Dave Weiser

Very interesting stuff regarding spring tension! I think it merits a closer look. When I was at Kurz this topic just didn't come up in the meetings I attended. It wasn't due to lack of interest, but due to the fact that we were a small team that was stretched thin, with all of us already wearing multiple hats, working 80 hour weeks and barely staying afloat with our workloads. We were constantly overwhelmed. I'm sure at some point the hardware guys chose a specific model, which I'm pretty sure was TP8 piano. I do remember hearing about slight changes being made in the Fatar boards that were supplied to Kurz - the only memory that's semi-clear is that there was a change with the TP9 synth action at some point. I don't know if Fatar is going to do anything differently, or respond in any way to requests on this topic. I definitely think you guys are onto something, and I trust your judgement; I'm pretty sure that I'd be sold after playing the lighter-sprung version. But I'm guessing it might be a tough sell with Fatar, as they can say that there are thousands of players out there using the TP8 with the standard issue springs who are perfectly happy. While I think this is the case, it doesn't take away from the fact that what you guys are proposing would be an improvement. For now, I'll check in with the guys at Kurz R&D and some friends who work for other manufacturers. I'll also check with people at some of the bigger Kurz distributors to see if any of them have ever started this conversation with Kurz or Fatar in the past.

Thanks for the kind words, Larry! Regarding actions... I'm a huge fan of the weighted TP40L used in the Forte, PC3K8, and K27000. But when I was at Kurz R&D and testing/playing different boards with different actions all day, I learned to adjust my playing so that I could manage a gig on most of 'em. I always thought the TP8 semi-weighted action (Artis7, PC376, PC276, K2600 76) was fine, but man oh man that action has a VERY vocal contingent of folks who don't like it one bit. Of course I also know a bunch of cats who swear by it and would love to buy another board with that action. From the development side of things, the TP8 can be tough, because of its cost and weight. It doesn't shave off enough in either column. I think there's an expectation these days for a 76 semi-weighted board to be a good bit less expensive, and a good bit lighter than its 88 counterpart, and the TP8 can make this very difficult or impossible. IIRC the TP8 has steel flanges that run the length of the board, making it heavy enough to require a somewhat heavy/sturdy enclose onto which it can be mounted. The Medeli actions in the PC4 and PC4-7 on the other hand are lightweight enough that they can be mounted on plastic enclosures with no fuss. I'd be curious to know how people here feel about 76 semi vs 76 fully weighted? I personally prefer fully weighted, but I do understand that for a variety of reasons, some players simply don't need or want a weighted action. I loved gigging with my old Ensoniq KT76 back in the 90s, and these days I love my trusty Forte7, with a killer hammer action in a board that fits into a 61 note flight case. If I were going to use a PC4-7 myself, it would probably be as a top board, for synth, string and organ parts, etc., with something fully weighted on the bottom. It would sort of take the place of a 61 for me.

It's not fake, but it's not overly honest in my opinion. Some context: Here's anther comparison with the newer Kurz strings (Forte/SP6/PC4/K27) vs the same patch on the K2661. I've spent a lot of time with these samples - 13 years at Kurz R&D and now 10 years working on theater shows...I can safely say that the new stuff is far better, with a broader and deeper selection of higher quality samples. Still not as nice as GB sized libraries, but there's no comparison. The Sp6 stage piano featured in the youtube video is a stage piano with just a handful of string patches. The K27 has hundreds. (The patch I used exists in all new Kurz models.) Here's my comparison video: https://www.facebook.com/weisersound/videos/257585596419599/ Oh, Dave, I wasn't even imagining that posting this video will encourage you to record something in reply. Thank you very much for the effort. I just found that video on YouTube and was curious about comments from forum members about this. New instruments must have better samples and new possibilities added. I think the point of YouTube video was to compare output signal quality only. So I am not sure that can be made by playing different samples. Even in the video the patches names are different, despite sounding close. But there are some factors Scott mentioned that could ruin the whole experiment: I assume it's real. But here's what I just posted there: "In general, newer Kurz models do include sample sets from earlier models, so I would not be surprised to find a sound in a new model that sounds like a sound in an old model. (In fact, that sample compatibility is why you can often load programs from older models into newer ones.) But to the extent these do sound similar but not quite identical, even if these two patches do use the same samples, there are reasons they could sound different. You disabled effects, but did you check to see if the EQ settings were the same? Also, I'm guessing you played each of these two sounds from their own keyboards, right? Sound will vary with velocity, and so can easily play differently from the SP6 hammer action vs. the K2600 semi-weighted. So besides checking the EQ, to see how similar or different these sounds really are, you could try running MIDI cables and see how each sound sounds when triggered from the keys of the other board. Or, send the same MIDI file to both." It would be excellent to put exactly same Pachelbel Strings patch into SP6 or PC4, then play exactly same MIDI data from both boards K2661/2660/2660X and SP6/PC4, record it from outputs in same way. To compare only the final output signal quality and to definitely finish all discussions and doubts. I don't know what that guy from YouTube made to the sound. He could even intentionally adjust sound after recording, I don't know. Here we have a demo from Poland (by muzykuj.com). which compares current generation with something older - PC4 vs PC3, and to my ears newer sounds are just better, more open sounding, with more details. that video looks much more honest to me. He told in the video that he's not triggering sounds from same keybed, to make viewers more aware of it, but I think he did his best to play both boards with same velocity. I am not trolling anyone. I hear you man, and you make some good points. I absolutely don't think you're trolling anyone. But there is a bit of context/background that you guys might not have re the Youtube video: The guy who made the video was a bit of a troll on the Kurzweil FB groups, and sadly it was a very rare instance of a group member being cordially invited to leave due to horrendous manners and tendency to pick fights. You can see for yourself in the Youtube description, where he wrote: "To me the K2600 is far superior and unfortunately it is the last REAL Kurzweil instrument." I made my videos over a year ago in response to this video being posted on Kurz FB groups, mostly as a way of showing that comparisons of this nature, especially when framed in an adversarial way, are kind of meaningless. Several of us on the FB groups tried to reach out and work with him, I sent him my custom sounds, we tried to engage and assist. I'm sorry to say the guy seemed to be impervious to both kindness and facts, and our efforts were met with the online equivalent of a .

Correct - same samples from PC3, with solo and section strings. I believe the newer boards do have some additional new string and orchestral programs not found in the PC3. Whichever board you go with, feel free to shoot me a message when you get it, and I'll send you my custom sound file. I've got a few very useful string programs based on the stuff I use on Broadway. weiserdav@gmail.com

Yes Jean is still with Kurz, he's one of my favorite people in the world!

It's not fake, but it's not overly honest in my opinion. Some context: Here's anther comparison with the newer Kurz strings (Forte/SP6/PC4/K27) vs the same patch on the K2661. I've spent a lot of time with these samples - 13 years at Kurz R&D and now 10 years working on theater shows...I can safely say that the new stuff is far better, with a broader and deeper selection of higher quality samples. Still not as nice as GB sized libraries, but there's no comparison. The Sp6 stage piano featured in the youtube video is a stage piano with just a handful of string patches. The K27 has hundreds. (The patch I used exists in all new Kurz models.) Here's my comparison video: https://www.facebook.com/weisersound/videos/257585596419599/

Sorry you're not feeling it with the PC4. If you still have the unit, feel free to shoot me an email and I'll be happy to share the custom sound set that I usually give to my own PC4 customers, free of charge. It includes gig-ready pianos that cut through a mix without having to be cranked, better EPs and Clavs, lots of analog synth stuff, plus a few sounds that I've created for Broadway shows and big rock acts. Also includes improved versions of some of the old factory sounds that I made for PC3 and Forte back when I worked for Kurz R&D. This offer is extended to any and all PC4 owners on this group. I've also got similar custom sets for Forte and SP6, and a smaller one for PC3/PC3K. weiserdav@gmail.com

Two words: Electric Kazoo. https://www.facebook.com/david.weiser.73/posts/10222796027981673

Found some fun and inspired keys work in a somewhat unexpected place - Jack White's album from 2018, Boarding House Reach. For my sensibilities, it's a perfect combination of classic sounds, original and clever production, with a healthy dose of weird interwoven throughout. I thought some of you guys might get a kick out of it. Here's the one with the Clav, more of an instrumental: [video:youtube] Lots of cool keys on these as well: [video:youtube] [video:youtube]

You are a bad man.

[video:youtube]

We recently welcomed a new addition to the music room here.... a near-pristine Wurlitzer Model 200! It's not the 200A, which is fine for me, as the A is known to be a bit brighter and cleaner sounding. This little beauty sounds naughty, and I'm in love! It was one of those scenarios I usually only read about: a friend with a local choral group in my town asked if I'd have room for "an old piano", since the thing was just sitting idle and taking up room in their rehearsal space. Still pinching myself! https://www.facebook.com/david.weiser.73/posts/10222652653277395 https://www.facebook.com/david.weiser.73/videos/573401100701245 https://www.facebook.com/david.weiser.73/videos/522111088845669 [ugh looks like we can't embed Facebook video?]

I'm playing The Ascent on Xbox One...and it is freaking glorious!! Great pace, great world, just enough retro vibe to feed my soul. [video:youtube]

While some of the workflow was designed in the 90s, lots was added, tweaked, improved and perfected over the years, and the biggest thing for me is that most of it was designed by musicians. On some other boards (and many VSTs) it's pretty easy to spot UIs and workflow that was designed by software guys, without musicians. I remember back in 2005 when I thought I was going to be laid off (during the bankruptcy), one of the big manufacturers sent me their big workstation and asked me to see what I could do with their EP samples. I created a preset and chose a two pole filter. The system allowed me to assign a single slider. Or velocity. Or Modwheel. It was so limited compared to the Kurz that it was felt non-programmable. To their credit, this particular manufacturer did have some nice samples. But even getting two control sources (one with depth control) for a filter, like you find VAST, was not possible. If you're looking for a source of VAST programming insights and inspiration, ranging from cool to bonkers, I recommend perusing the many videos on the YouTube page of my buddy PoserP. Tons of interesting and clever tricks presented clearly. https://www.youtube.com/channel/UCRE_HYV3EgGsHAZz5BXk8ag The tutorials on my Weisersound page are other end of the spectrum, not groundbreaking or experimental, focused more on practical stuff that players need to for GB and theater gigs. This one shows how to set up mapped chords, which is incredibly handy for theater players who have to conduct with one hand.

I'm with you on the 1- and 2-pole filters with no res seeming kind of boring. At one point I even lobbied to remove them from the DSP list back when I was a Kurz, thinking that people might complain that they seemed old and boring! But...it turns out those little 1-pole filters can be useful, especially in acoustic type sounds. It's nice to have the option to tag on an "extra" filter in a layer where you might already have a 2-pole filter. I used the 1-pole high pass quite a bit to thin out EPs, strings and other assorted stuff, in layers where I already had quite a bit going on. The DSP guys tried to strike a balance between practical and exciting, but always wanted to do more. I do quite like the "Mogue" 4-pole with feedback that they added for the PC3, as well as the shapers, wrap and quantizer (bit-crusher). Keep in mind that the DSP guys also had to devote a bunch of time to non-synthesis stuff like half-damper and string resonance, both of which they nailed. The VAST envelopes are slow, and I always complained about it when I worked there... but I'm glad to see that the new FM engine has much faster envelopes (and can produce some very nice analog-flavored sounds!). I'm with you on release velocity being useful! Assigning it (along with a randomizer FUN) to blast open the filter on my "squeak" release layers is one of my favorite secret programming weapons.

Great to see/hear you playing the new axe!

Can´t wait until it´s available in europe. I regret I cannot get Dave´s service and additional soundware when buying here. A.C. I'll always be happy to share my sounds with anyone on this forum, free of charge, regardless of where you purchase. Just shoot me an email. weiserdav@gmail.com I don't make my living from sales, always happy to give back to the most excellent Kurzweil community and to this kick-ass forum!

Holy sh*t this is so cool! I love that it's not just the another all out chops-fest, though those are fun. This one is more like a love letter to the piano. From a kid who has to butt-scootch to get from the high keys to the low ones.

Wasteland 3...and it is freaking awesome. Gameplay and world-building are insanely good. It's an updated tribute to the old Infinity engine games like Fallout, Fallout2, Baldur's Gate, etc. It's got some deep cut and delicious references to pop culture, from '80s pop songs re-worked as Johnny Cash ballads to the Red Rider BB Gun, to straight up references to C.H.U.D. And who can forget the Frozen Ferret Launcher?!!

Can't tell you guys how much I love this thread! My wife Sarah is a principal scientist with Pfizer, she's been working insane hours on the vaccine rollout for that past nine months or so. Her area of expertise is how to get something out of a pristine lab environment and into something that can be deployed reliably in the field. I got my first poke on Monday, was absolutely surreal to have her sitting in the car with me at the drive-up clinic. (Just in case I needed anything else to make "keyboard programmer" sound frivolous! ) I saw a few comments here about the speed of development... One thing that really helped in this case, and it was just luck, was that Biontech already had a vaccine in the pipeline for a similar coronavirus. It was still a sh*t-ton of work, but not as massive an undertaking as having to start from square one. I always show Sarah posts and threads like this, and it always makes her day and helps keep her going!

Rob, the guy behind this little gem, just posted some cool photos showing how he makes 'em. https://www.facebook.com/rob.hoyt.54/posts/2801792620085576

A while back I recorded a quick little thingy with my VA1 prototype. Sloppy and very much un-quantized, but had a blast banging on one of my favs from Herbie's Manchild album!

Oh man that's dynamite!! Freakin' kids these days...

These are mind-blowing stats! I do think it's helpful to remember that back in the day, the revenue from most record sales went to record companies, while artists made most of their money by playing live shows. That's sort of how it is today - most acts, great and small, earn their income from touring and live shows. I do miss the curation provided by rock radio stations back in the 70s and 80s, it's how I discovered some of my favorite albums, like Close to the Edge and Trick of the Tail, as a kid. Of course nowadays the classic rock stations have become the "Bob Seger/Bad Company" channel. But on the bright side, we now have gazillions of options for hearing old gems from any genre on satellite radio and even more chances to discover cool new stuff on Youtube. People do still seem to like live music...and hopefully they'll appreciate it even more after being stuck indoors for the past year!

Spot on as always! As a retired waiter, I might be inclined to bump #8 up to #1 and expand on it. It's been scientifically proven that people do better work when they've been fed cupcakes, pastries, lunch and beer. It's always worth it.