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.

Bad Mister is a Yamaha representative, his statement does not exclude that these actions are the same: The new CP88 has NW-GH and the same triple sensors as in the CP4 STAGE, but the CP88 has textured keys ('Synthetic Ebony and Ivory Key Tops are lightly porous which adds grip to the keys.') https://www.yamahasynth.com/ask-a-question/cp88-keybed

Could it be that the CP4 is well broken in? The actions on the CP4 and CP88 should be identical except for the simulated texture of the key tops: https://yamahasynth.com/ask-a-question/for-cfx-sample-users-aren-t-the-cp88-and-cp4-almost-identical

Some use Neutrik speakON connectors like these: https://www.neutrik.com/en/neutrik/products/speakon-loudspeaker-connectors/speakon-cable-connectors Here are some photos of amps with this type of connector: https://newtone.no/products/aftermarket/ However I am not sure whether it is due to durability or reliability they are used. The original Leslie connectors must have been designed about a century ago.

The comparision between the Electro and SK Pro is not relevant. The SK Pro has C3 chorus enabled, the Electro not.

Seems you got yourself a harem Dave.

I still think their consideration mostly are what they have is good enough to not influence their sales. If a better B3 implementation was considered as mandatory they would have bought the knowhow and if needed made the necessary platform adaptations. Elvio Previati is behind the Viscount Legend and could surely been the man behind a Yamaha Legend. Just my humble opinion :-)

The HX3, Crumar Mojo and Viscount Legend are all more or less one-man projects. Korg developed a passable B3 model twenty years ago and still use it. I don"t think the others are unable to do it, but they rather don"t consider it necessary or important. The Hammond afficiandos probably is a so small, aging group of potential buyers that they simply don"t influence much on their sales. Considered a YC88 as I either use a real Leslie or a Vent but the lack of routable audio outputs stopped the interest. The Stage 3 Compact on top of any 88 keys controller still rules for me. But hope they will develop the B3 and sampler section further on a Stage 4.

Flashback to the neighbor girl playing Raindrops Keep Falling on My Head on her Yamaha Electone B-4DR.

In my world none of these boards are compact or lightweight. The Kronos 61 is 14,3 kg, a Stage Compact 73 weights 10 kg and might be more acceptable.

The CC"s are not edited per program but in the CX3"s Global Mode. The manual describes the procedure to save the edited global parameters on page 21: https://cdn.korg.com/us/support/download/files/75125fa07835b1450357758751304a2f.pdf?response-content-disposition=inline%3Bfilename%3DCX3_OM_E4.pdf&response-content-type=application%2Fpdf%3B