For a little perspective here, the OP is looking to do small primarily-organ based duo/trio club gigs, with his XK5. Organ sounds absolutely killer through a Leslie 122 with a 15" woofer, I don't thing we need to be talking about dual 18s and 130 dB for a small club organ-based duo/trio. There has been interesting digression here, but not so relevant to what the OP needs. .
No argument. I have not been recommending a solution. I've been explaining what is possible and what one gets in different configurations. There's been a lot of recommendations without any perspective as to where those recommendations land in the spectrum of "loud sound".
Loud sound is simple: How loud? How low? How far? How much sound quality? The best answers are always obtained leaving weight and size till last.
If we take 40Hz as a great target, Here's what it takes to get flat response over the whole range of a 4 string bass (also the pedals of a Hammond) BassBoss 15" sub. This is self-powered, 21"x 24"x17" and 70lbs. It has a speaker pole socket. One could place a SpaceStation on it. The bass would be smooth, distortion free, easy and sumptuous. A small hand dolly would move it with ease. Overkill if the music is background sonic wall paper at a dinner club. If the music is to make people move, it will facilitate that. It will keep up with a drummer, no problem. In the world of loud sound, this is not expensive, but it does cost like a keyboard.
There are cheaper subs. They are bigger, they aren't as flat in their response, they don't put out as much at 40Hz.
But this is the real question: How loud, How low, how far, how much sound quality.
A little more about the Pro 800 and GliGli: Pro800
Well for a predicted $600 that's a lot of synth. You get 16 CEM3340 oscillators and 8 CEM3320 low pass filters. Considering the OBXa used the same filter (although it had a 12dB/octave one as well) then this synth should be capable of some great sounds. The Prophet 600/Pro 1 sound might be too aggressive for some people but I have always loved the sound those CEM chips make. As for the issues with the original 600 I can't comment as I only had the P5 but Pro 1 reissue has had a great reviews - and this is essentially and 8 voice version.
On a slightly different tack - releasing a CEM based poly synth with memory gives them a chance to road test designs that will probably be duplicated in the UBXa.
Speaking of the screen, it is far easier to do things on the fly with the PX-560 versus the PX-S3000. The large color touch screen allows for simple and quick sound changes, layers and splits. Come up with something you like and it can be stored quickly by pressing two front panel buttons (Registration Memory).
Yes, the PX560 has a great performance interface. Very similar to the MZ-X500, too. I hope they don't abandon it. I still have hopes for something more like a PX5S with that kind of interface. It's a shame that the PX560 didn't have at least some more MIDI functionality.
Originally Posted by DaveMcM
I am very happy with the acoustic piano sounds as well as the Rhodes, Clavinet, etc.
Looks like a well thought out implementation. Simply combining sine waves will indeed get you the basic character... that's what Hammond was aiming for in the first place (though the imperfections are part of what give the real thing its magic). One thing to be aware of when "building" an organ like this is that a 9 drawbar registration will use 9 instances of polyphony for every key. And since the sine waves will be triggered at all different starting points, you can expect some phase issues. But yeah, it seems like a good stopgap or fallback if the Fantom is all you have at hand.
Suppose you have the perfect piano, organ, sting ensemble big synthesizer, and so on and want to put them in an instrument or piece of software, and you have all kinds of parameters in your digitization of these sounds. Maybe you can change the envelope, the timbre, the amount of resonance and reverberation sensitivity, the warmth, amplitude/power limitations effects like sound board and leslie/chorus, and even Equal Loudness Curve based (pre-) transformations so that you can sound good when someone plays your recording/sequence really soft or loud or in between. Now presume the parameters interfere with each other, so changing a parameter will influence either make other sound elements sound like you changed their parameters, or there's more sound space than normally covered by using unrealistic parameter combinations.
First of two major options from these givens would be to limit the output sound of the workstation to only realistic sounds, and sort of squash illogical or physically incorrect parameter combinations into somewhere in the sound spectrum of existing sound using some mapping of the parameters on the front panel, maybe using AI techniques.
Another option would be to take for granted that other than intended sound settings will lead to unrealistic sound coming out the virtual instrument, and that only certain adjustments of the various sound tuning options lead to the sounds you'd expect while the rest become "synthetic"
I suppose which of these main options will be chosen depends on the marketing of the instrument: is it primarily a high grade imitation instrument, or are people going to have fun with all kinds of strange constructed sounds and smile at the chipmunk elements.
Here's the extra features the ES-920 has over the ES-520: (Not including the different action and additional SK-5 piano)
IMPROVED: Responsive Hammer III keyboard action with redesigned key switches IMPROVED: Improved acoustic piano sounds and updated Virtual Technician parameters IMPROVED: Enhanced Touch Curve setting with 10 selectable touch presets NEW: Electric Piano, Drawbar and Jazz Organ, Electric Bass, Harpsichord, and Strings sounds NEW: Updated control panel with 4-band EQ faders Progressive Harmonic Imaging (PHI) (ES-520 has Harmonic Imaging)
I'm not sure where you're taking that list from, however those are some of the improvements of the ES920 over the ES8, and not improvements of the ES920 over the ES520.
For example, the ES920 and ES520 both feature new EP, organ, bass, harpsichord, and strings sounds. The ES920 uses the "Harmonic Imaging XL" (HI-XL) sound engine, while the ES520 uses the "Progressive Harmonic Imaging" (PHI) sound engine.
For a full side-by-side comparison of the two boards, please use the comparison tool on the Kawai Global site at the following URL:
Here you go. Those two-handed licks over the G kept tripping me up -- trickier than I thought! I don't quite nail the left hand on the second half of that G, and I accidentally hit a Bb over the D7 instead of Mr. B Natural, but you get the idea. Thanks for giving me a fun little thing to learn.
I'm finding it harder to get started on things that I've put off for too long already. I have a couple of articles on the brain that I keep trying to get the first couple of paragraphs written so I'll know what I'm going to write about. After that I'm usually in the groove, but I just can't seem to set the needle down and get past the lead-in.
And closer to the intended subject: I listen to NPR programs a lot, and they interview a lot of people for their articles. With all the unpleasant and sad things going on these days, it's difficult to ignore or downplay these issues, but in more and more of these interviews, it seems that the interviewee at some point breaks into tears. I'm getting really tired of hearing sobbing on the radio. I don't expect them to be upbeat about losing their home, a family member, or a close friend, but, call me an unsympathetic hardass, but I can be sympathetic without the prompt of tears.
- Hyper-compressed acoustic guitar leads (Wish You Were Here, any CSN, etc) - Guitar amp recorded in a bathroom (at least that's what it sounds like - a 1970's thing) - Slapback echo on vocals (instant 1950's vibe) - Lead vocalist overdubbed singing harmony a 3rd up (early 1960's - Ricky Nelson, Annette, Neil Sedaka come to mind)
I think he’s looking for a local option. I told him to buy a CDP-S350, as the CGP is no longer listed on the casio UK site. Am I correct in assuming this would be the closest in terms of a current offering?
More than a few mastering engineers use B&W home hi-fi speakers as primary monitors. I have a pair of Wharfedale Mach 7 (from back when they were a high-end brand) that I sometimes use as midfields, or just for listening enjoyment, powered by a Sunfire amp. High end hi-fi is an interesting space. There's a lot of innovation and beautiful design but also a lot of what an industry colleague (who designs the stuff as well as pro audio gear) called "voodoo mysticism bullshit."
A friend who collects and flips vintage hi-fi gear has a pair of Snell type A. Amazing when you feed them enough power, and by enough power, I mean that each is bi-amplified from its own Bryston 4B. Absolute beasts.
Here's some Wakeman Rhodes, starting at about 4:40...
The funny thing is, when the camera finally gets around to showing him in this miming video, he's playing the Hammond while you hear the Rhodes... but there's a Rhodes right next to him! He's actually kinda goofing through the whole thing... at around 3:34 he starts flailing madly and then tilts the organ a la Emerson...
Hearing this for this first time, I'm thinking it sounds like Jeff Beck, which also comes to mind as the creative use of Rhodes and guitar.
The 1972 film "The Harder They Come," featuring Jimmy Cliff, was one of the main vehicles that broke reggae outside of Jamaica. In it, Toots & the Maytals did an electrifying recording of Pressure Drop, and had a major influence on a lot of musicians. Roger Ebert did an insightful review of the movie. Bob Marley started touring around the same time...and the die was cast.