burningbusch

I think the Connie is the same action as the Kronos LS. SW calls the Connie action LS in their marketing info. I played the Kronos LS at NAMM and very briefly played the Connie (it was still listed as "don't touch") and thought them to be the same. Different key caps, that's all. And I assume this is a Korg action. Busch.

Cool. Busch.

a) The world isn't just about gigging. Having a instrument for playing at home is wonderful, e.g. AP, Hammond, and many others. b) The Wurly isn't much heavier than today's weighted action keyboards. It's quite portable. c) It's nice to own pieces that you can keep forever, that won't be made obsolete in a year or two. d) For some bands/players, having a digital instrument on stage is antithetical to the image they're trying to create. It's the last thing they want, no matter how practical it might be. e) There is no single Wurly or Rhodes sound so I don't take much heed in claims of nailing it, one way or the other. Both offer a wide range. f) There are ways of expanding/replacing the EP sounds of the Kronos. I know of a few. g) Playing an instrument where your fingers trigger physical periodic vibrations is, and will remain special. Busch.

Sorry it didn't work out but not to worry. Finding good vintage gear takes time. I know you're in a smaller community but setup searches in your CL for "Wurlitzer electric", "200", "200a", "140b", "Wurlitzer piano", etc. You'll get an email any time one is listed locally. Expand your search range to neighboring communities. If you're willing to drive to Denver that should help out tremendously. Research the models and potential issues so when you try one out you know what to look for. If you really want to trade the Rhodes, then sell it off now and hold the money for a Wurly. That will give you more options. Personally, I love this whole process. It's far more rewarding finding these instruments, fixing them, playing/sampling/recording, buying/selling than to go into GC and buying new with a credit card. If you're smart (and lucky) about all this, you can make a little money in the process. It's taken me years to find certain instruments and others I'm still searching. Busch.

In the 80s, you pretty much had to have that damn CP70/80 if you wanted to cover AP material. The Wurly and Rhodes had their own sound. Busch.

You should have both. They're classics. Sounds like a Wurly better fits the styles the OP is up against. Dave's genre classification is on point. I never was much of a Wurly guy but do own a beautiful 200A. It's easier to find Wurlys that haven't been beat/gigged. The design with the internal speakers and music rack made it more appropriate for home use during the 60s/70s. Mine was never gigged. I wouldn't be too interested in a heavily gigged Wurly. Rhodes are different in that they're passive (exclude the Suitcase) and I'd be less concerned about external wear affecting internal electronics/components. I've owned maybe 20 Rhodes pianos (I've lost count). Everything from Sparkletop, and damn near every year between 1970 to 1984. Dyno, Mark V, plastic action MKII. I could pick up a Mark III tomorrow, but I'm not sure I want a Mark III. The Rhodes is socially more versatile than the Wurly, IMO. It can be bell bright or mellow as you want. Phaser, chorus, Wah and stereo vibrato have a bigger impact on the sound, IMO, than the same effects on a Wurly. With fusion, the Rhodes was absolutely a cornerstone instrument. I know of no genre in which you could say the same of the Wurly. But the Wurly has that wonderful funky, warm tone and it's great on its own. Again, you need to own both if at all possible. Busch.

Seems to be some confusion about Ableton Live, Kontakt and how these compare to arrangers and other hardware. The main difference between Live and arrangers is that though they are both pattern-based, Live's patterns are, for the most part, preconfigured by the user. You can trigger a pattern to play twice, then move to another pattern, but you cannot on-the-fly have a pattern play in minor vs. major or a completely different progression. With arranger keyboards, the chords and progressions can be altered on-the-fly. Also, Live can contain recorded audio as well as MIDI in the patterns. It doesn't matter. Kontakt is a sampler and doesn't really come with 1,000s of programs. Most sample libraries take a moment or two to load. Some take longer. Kontakt users generally load and then unload libraries, all of which takes time and in general multiple mouse clicks. It is possible to load several libraries into an instance of Kontakt. You would use an "instrument bank" to achieve this. You could then use MIDI program change to jump from one to another, much like a hardware synth. You are limited to 127 instruments. Programs are different in Kontakt vs. hardware synths. In general, within Kontakt the program settings and samples/multisamples are saved as one. It is possible to save variations, but it's only been in the most recent versions of Kontakt that they introduced the "snapshot" which is really the program independent of the samples. This is more equivalent to the hardware synth's programs. Still, most Kontakt libraries are designed to be virtual remakes of the original instrument and provide controls specific to that instrument. So you interact, dial in the sound for a particular session/track. With hardware synths, you have extensive number of FXs that can be incorporated into the program. Kontakt comes with some basic FXs, but most people add better sounding FXs via track inserts using other 3rd party FXs. Now the issue becomes, how does all this get saved as a "program." The Kronos, for example, comes with close to 3,000 programs. It would be extremely difficult to recreate all these sounds within Kontakt and have them available instantly as they are in hardware. Busch.

I don't think the high-end arrangers are as popular in the USA as they are elsewhere. I watch my local CL religiously and they are a very rare bird, whereas the other keyboards we talk about are here pop up regularly. I think I saw a Tyros 2 new in a GC years ago and there was a piano/organ shop that carried Roland arrangers but they went out of business. The cheap ones, sure, but not the high-end. Busch.

Take a look at the prices in the home organ market, or what they used to be. People regularly spent $10,000 - $20,000 and more. Ten years later they try to sell them on CL and there's zero market, lucky if they can get a few hundred for them. It's pretty sad. Busch.

As a song writer, and knowing other song writers, I can state that the arranger is definitely not their keyboard . I am sure there are some exceptions, but for the most part I do not agree with the article. Sounds like more marketing hoo-hah. Is it a Yamaha sourced article ? I think if you're the type of songwriter who writes more skelton songs, e.g. voice with acoustic guitar or piano, then an arranger makes sense. The expectation is other musicians will ultimately come and record all the parts, you've just written the core of the song. If you view songwriting as being responsible for all aspects of the final product, then there are better products and approaches. Busch.

If you're looking for a bottoms up explanation, i.e. the parts cost X, good luck. The only explanation is that history has shown Yamaha that enough people are willing to pay this price for this type of product. If that weren't the case, and no one was willing to pay the price, obviously Yamaha would either lower the price or stop making it. The bottoms up explanation is simplistic and doesn't reflect market reality. Why are people willing to spend more for Apple products? The reason is much more than a simple bottoms up calculation. Busch.

For a lot of traditional style home players, the arranger replaced the home organ. The home organ market is nearly nonexistent. As well these are popular with OMBs. The price of the Genos is right inline with the Tyros it replaces. The 61-key Tyros is $5300 vs. $5500 for the 76-key Genos. Busch.

I know, watts doesn't tell you a lot, But the combination of everything leads me to believe this is unlikely to be much like a twin reverb. And 85 is still a good amount more than 50. ;-) Is there anything close to a 9 pound 50 watt amp with an 8" woofer that really cranks (and hopefully sounds decent, too)? I'm not putting this down, I haven't heard it, but I'd be surprised if it could keep up in a full rock band. I don't doubt it's not going to be the loudest nor the cleanest, just pushing back on the idea that you need 1,000 watts X 2 nowadays to the heard. Rhodes Suitcase amps ranged from 50 to 100 watts. I used to run JBL SRX Series (the original passives) and they were hugely inefficient, though they sounded much better than cheaper more efficient brands. Busch.

A Fender Twin is 85 watts. Busch.

Don't know the details of editing internal vs. what third-party software is necessary. I am assuming this will be a long the lines of the Forte. Yes Nord has a nice editor for putting together a basic keymap. The other players no longer provide software like this and instead rely on third parties.

Flashplay is user flash sample area (2gb) where you can load your own samples or third party libraries. You can convert software sample libraries using products like Translator. It is not limited to a single velocity layer like Nord. You can create sophisticated instruments with it. I'll be looking at providing a version of my stuff for it. Maybe a slightly scaled down version of what I have for the Forte. Busch.

Patents and copyrights create a legal monopoly for the owner. The owner is granted, for a length of time established by law, exclusivity as to the market and pricing of the product, presumably long enough to recoup development costs and provide sufficient profit from his/her creation. But the expiration is designed to protect the consumer, who ultimately should pay market, not monopoly, prices. So when the patent for a drug expires, the generic drug companies come in and sell the same product at a fraction of the previous price--THAT'S A GOOD THING. Same is true with the many store brands and knockoffs you see everywhere. If someone happens to infringe, then it's up to the patent/copyright owner to take necessary action. But as a consumer it should be of no concern. Why fret about legal phantoms that dont involve you? I knew an importer of microphones who said a principal from Neumann would plop a cease and desist letter at every trade show booth that marketed anything thing resembling a Neumann product. The letter was impotent, but was their way of bullying/threatening. In Neumanns view, those large diaphragm mics should cost $3,000, not $300. I notice people dont seem as concerned when some startup/kick starter comes out with a cloned Mini Moog, ARP 2600, CS80, etc, but when Behringer does it, suddenly theres gnashing of teeth. A feel good, Samson v. Goliath-based ethics is groundless, IMO. Heres a Moog Prodigy recreation that just hit. http://www.synthanatomy.com/2017/03/ensure-sound-released-prodigy-er-16.html Busch.

On the Integra-7 SN-A PRST 0163 Harmonica SN-A PRST 0164 Southern SN-A PRST 0165 Blues Reed PCMS PRST 0247 Harmonica PCMS PRST 0248 Harmo Blues PCMS PRST 0249 BluesHarp PCMS PRST 0250 Hillbillys PCMS PRST 0829 Harmonica XV On the Kronos, go to OSC ==> OSC1 Pitch ==> Pitch (AMS: Velocity; Intensity ) Busch.

Agreed. Busch.

Here you go. [video:youtube] Busch.

Wayne Shorter just posted this on FB. We had to start somewhere before we got to the idea of weather and atmosphere and all thatso we thought of coming from a vacuumnothing from somethingand then we thought about our galaxywere on the outer edges of the Milky Way. So we thought of ourselves as seen from some all-seeing, mythical perspective, and then panning in and coming in closer, into the next cut and to humanization and realitySo instead of opening the album with a tune and everything that implies, from Tin Pan Alley to a classical concept, we decided on no concept at all except just as much of the universe as you can see. No matter how small you think you are, everybodys got a share in it. So we use sound to convey that idea; like all right, lets begin here. - Wayne I silently held a chord down on the piano and had Wayne play an arpeggio of the same chord, blowing his saxophone right inside the piano at the soundboard. The tape recorder was started on the echo at the end of the sound, not when he was playing. We played different chords and edited them together. It was definitely not magic. - Joe Milky Way (Joe Zawinul & Wayne Shorter) Joe Zawinul - Piano Wayne Shorter - Soprano Saxophone Weather Report Weather Report Columbia Records (1971) [video:youtube]https://www.youtube.com/watch?v=6-9OTaocdOE&feature=youtu.be Busch.

Try the Jensen Guitar samples. I licensed these from Jensen and they are available for free to Kronos users. It's a mix of acoustic and electric guitars. I prefer them to most of the Yamaha sounds as they aren't as compromised and some of the electrics are sampled through the amps. There are close to 200 sample libraries available at the Korg Web Store plus others for free as you can find at purgatorycreek.com and other places. The Kronos is an extraordinarily expandable keyboard. http://www.purgatorycreek.com/page17/styled/page14/page3.html Busch.

For my needs, I've found these full version products to be overkill. The $100 versions, Sibelius First and PrintMusic, are more than enough for charts, horn transcriptions, piano scores, etc. Unless you do big time scoring or have very specific/unique needs, you're often wasting your money, IMO. Hell the annual upgrades are often $100 plus. Busch.

Coincidently Martinic (the people who made the Vox and Farfisa plugins) just released a scanner/vibrato for $39 ($19.50 intro) http://static.kvraudio.com/i/b/screenshot.1461244295.jpg Like their GIF http://www.martinic.com/scanner-vibrato/scanner-vibrato_thumb.gif http://www.martinic.com/scanner-vibrato/ Busch.

Yamaha VP-1. Possibly two in existence. http://greatsynthesizers.com/wp/wp-content/uploads/2013/01/Yamaha-VP1-vorne-cut-900x550.jpg Busch.