Aidan

Their customers (for this particular line) basically want a Montage at considerably reduced cost. Using external power supplies is one of the factors which make the keyboard cheaper. So actually, that DOES make sense for their customers. Really? I mean, really? Yes, it's a bit of a PITA for sure but 'non starter'? At worst, it means buying a second (light, cheap) PSU and adding it to your spares bag. I presume you do carry a spares bag with at least 'one of everything', yes? Tough crowd, as they say...

The thing I'm most excited about? Audio interface (and a place to put your computer) on a lightweight 88 is a painless way for me to begin using a laptop live. So any sonic shortcomings on the MODX can be addressed via MainStage.

Here's an interesting MODX video, in that it shows more of the programming process and interface. This thing is damn deep if you want to go there... [video:youtube]

Woody commented that the keybed on his 61 felt better than his MOXF. Don't know if that's helpful at all for you.

A more mundane (but accurate) reply

...and...I succumbed. 88 on order, mostly so I can use one keyboard for the Joni shows. Cheers Woody...my credit card salutes you.

Konaboy live streaming it now... [video:youtube]

Especially on a Saturday night gig with a crowd of drunks shouting over a Peavey PA.

Of course it is. That's business.

TP100s are not created equal. It's a mystery of the universe. It's long been a Nord claim that they customise standard Fatar keybeds in one way or another these observations would seem to back up that claim.

I never thought I'd see the day when people on KC were salivating about FM piano sounds!

Not wishing to hone in on either of those manufacturers in particular, but it does make the point that there are other potential costs to factor in when you ponder deviating in your choices from the products of the big corporations with multi-national distribution and service operations.

Scott, I certainly take your point on the maintenance thing (much as I would like a Rhodes/Wurli for the studio, my lack of practical skills is one thing which has put me off that idea) and the Hammond comparison, to some extent. But there are lots of other boards around many of them lighter and cheaper which offer a wide range of great electro mechanical sounds but also offer so much more. My CP4, for example, has models of 1971, 73, 75 and 78 Rhodes, plus a Dyno, all of which are pretty good and can be quite deeply edited to suit your taste. But it also has three really good piano samples and more. I'm sure there will be people for whom the Seven is a fit, but overall I see it as a pretty narrow market, sitting between two extremes the absolute purist (who will buy, maintain and gig the real thing, usually with crew) and the workaday road warrior who needs a board that will do most things pretty well.

Never had the pleasure, Gary, but there you go...

Isn't it really going to be the case that if your gig is so 'EP-centric', most players will prefer to use the real thing anyway, both for feel and authenticity? Sure, lifting and moving a Rhodes or Wurli is a two person job but it's not the same level of challenge as bringing along a Steinway. And there's still a reasonable second hand supply of vintage instruments in decent condition to feed the fairly modest size of that market.

Anything played through the amplification you mention (especially the first) is going to sound miles away from a real piano. I'm failing to understand the love for this, I have to say. Pug ugly design and considering its compass, in a weight category reminiscent of a bygone age.

Jahfume, under the UK's DIstance Selling Act, almost all online/mail order purchases can be returned within 30 days of purchase. You just need to make sure you read the small print regarding any restocking/return mail charges. Just as one example, Gear4Music is offering the SP6 returns are free and very straightforward from this seller, in my experience. In truth (and sadly for the bricks and mortar places), for experienced musicians in particular, this is probably the best way of buying a product, as you get several days with it rather than an hour or so, in the comfort of your own home where you're not dependent on crappy headphones or competing with guitars etc.

Oh dear, that 'Rhodes' sounds rather less than 'Superb' to these ears, I'm afraid...

One of the first synths I was ever exposed to was the Juno 60, and I used it to get some great textures that I used in the electro-acoustic stuff I was composing at university. So for nostalgia's sake, I have already looked quite closely at the Deepmind. You're only strengthening my GAS for this!

Chris Martirano doing his normal great demo job - the SP6 sounds really good... [video:youtube]

Has anyone looked at the Kurzweil line recently and thought it has just _too many_ products? Including the various keybed variants, I now count 21 keyboards in their pro line alone. While I know we get excited here about almost any new gear, from a business efficiency perspective, the above worries me. The SP6 is only just beginning to hit the stores, yet already Kurzweil is potentially diverting a chunk of its prospective buyers with the announcement of the cheaper SP1.

Hmm that guy looks kinda familiar...can't quite place him, though...

Bound to be Fatar. Actually, I think the keybed is one of the best things about the SK series, at least for organ playing. Very nicely balanced.

Yup, VASE III disappointing but predictable. As I said, I can't imagine Hammond will want to cannibalise the XK5 engine yet for fear of undermining that product's sales. It'll be interesting to see what they've achieved with the extra voices. It's at least useful that they've removed the restriction on combining types of sound (essentially getting one up on the Electro, in one sense at least) but the samples need to have improved dramatically.