Kurt W

MP11SE does not use GF Compact but the Grand Feel: https://kawaius.com/technology/wooden-key-actions/

Yes that's the one in charge

HW means hardware that is electronic components on printed circuit boards, internal power supply, wiring between boards etc. My view is like jyrkik; protecting against static discharge should be an essential part of designing any consumer electronics.

« the support department explained, is because it goes into 'protection mode' to prevent damage to the internal components» That explanation is strange. If it is a controlled shut down causing hanging notes how do it prevent the internal components? This is rather a question about hardware design an must be solved by the developer. At least you should be offered a return or upgrade.

+1

Will the CP88 triple sensor action give triple sensor functionality via midi when used as a vst-controller with Ravenscroft? First of all retrigger via the middle sensor?

Nice shootout Scott! Having had both the Electro 2 and now the Stage 3 as well as the most popular software versions my conclusion is: keep it in a keyboard! So much easier to gig with and more responsive and intuitive to play.

I have a Mojo61 and will not recommend using it for a dual manual setup without an extra drawbar set to control the lower manual. To me it is totally confusing to switch between using the same drawbars for two manuals as they are never reflecting the actual setting as already described. The problem is increased due to the fact that the selectors to switch between manuals are placed on different sides of the drawbars. The lower manual selector is also so close to the pedal selector that I constantly hit the wrong selector when playing in dim light. The Mojo 61 with the extra manual plus an external drawbar set will bring you in the price range of a dual manual clone with two or even four drawbar sets (Viscount Legend). The Viscount Legend Solo is an alternative for a single manual clone with two sets.

You are not correct when implying that Reezekeys are referring to unreliable facts. The delay when hardcopying data from a midi in to midi out port are in the microsecond range and totally neglectable when adding to midi transmission rate or midi latency as you call it. The reason for avoiding daisychaining is that the optocouplers slightly disturb the rise and fall times of the pulses, and this might introduce reception errors where the receptor might end up not detecting the correct bytes on the asynchronous data stream. It is not delay that is the problem but transmission errors resulting after several stages of optocouplers. The midi specifications does not restrict the daisychaining to three steps but state that if more you should use higher quality optocouplers in the hardware design. A splitter adds only one stage of optocouplers and minimize the probability of receiving errors. You make this theme more confusing than neccessary.

The second(digital) version of the Korg CX and BX are good controllers. Configurable midi controllers for drawbars and most of the panel, also trigger on the high point. The first edition also had an ultra light springed TP8O keybed (the edition with slightly lipped waterfall keys).

You can"t do the job this way, OP wants to «assign specific channels to each out».

Ocean Beach DB-1 Drawbar Controller handles the sysex messages needed for the Kronos. Not in production anymore but available second hand: https://reverb.com/item/11003078-ocean-beach-digital-db-1-drawbar-controller

This?

If the synth has hardware midi thru port the delay is negligible and definitely not in the millisecond range. However cascading midi signals may eventually cause errors due to the behaviour of the optoisolators. Accordingly it is not recommended to have more than 2-3 devices daisychained. A midi thru/splitter box resolves this.

All stage pianos seem to be based upon a keyboard trying to simulate an acoustic grand piano action. An acoustic upright has a very different action from a grand. I was trained on an upright, the school had uprights and even now in my sixties only have played a couple of old, bad treated, cheap grands. The action on any piano varies wildly with quality of craftmanship, price, age, lack of regulation, bad environments etc. Additonally each players differs, some are highly classical trained some selftaught, some play many hours per day, others weeks between. In the end it"s up to yourself. I have a Schimmel upright, a Kawai MP11, had a Yamaha CP4 and a friend has a CP5. Fun to play all of them, but all feel different. I think you have to play your alternatives and simply choose the action you find most pleasing unrelated to static touchweight, length of pivot, graded, ungraded. Anyway you will adapt to most actions even the ones considered to be bad.