modulation applied to a lead line.
However, because it affects all the notes at the same time, I find I can sometimes use channel afterouch when fast runs are happening. However I find that when playing fast runs it's not really possible to use aftertouch, because you've moved on to a different note before you have chance to push down.
opening the filter, or increasing a LFO depth, or rate or something. According to Waldorf it’s an all-new 49-key FATAR TP/8SK semi-weighted keybed that premiers in the Iridium keyboard version. With it, you get four voices of polyphony, an intuitive pattern sequencer, an arpeggiator with hold function and built-in effects such as chorus and delay too. You play a chord, and then push down on the keys, and that modulates all the voices. Once again without analogue filters but with 16 voices and with the highlight of the polyphonic aftertouch pressure sensitive keyboard. Judge the JU-06A not by its (adorable) size the polysynth is an adept all-rounder, capable of putting out huge sounds. When I use the channel aftertouch it's like having a "swell" pedal on the keys. I first encountered it on a Yamaha DX7, and currently use it on a Behringer Deepmind 12. I am a piano player, and ex brass musician, and have always loved the way channel aftertouch can be used on a keyboard to give such beautiful swell effects. I've been considering purchasing and saving up for a Hydrasynth for while now, and was very much attracted to the performance controls, particularly the poly aftertouch and ribbon. I wonder if any of you could share your experiences with polyphonic aftertouch.