TechEverlasting

Kurzweil has really messed up here leaving off the audio interface, I hope this can be rectificed. Kurzweils are some of the best MIDI controllers ever designed, it makes no sense to leave out the ability to easily interface with DAWs, MainStage and so on.

Just about any Kurzweil instrument that loads user samples (K2500/2600/PC3K/PC4/Forte/K2700) can easily be programmed to do this. Just add a Timp roll layer, set its amplitude to something like -70 dB and set Aftertouch as a source for Amplitude probably with a value like 80 dB. Kurzweils will give you a smoother response to Aftertouch if you use a "Low Pass" Function that has Aftertouch and something like 0.2 as inputs (I'm writing that from memory so experiment with values). I prefer to do this sort of trick by having sustain pedal bring in the roll - same technique, just have Controller 64 as source for Amplitude. No Fun needed. Timp rolls generally sound better if they start with a single attack, so no need to mute your first single hit layer. You'll get more realism if you have the roll layer slightly delayed. Another trick that adds realism is having a soft single hit triggered by the key release so your roll has an ending stroke.

I'll second the recommendation for the Focusrite Scarletts. I've used the 4i4 with lots of M1 and M2 Macs and MainStage with no issues. Here's a link to the 2i2 which should do everything you need. https://www.sweetwater.com/store/detail/Scar2i2G4--focusrite-scarlett-2i2-4th-gen-usb-audio-interface One thing to be aware of is that Focusrite seems to think it's a good idea to ship these things with the MIDI ports de-activated. I believe you have to download their app and activate the MIDI ports, once that's done the interface remembers it. I returned the first one I ordered because I assumed the MIDI ports were broken.

It's interesting that you mention reliability concerns. My favorite aspect of the RD2000/MainStage rig I was discussing is that if anything happens to the computer - a crash, power supply issue or whatever - all I have to do is press the "One Touch Piano" button on the RD2000 and I'm back up in about one second - no cables to swap. It's easy to access other sounds as well, you can even create a backup set of Scenes or Programs. I would be a bit worried about reliability playing a custom built keyboard entirely dependent on a built-in computer.

Indeed, the RD88 has what seems to be the same Audio/MIDI interface and will work with just one cable connected. What you lose versus the more expensive RD2000 is the two sets of stereo audio outputs, some of the sounds (athough the demos I've heard of the RD88 sound great) and the option to add the new German Steinway V-Piano. Also the RD-88 requires a wall-wart which I prefer to avoid.

I think the closest thing to what you want is a keyboard such as the Roland RD2000 that has a built-in Audio/MIDI interface. I've had great results with using the RD2000 with MainStage. Just one USBC to Host cable handles all audio/MIDI connections, I use the RD2000's audio outputs and can integrate the RD2000's internal Piano, Rhodes and other sounds into my Concerts. I can even pick which of the RD2000's two stereo outputs MainStage comes out of, in case I want to process internal and computer sound sources separately. I'm using an M1 MacBook Air, all I need is a very light projector stand to hold it. I believe the same thing will work on the Kurzweil K2700 and the Yamaha Montage and ModXs.

An oldie but goodie - I love Johnny Mandel's sparse but haunting score for "Being There".

One of the all-time greatest movie lines is Han Solo's "I know" in response to Leia proclaiming her love just before he gets frozen in "Empire Strikes Back". (Now that's a Star Wars movie!) From what I've read there was some predictable response in the script along the lines of "and don't you forget it because I'll be back etc." Harrison Ford came up the classic reply seen in the film.

To clarify, what I'm recommending is a Laser Imax presentation. A non-laser Imax 3D showing can be worse than any Real 3D screening in terms of dynamic range and black levels. Before the Lincoln Square Imax in Manhattan got its laser projection system it was truly dismal, a huge screen with nowhere near enough lumens. (Now it's amazing!) This is all a matter of putting out enough light to illuminate a large screen and overcome the light loss from polarized 3D glasses.

I think it's absurd for this type of movie to proclaim what type of camera it was filmed on when the vast majority of what you see on the screen was generated by computer. The main camera used for "Rise of Skywalker" is whatever MAYA rendering system they utilized. If you can find a Laser Imax 3D presentation of this film I highly recommend it. Unfortunately the polarized glasses used for 3D cut down the projected light levels, which in turn causes mediocre black levels in many "Real 3D" screens. It's like listening to a fine symphony recording on cheap earbuds. ROS has lots of gorgeous dark scenes that really benefit from the extended dynamic range and rich blacks that Laser Imax 3D makes possible. To me this movie is a gorgeous set of 3D images wrapped around a pedestrian corporate re-hash of various great moments from Episodes IV and V. Still a very enjoyable couple of hours in a theater.

I've been waiting for the Arturia V-collection 7 upgrade price to go down to $99, so I will finally be able to add the Casio CZ simulation along with the Mellotron and Synth to my Arturia arsenal. If they had priced the upgrade at $99 when it first came out I would have done it then.

I'm not sure if I'll want to spring for one of these or not. For the work I do the ability to save and load patches is essential, so I've already got a pair of Roland SE-02s which are awesome. Nevertheless this is a really tempting toy and an amazing value of $699.00. I don't understand how anyone could look at this little miracle and come up with anything critical to say, I just hope Behringer keeps it up.

Thanks very much for pointing this out, they just might get me to buy one of their dongles! I realize that this offer is rather like a drug-dealer handing out free samples knowing that they will create a few high-paying repeat customers...

Generally KDFX Leslie effects are used as inserts, which means they are dedicated only to one program on a single channel. It should be possible to set up a Leslie effect as an "Auxiliary Effect" which can be accessed from multiple zones in a Setup by setting one of each program's aux effect to 100% wet.

I'm just not hearing it with this instrument. Yes, the idea of polyphonic aftertouch is very alluring along with all the other fascinating bells and whistles, but I've yet to hear anything played on the Hydrasynth that I found the slightest bit interesting or inspiring. It all sounds like lame FM patches to my ears. I'm going to go watch a few more Summit demos, those make me melt.