CEB

Not sure if anyone wants to talk shop or not … How do we approach using Verb? My perspective is one of a live performer. My gigs are often open air or larger halls. In studio I just did what I was told. I think as keyboardist we may be able to get away with more verb because we play a lot of pads. But I posted on another thread “Reverb should be felt and not heard”. That post was given without context and probably made no sense. I can’t play without any verb. It feels too raw. I use just enough that it feels okay. I usually use Overb with a wet:dry ratio of around 9:91 to 12:88. IEMs vs wedges has an impact on how much I use. I hear younger guitarist use beautiful digital reverbs. They sound great alone but I think the tone washes out in a mix. I tell them dry has more balls. There are exceptions but to a large degree I approach synth leads the way I approach guitar. Most Roland and Yamaha presets are useless to me without stripping out effects. Hell I don’t know anything but I bet the forum has a lot of wisdom to share. Have a great week.

Duplicated some how

From a pure keyboardist perspective: Verb should be felt but not heard.

I play Modern Pop and I use a lot of ‘synths’. Well actually ‘VST engines’ which is what I consider the Korg engines. VST apps ran on a Linux workstation. I could carry 3-4 synths to do the gig but using a Kronos and Roland workstation is a lot more convenient. If I was smart I would have went software back in 2013.

McDuff was always my favorite.

The Matrix Brute I always thought would be a killer synth centerpiece for someone into Eurorack stuff.

Gilmour’s solo on Another Brick in the wall is often mistaken as a Strat. He played it on a 1955 Gold Top.

The boutique I have is the D-05. It’s is pretty much a D-50 with 16 voice polyphony … I don’t how difficult that would be for pianos though. I never thought about the polyphony issues.

I use the original Mini Vent for Organ with the remote mod installed by Bruce. I hope to never replace it… knock on wood. It’s mounted in the back of my rack. It kept coming loose in transit. I told my tech that I don’t want it to come loose ever again It could flop around and break other stuff in the rack. Mark said “Okay!” He fixed it. It is permanently mounted down with steel straps held by rivets. God willing it isn’t going anywhere. 😀

The greatest Strat sound in history was a Les Paul. 😀

I want a simple thing. Roland Boutique format release housing their classic and Supernatural pianos and EPS and clavs. I’d buy one for my S90XS.

The information access that is available today as opposed to 1975 helps a hell of a lot though.

The power of the Rev2 is the modulation matrix. I don't mind DCOs. DCOs require less maintenance. I have vintage synths in the herd right now that are not really usable on the job. Sometimes if you change the pitch range on a vintage analog that is in tune it will go badly out of tune if the oscillators need recalibrated. The Rev2 has the slop knob to mimic old VCO squirreliness. Just a little bit is okay I guess but I'm not personally a fan of the slop knob. I don't think DCO vs VCO is a big deal either way in a live in a crowded mix but that is just me. But I must admit ... shredding a Memorymoog with the 18 vintage oscillators in unison mode is glorious.... if it is well maintained and in decent calibration. And an added plus is those 18 oscillators will heat your house in the winter. You already own a Jupiter X. That may be my favorite current VA but I grew up with Roland synth slider interfaces.

FWIW I think the Korg VA engines are easier to program than VAST but that is probably because that is what I'm used to.

For me the starting point depends on the sound. Sometimes I will tweak presets or my existing programs or combis and sometimes it is easiest to start with the default blank slate. I know some decent online videos on subtractive synthesis, but what is your rig?