I may have misinterpreted the purpose of the Radial KL-8. Too busy these days with a huge number of gigs and rehearsals, but hope to catch up on more details a week from now. My preference is to download and study user manuals.
Eugenio Upright, 60th P-Bass, Geddy Lee J-Bass, Hofner HCT-500/7, Yamaha BBP35, Viking Bari Select Strat, Select Tele, Am Pro JM, LP 57 Gold, G5422DC-12, T486, ES295, PM2, EXL1 XK1c, Voyager, Prophet XL
This appears to be a unique design and not a repackaging of something from parent company Sennheiser.
It's interesting how many top-end loudspeaker and mic companies have been breaking into the studio headphone market of late. I bought a nice pair from Focal last year, and have considered the new model from ADAM.
Eugenio Upright, 60th P-Bass, Geddy Lee J-Bass, Hofner HCT-500/7, Yamaha BBP35, Viking Bari Select Strat, Select Tele, Am Pro JM, LP 57 Gold, G5422DC-12, T486, ES295, PM2, EXL1 XK1c, Voyager, Prophet XL
[quote=Mark Schmieder]The Radial rack should help out a lot of people, and is very different from any line mixers out there as that isn't quite what it is anyway.
Indeed though I'm uneducated enough to wonder how it's a lot better than the PreSonus gear. With them announcing the USB-C option now I can't see where the extra cost is in the KL-8 although the components may be better?
The Radial is a rack mount line mixer and the PreSonus is a audio interface for a computer kind of an apples and oranges comparison. The Radial is basically a high end mixer and that's it. The PreSonus is a mainly an Analog to Digital convertor to send to your audio to your computer in digital format.
The Radial KL-8 is also an Audio Interface which is great for people like me who use hardware and software on stage. [/quote]
I stand corrected, I thought the USB was just for laptop failover it is an interface as well. So a Swiss Army Knife audio tool cool.
The Motor synth is absolutely awesome, and sounds fantastic!
Basically a tonewheel subtractive synth. In many ways that makes more sense as it's far less mechanically complex than an additive synth. Kind of surprised there weren't examples of this from the late 60s when exploring synthesis techniques.
Puck Funk!
Equipment: Laptop running lots of nerdy software, some keyboards, noise makers…yada yada yada…maybe a cat?
[quote=nursers][quote=Mark Schmieder]The Radial rack should help out a lot of people, and is very different from any line mixers out there as that isn't quite what it is anyway.
Indeed though I'm uneducated enough to wonder how it's a lot better than the PreSonus gear. With them announcing the USB-C option now I can't see where the extra cost is in the KL-8 although the components may be better?
The Radial is a rack mount line mixer and the PreSonus is a audio interface for a computer kind of an apples and oranges comparison. The Radial is basically a high end mixer and that's it. The PreSonus is a mainly an Analog to Digital convertor to send to your audio to your computer in digital format.
The Radial KL-8 is also an Audio Interface which is great for people like me who use hardware and software on stage. [/quote]
I stand corrected, I thought the USB was just for laptop failover it is an interface as well. So a Swiss Army Knife audio tool cool. [/quote]
Indeed - so I probably need to do some manual diving on components because based on pure functionality (I won't need all the input or outputs both offer), it seems the PreSonus is heaps cheaper and still delivers what I want. We shall see :the:
I met friends, attended discussions, saw woefully little gear, and saw an inspiring presentation by photographer Neal Preston. Come along with me, won't you, to my rather short NAMMbulating experience.
A short introduction on the Privia PX-S1000 with Richard Formidoni. Unfortunately when he tried to put the pedal back on the floor something happened to the mic, so I had to leave out a good 3 minutes section.
This appears to be a unique design and not a repackaging of something from parent company Sennheiser.
It's interesting how many top-end loudspeaker and mic companies have been breaking into the studio headphone market of late. I bought a nice pair from Focal last year, and have considered the new model from ADAM.
Thanks for posting this. I becoming increasingly dissatisfied with my Senny HD 380's of late so I might check these out...hopefully they won't break the bank hahaha!
There is no luck - luck is simply the confluence of circumstance and co-incidence...
Hope and Disappointment are the same, just spelled differently
RCF was showing a TT 08-A II that was in their booth. I tried to get details on price and what the changes were, but their booth was quite busy and I wasn't able to get anyone's attention...
Thanks for posting this Elmer. I've only just seen this video. It seems very interesting to me: a single oscillator version of the Behringer Neuron? It sounds good, and could be a fun additional oscillator/cv source in a larger rig.
RCF was showing a TT 08-A II that was in their booth. I tried to get details on price and what the changes were, but their booth was quite busy and I wasn't able to get anyone's attention...
I saw that too. Was talking to the RCF guy who seemed pretty knowledgeable about it, except he didn't know about pricing since that wasn't his area. That and the new TT10A II are both in final R&D stages and not on their site yet.
The 08 and 10 have a new amp module along with drivers. It's been totally revamped and the box re-tuned he said.
I asked how did it sound in comparison to the 08A and he said night and day. More presence and better dispersion.
I picked up both from the floor. The 08 seemed about the same weight as mine and the 10 was maybe 5 lbs. heavier give or take. Pretty certain the 10 was under 33 lbs. And it seemed maybe 2 inches at the most taller. Very compact for a 10" box.
Both had handles on the top ....yay !! And the textured finish looked way more durable then the old ones.
He said they should be available after the second quarter - meaning late Spring or early Summer. Don't know how much pricier these will be, but if you're looking to buy one, or a pair, I'd hold off to at least check pricing on them. They looked REALLY nice!
It seems very interesting to me: a single oscillator version of the Behringer Neuron?
Well I was partially correct: single oscillator (CEM 3340 style) from the Neutron, Ladder filter from the Model D, a sequencer and patch points .... feature set similar to Mother 32.
Linear response in headphones that go down to 5 Hz? That's pretty remarkable if true.
These are meant for mixing, tracking, drummers, FOH, etc. They may well have the most isolation of any cans currently on offer (especially ones that actually sound good).
Eugenio Upright, 60th P-Bass, Geddy Lee J-Bass, Hofner HCT-500/7, Yamaha BBP35, Viking Bari Select Strat, Select Tele, Am Pro JM, LP 57 Gold, G5422DC-12, T486, ES295, PM2, EXL1 XK1c, Voyager, Prophet XL
Ultimate Support offers new modular desktop stands and a remodel of their Apex stand:
Best,
Geoff
Oddly, Ultimate still doesn't have their new Apex on their company website (or I am incompetent). They only show the AX-48 (which I have)
The pedal board - not sure on their execution - as he attached it to the stand foot brace, it looks like its going to be a forward reach if you play standing up. I notice in the video that where he's standing as he stepped on it is smack in the middle of the hypothetical keyboard, if there were one on the bottom tier.
The baiting I do is purely for entertainment value. Please feel free to ignore it.
Interesting concept. On paper, the unique synthesis engine along with all of the flexible realtime control sounds great. But in practice, listening through a bunch of videos, I didn't hear anything that blew me away sound-wise. In fact many of them just sounded like cheesy emulations of other instruments rather than anything unique.
Dan
Acoustic/Electric stringed instruments ranging from 4 to 230 strings, hammered, picked, fingered, slapped, and plucked. Analog and Digital Electronic instruments, reeds, and throat/mouth.
If I am not mistaken I do believe i heard a demo of this instrument at a previous show. Interesting textures of sounds. Definitely different.
I do believe this is a pretty expensive instrument. The way large corporate instrument companies are beating themselves to death trying to introduce the most bang for the buck synths, I don't know the future of expensive synths.
Mike T.
Yamaha Motif ES8, Alesis Ion, Prophet 5 Rev 3.2, 1979 Rhodes Mark 1 Suitcase 73 Piano, Arp Odyssey Md III, Roland R-70 Drum Machine, Digitech Vocalist Live Pro. Roland Boss Chorus Ensemble CE-1.
I don't mind the sound as much as you do Dan. I rather like some of it, but I take your point.
The C15 reminded me that a lot of the precise synthesis and control we love, isn't really needed to get a musical idea across. Lovely synth of course, but not attractive to rock musicians, (give me a B3) pop musicians (can it keep up with a Kronos) or even a lot of jazz (can it sound like that 73 Suitcase Rhodes) players.
So what do have left? Experimental music. Cross-genre music. Pretty small marketplace. It's why Kurzweil killed the ribbon and Yamaha the breath controller, I think.
The pedal board - not sure on their execution - as he attached it to the stand foot brace, it looks like its going to be a forward reach if you play standing up. I notice in the video that where he's standing as he stepped on it is smack in the middle of the hypothetical keyboard, if there were one on the bottom tier.
I'm trying to refine my pedal solutions for my Apex. I have the extended arms on my lower tier (18in, I think, and 13in on top), and my "pedal point" is about 6in in front of the base of the column. The new stand with its tilted upper tier is interesting, but the pedalboards are a solution to a problem I don't have.
Does NAMM have a category for Industrial Design? IMO, Best In Show.
OTOH whoever serves the videos from their web site would not qualify as "best", lol. Can't get one to play for more than a few seconds.
For sure!! And when it does play, it's incomprehensibly not musical anyway [/quote]
I have not had any issues so far with their embedding system. Listening to the Tim Sund Quartet videos. I think it sounds different. That's how I would describe it. Flexible I think. I could see smooth jazz musicians using this, or groups like Snarky Puppy. Unfortunately they don't seem to have anything on YouTube, just Vimeo, which can't be embedded.
Did find this trailer for the concert video on YouTube though.
2 Oscillators (sine wave, phase modulation, frequency randomization) 2 Shapers (sine curve, adjustable foldback and asymmetry) Ring Modulator Comb Filter (tunable, with allpass and lowpass) State Variable Filter (multi-mode, 2-4 poles, FM) Feedback Mixer (4 input signals, shaper for the sum) Feedback bus with 4 destinations Output Mixer (stereo, 4 input signals, shaper for the sum) 5 Stereo Effects: Cabinet (amp simulation), 8-pole Gap/Band Filter, Phaser/Flanger/Chorus, Echo, Reverb 3 ADBDSR Envelopes, adjustable attack curve Velocity sensitivities for envelope levels, attack times, and release times 4 Macro Controls, assignable to up to 86 target parameters 8 Hardware Sources, mappable to the 4 Macro Controls Number of parameters: 317 Resolution of the parameters: typically 1000 steps (250 ... 15000 steps) Resolution of key velocity, ribbons, bender, aftertouch, pedals: 4000 steps 20-voice polyphony, variable Unison settings Scale parameters for micro-tuning the 12 steps of the octave
Parameter Editing
4 Selection panels, each with 24 buttons and LEDs Labeling by exchangeable magnetic overlays Edit panel with an OLED display (256 x 64 dots), an incremental encoder, and 18 buttons The ribbons are also assignable for parameter editing. User-definable Init preset and Default values Randomize function Graphical user interface on any WiFi-enabled device running a browser, unique zoom-and-pan navigation, enabled for touch Preset System User-definable banks Unlimited number of presets per bank User-editable infos per preset Search function to find presets by name or tags in the infos Morphing transition between presets. Undo System Unlimited undo for all user interactions, including sound editing steps Undo list with support for different editing branches (tree view)
Hardware Features
61-key (5 octave) Fatar keybed with semi-weighted long-arm keys Note-on and note-off velocity sensitivity Monophonic aftertouch Two 800 mm touch strips (ribbons), each with 33 LED dots Ribbon modes: absolute, relative, combinable with return-to-center Lever (magnetic force loaded) for pitchbending and similar applications Control panel with an OLED display (128 x 32 dots) and four buttons Output volume potentiometer (at the front) Headphone level potentiometer (at the front) Base unit can be used without panel unit Magnetic front panel foils can be replaced for future synthesis engines (italics mine)
Connectors
Main audio outputs (L, R) (TRS, balanced by transformers) Headphone output at the front (TRS) 4 inputs for analog controls, such as pedals (TRS, flexible pin-assignment) USB host connector for data exchange and software updates
Dimensions
Base unit only: 900 x 290 x 100 mm (width x depth x height) Including panel unit: 900 x 410 x 160 mm (width x depth x height)
Weight Base unit: 10.5 kg Panel unit: 3 kg
"The C15 is a keyboard instrument made for performing musicians. Its character stems from a puristic digital engine which produces a unique palette of sounds seamlessly spanning from organic and acoustic to experimental and electronic.
With its top-quality keybed, dual full-length ribbons, special pitch bender, and four pedal connections the C15 is designed for real-time performance, making it more like a traditional musical instrument than a typical synthesizer. It is resolutely an instrument to be played by musicians, not machines. Therefore it has no MIDI and does not contain LFOs or internal sequencers.
Like many classical instrument builders, we have chosen wood for most of the housing. The rest is made of steel or aluminium. The concept features a two-part design. The compact base unit is for playing and includes all performance elements as well as the sound engine and audio components. It can be easily detached from the panel unit and played autonomously.
The panel unit is for detailed parameter control and sound design. Its haptic layout is based on the principle of muscle memory. In addition, a graphical user interface can be displayed and edited on any device that has a browser and Wi-Fi. This interface is optimized for touch screens and can be intuitively zoomed and panned with common gestures."
So no MIDI. No LFOs??
Not thinking they'll sell too many. Too bad, it sounds neat to me, but without those...:(
Interesting concept. On paper, the unique synthesis engine along with all of the flexible realtime control sounds great. But in practice, listening through a bunch of videos, I didn't hear anything that blew me away sound-wise. In fact many of them just sounded like cheesy emulations of other instruments rather than anything unique.
I think with most teams that come together to work on projects like this - you have hardware, firmware/software people and then you have the programmers and artists and crossover between. Presets can make or break a new synth, so hopefully as they move along preset creation becomes a major focus and we can get a better idea of what the instrument is capable of.
On the C15, the company was founded by the same man who founded Native Instruments, and who still has massive amounts of its stock. It is quite clear that he is not playing a short game. He can sustain this for the rest of his and his children's lives if it suits him. No need at all to compete with Korg, and I doubt very seriously he is even trying.
What is interesting to me is that the synth states an aesthetic. That aesthetic is:
Live play is important, sequencing is not - other devices do that A novel synth engine is important - you won't know how to program it at first. There is value in the search for personal timbre and expression
If they wanted world-beating presets, I'm quite sure they'd have paid for them. But this isn't that kind of instrument. Or put differently, they wish to equip a different kind of player - the artist who WANTS to completely control the experience and who EXPECTS to spend whatever time is required.
This one is not about instant gratification. It comes with giant warning labels so that only those who match the aesthetic will be intrigued.
I've subscribed to their news for years. I very much like it. Or I should say, I want to believe that I'm that kind of musician. In practice, my composition rig lives on MIDI. But would it be that bad to "have" to play it? No.
But I still have another synth I am working on mastering, and the Quantum would come before this.
But I do have a soft spot for the aesthetic. I think it is very bold to design an instrument with a point-of-view. A genuine maker's contribution to what he or she thinks the world is missing. It is very uncommon, and important if for no other reason that this is what artists do. We make things that didn't exist and tell the world, "I made a thing... Why? Because I wanted it to exist!"
