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JFP

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About JFP

  • Birthday 03/25/1973

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    Netherlands
  1. having had TP100 boards and now the Numa X with TP110 I cannot wait to see Arturia releasing a MKIII with TP110. I'd dump my Numa X for it since I use it only as a controller anyway and miss the versatility of a real integrated controller like the Arturia . They need to do three things for me to make it perfect: - one is a better but still lightweight keybed , like the TP110 or Kawai RHIII, - second is an integrated audio interface (preferably USBC) . Just plug in a USB-C cable and you're done. - Third is a joystick controller at the left or just above the keys on the left of the keybed like on the Korg Kronos / Krome / Nautilus boards. Ik hate pitch/ mod wheels somewhere places on top of the board far away. Not a natural positioning and also musically a joystick rocks for many synth and other sounds. Professional Rolands have both; that's even better.
  2. Lack of GAS - to be honest - in the hardware camp for allround boards (workstation type) there have been zero to none innovations since Kronos and Montage took stage. The new Fantom is not really that new either - especially considering the old sound palette they still use. Same with Kurzweil , even the K2700 - still same sounds / same OS , same ergonomics. In other words , there is no revolutionary board that justifies GAS , just small evolutions of stuff that's already been available for years. Sort of consolidation of what they already had lying around and put it in one instrument (Nautilus, K2700, Fantom). On the Synth side , there is more interesting stuff , but most of these boxes make noises from the 80's / 90's analogue synth arsenal in a new disguise. There are however some small movement in better control over the sound with better keybeds (HydraSynth, Expressive E Osmose, Neova Ring ) , but all in all it's a bit of a stand-still. What I personally am still waiting for is a do-it-all main-keyboard as a centrepiece that is a all-in-one controller wonder. So a 88 key , relatively lightweight , poly aftertouch or even MPE , keybed with a shitload of controls, joystick (Korg-type) over wheels, ribbon, breath input , you name it . Furthermore a good audio interface and USB- controller inputs (extra controllers direct into the mainboard , as on the Dexibell and Fantom) , enough empty surface space to put your laptop and/or iPad and excellent and future proof (!) integration with your favourite DAWS, MAINSTAGE type live performance tools (Camelot etc), and direct mapping of controls to your plug-ins. Furthermore it should have a setup for 16 zones of control , meaning you can create one program (performance set) with 16 zones of Plug-ins on the fly from your main controller, as you would do on a Kronos, or K2700 or similar when programming live performance sets. But NO INTERNAL SOUND ENGINE. Don't need that. The laptop or tablet is your sound engine. Roland , Kurzweil, Studiologic etc- they all keep adding the sound engines and libs to their board, which adds to the cost and weight and makes it a crippled controller for your software. You loose channels (have to choose between internal/external ), add complexity and pay much more for stuff you don't really want or use. Studiologic Numa X Piano without the 'piano' part (no sound engine) and with 16 zones and additional hardware controls would be a good start. The Numa X Controller 88/73 (keep the buold-in audio interface of course). That would trigger me to buy new stuff. Not yet another stage piano recycled workstation or another synth that recreates sawtooth PAD sound from the 80;s..seen that , done that , been there.
  3. Sorry , but can't chime in on that. I had the Decibel S9 with TP400W without escapement , which was an excellent , very easy to play en smooth keybed with very good aftertouch response , but had no escapement. So if the TP400W with escapement in the Numa GT is a redesign I can't say for sure if it will be the same experience. I expect the basic feel and touch to be the same, but who knows. Hope it is actually, regardless of the escarpment (which doesn't;t bother me at all for a multi purpose stage piano , only for a digital acoustic home piano type of instrument. On a stage you also play organ , EP , strings , brass etc , so escapement might only be in the way in the end...
  4. I see several X 73 and X 88 already being offered as B-Stock, meaning returned bij the customer after a very short period , because the units have only come available very recently. Wonder what this says about the Tp110 acceptation . Unfortunately still no reviews yet
  5. Cybergene, My ES920 is pretty portable with the new plastic casing and RHIII (version2) keybed. If they put that in a MP7SE successor and make it really light to cary around , it's a winner IMHO. The key action is pretty light to play and ver responsive. Some people complain about bouncing keys and key noise . But to be honest - it doesn't bother me when you are actually playing the thing (either with speakers or good headphones). It may be a distraction for people in the room when you play with headphones, but which key action isn't. Only the GFII / III is very quiet and perhaps the Hybrid Grand action in the current Roland LX series. In other words - a lightweight action / case design doesn't have to end with a stiff and heavy to play keybed. You can actually have a very portable piano with very good action these days if it all fits together..., but the Tp100 was not.
  6. They are never going to fix the AT. It simply sucks to the point of being totally unusable (just a marketing gimmick). Shame , because most presets and programs DO respond to Aftertouch , in other words , have some useful modulation / expression programmed for aftertouch response. But as Aftertouch seems to be mostly an afterthought at Roland , I do not expect them to put any effort in fixing this hardware related problem (would need a redesign / recall) , nor add usable AT in future products. They probably ditch it again , just like so many other manufacturers . Such a shame..new products like Hydrasynth go exactly in the opposite direction.
  7. Isn't that what I meant ? That on the TP100LR triple sensor and the TP40W (and to a lesser extend the Tp400W) it is virtually impossible to really have any benefits from the 3rd sensor in the form of fast repetitions / trills etc from the 'low key" ?! At least that's how I feel about it. 3rd sensor does not add the functionality / behaviour you experience from for example the Kawai RHII versus RHIII ( repeating note right from the bottom was impossible on my old Kawai Mp6 , but very easy on the ES7/8 and now 920. Also on the GFII / III the 3rd sensor makes repeating notes and trills a breeze . Something that cannot be said about Casio PX560 / 330 hammer actions and PX5S and all the fatal based keybeds. Even the - otherwise very nice S9 keybed - failed in that respect. Odd at least...
  8. As AnotherScott , the casing is no clear indication about the actual dimension, mechanics en pivot lengths of the keybed . In my experience and understanding the black keys on digital piano actions have a shorted pivot pint on the black keys. And TP110 has a shorter key lenght than TP400W. I know the Tp100 and TP400W quite well , and the TP400 is much easier to play , with no pushback resistance and better to play into the keys (further behind) as well. I don't know the Tp400W version that is used in the Num GT, but I guess it won't be that much different from the one in the Dexibell S9. TP100 really sucked in my opinion , that's why I wonder how much it has been changed and improved now. Not in marketing speak , but real world comparison. Of all the Fatar keybeds I know , either 2 or 3 sensor , the repetition is not great compared to the competitions. IMHO Kawai still rules in that respect. Roland comes in second. With Casio (HAII) en Fatar keypads the 3rd sensor is placed way up too hight and makes hardly any sense. You have to lift up the key too much for a new repetition , which misses the point. On a real acoustic grand or fast digital keybed you can play again from a low point of the key release , which is what makes it fast en enjoyable. Even the Korg RHIII , which is a 2 sensor keybed , has faster repetition than a 2 sensor Casio of Fatar. I had Korg kronos and Tp100 (2 sensor) and TP40W (Sl88 grand) side bij side. T400 is not much different in that respect , but because it is faster as whole in key release than the TP100 and TP40W, it still feels easier than these two. I really liked the Decibel S9 T400W , though bottoming out was a bit shallow in comparison to Kawai etc.
  9. That's probably because of the short pivoting point. black keys suffer more from that , because they are even shorter , hence harder to control (heavier)
  10. Hi Thomsurf, I cannot decide between de GT with Tp400W , but much heavier (!) or the improved (?) TP110. I played both the TP400W - in my Dexibell S9 and the TP100 in the Numa Studio, but I sort of hated the TP100 , especially because it was exhausting to play and the keys had a sort of 'push up' against your fingers. Was if it was pushing back. The TP400W is very nice , but if the TP110 is indeed improved to the point where it it is not so odd in sluggishness and pushing the key back up , I would rather have a lightweight board (Numa X instead of GT). How would you judge the keys after some more playing the last days on the TP110 ? Is the bounce and sluggishness en back push al history now . Some things that plaged the TP110 ...
  11. Why oh why does it sound soooo bad. It"s one of the only reasons I didn"t order one yet. All the standard bread and butter sounds are so terribly old and JV1080 'quality' . Really. Synth engine and filters are great, interface is great and some controller features are great, but I keep on being flabbergasted by the lack of any good quality basic sounds , like EP, Organ, Brass, Guitar, Strings you name it. Terrible. They should have just left them out altogether , leaving just the synth sounds and leave the acoustic section to your plug-ins in mainstage . And half the price of course. Can;t stand anymore recycling...
  12. When there is no Kronos successor thuis year at NAMM at the Korg Boot, I would take that as a 'yes , we"ve abandoned the WS market and moved somewhere else'. Leaves Roland and Yamaha (and Nord ?) as competitors in that market. Rather see a K3
  13. Considering the usual update policy and abandon your products strategy of Roland I wouldn't hold my breath. For me that is the EXACT reason I don't pull the trigger on a Fantom yet. If it is supposed to be a one-instruments does it all (for live gigs) solution, like the Kronos, then the acoustic sound palette is very small, old and unconvincing. I see no improvement over , let's say , the Integra7 and Jupiter80 there in terms of sound quality, sound quantity and playability (totally missing out Super natural and especially behavioral modeling (JP80)!). It's all romper sampling (80's / 90's) again , presumably in small memory packages. Synth side is promising, V-piano very expressive, although it could use an update to the models found in the latest LX paint series (why not Roland?), which have much more substance and body (European Grand). Workflow , controls, integration with DAW , Audio/ midi integration is all great - but where is "the sound" ; I don't hear it. And those tiny Axial sets (32 MB ?) are not going to change that, just recycling same old material. Come on Roland - you can , and should do better by now. Give us the fresh , new , big updated sounds and enough memory to store them (GB's not MB's) ; this is almost 2020 , not 2005. It makes me wonder what Korg will be cooking up as catch-up response to the Fantom. If they incorporate a big FLASH RAM with lots of content from there massive EXS libraries and the engines of Kronos in a fast , lightweight and mean controller package , it will give Roland a run for the money. These Kronos acoustic EXS packs sound soo much better , although they are like 10 years old and aging too. Would have thought Roland would catch up there after the Fantom G debacle (weak acoustic sounds) , but so far - I don't see it happening.
  14. USB - perhaps my question was misunderstood. I don't intend to power the Numa from an iOS device through USB. That wouldn't really make sense to me (for MODX out of the question of course). What I wanted to know is if the MIDI/AUDIO I/O streaming works out of the box and without hickups when you connect an iOS device to the Numa. With acceptable latency and audio quality that is... Power will be taken care of one way or the other...Thanks !
  15. - USB Power on the macbook pro works okay until you feed in audio over USB and then it literally disconnects due to lack of power. My guess is that this process uses more power which the computer can't feed the keyboard. Probably not an issue on more recent laptops (and I didn't have this issue on a desktop computer). What happens when you connect an iPad or iPhone ?! I want to use an iPad / phone for additional sounds like KORG Module , Korg iSynths, Synhmaster, Garageband e.o. Can I just connect an iOS device through a camera connection kit and start streaming MIDI and Audio from - and to - the NC2X ?! Dealbreaker for me. If that does not work , I'll go for a MODX8 or similar...Thanks !
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