Losendoskeys
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Posts posted by Losendoskeys
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Samson SM10 - unsurpassed features for a rackmount IMHO
Much easier to carry and operate a rack mount mixer and no chance of standing on it.
Advantage of this one is dedicated audio channels for vocal.
The SM10 features ten channels with 1/4" stereo line inputs and a balance control for each channel.
Two channels include XLR mic inputs. This allows you to blend the relative levels of stereo inputs to your liking. In addition, each channel includes a switch for +4 dBu or -10 dBV line level input.
For output, the SM10 provides electronically balanced main stereo XLR and 1/4" line outputs.
The SM10 provides versatile signal routing via Main Mix, Mix B, Monitor and EFX bus outputs, as well as low noise and discrete microphone pre-amplifiers with 48-volt phantom power.
Two auxiliary sends can also be used to route signals to external effects, or create a separate mix for on-stage monitors.
The SM10 features front panel headphone and monitor outputs with dedicated level controls. The mix may be audited with the SM10's 6-segment LED meter and a flexible meter/headphone source control.
http://www.samsontech.com/samson/products/mixers/sm-series/sm10/
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More than happy with my SKX and original Vent.............it's down to the law of diminishing returns and ear response
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Our Genesis covers have been flagged before now but I claim that we have paid PRS and we should entitled - the flag gets dropped :-)
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Never had an angle problem.
Quiklok Z726 does it for me and has done for years
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Hey mate - read this thread. Wonder if the same issue?
It wouldn't be that. If the samples are not loaded, reselecting the patch over and over won't force them to be loaded.
I don't have a quick answer for the OP... Is it always the same sound? Which one is it? Factory or your own?
After selecting it, and it isn't sounding, can you go to the proper Mode it comes from (Program or Combi) and then does it sound, or is it still silent?
If you select a Setlist Slot and it doesn't sound, and you go to another Setlist Slot and then back, it always will work?
Any other characteristics you can share?
Jerry
I'll check...........but this is correct " If you select a Setlist Slot and it doesn't sound, and you go to another Setlist Slot and then back, it always will work?"
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I tried this over on the Korg forum and got zero response, so I'll try here among the supreme beings
Recently I have had an experience where I select a patch in Setlist mode - the patch is selected but no sound is emitted.
If I reselect the patch it sounds.
Any thoughts?
I've tried deleting and reselecting the "slot" but the problem remains - it's with certain internal sounds
how complex is the ' program ' or ' combi ' ?
These are internal sounds with a couple of effects, not complex at all.
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I tried this over on the Korg forum and got zero response, so I'll try here among the supreme beings
Recently I have had an experience where I select a patch in Setlist mode - the patch is selected but no sound is emitted.
If I reselect the patch it sounds.
Any thoughts?
I've tried deleting and reselecting the "slot" but the problem remains - it's with certain internal sounds
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I have owned a Roland V-Grand for 6 years and absolutely love it - acoustic pianos sound tame in comparison to what can be done and the variation available
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Not a lover of live albums but this version of One for the Vine is beautiful with CP70...........[video:youtube]
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I would say that music often sounds best when played on the instrument that it was written on. There are lots of good CP70-driven songs around, many of which have been mentioned here. My personal favourites are those by Genesis, Gabriel, Collins, Vangelis ... honourable mention goes to Keane.
Great to see you on here again Joachim - still loving the ARPProS Rack+
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No matter how good these songs are .... they would sound even better on real piano. ð
Yepper. This is my feeling as well. Never owned a CP, but played 'em many times over the years, and ALWAYS hated the sound. I think though the reason for me is that I always thought it to be a crappy sounding replacement for a real piano, instead of embracing it it as it's own unique instrument.....
I respect your opinion but I think the CP was (is) a unique keyboard voice worthy of the hits they're heard in. At the time, IMO, it made the song sound modern.
ie. If you replaced Hold the line chords with a regular acoustic piano it might sound like a 50's doo-wop sound and certainly Toto could of used acoustic piano but they didn't.
On the other hand... Weather Report 8:30 or Herbie's 1977 VSOP, might of sounded better if they toured with a real acoustic, but again I like that they choose the CP as giving those albums a uniqueness to their catalogs.
And I don"t like Melotrons either. Those were terribly out of date Lo-Fi samplers. An original Ensoniq EPS smokes them. ðð
You may not like the CP70 and Mellotrons but millions of discerning Prog lovers do
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I gig with two of these Quiklok Z726, I also use them at home.
Easy to assemble/disassemble, very sturdy but not too heavy and infinitely adjustable.
a8hWPXV2zVJeLcOG-5soAs7fPiDeg6ktbVIr-ucHuiAVrKYN4n8JYDZiv5uJh2UpMdIhScsLkW1XGPbklVzVHg_zps62e5f21f-1_zpsbefc89d4 by Alan Pearson, on FlickrGear for Music:
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" ..BUT here's the thing: I REALLY don't like the action. it feels MUCH stiffer than I remember the Mojo feeling in the store..."
This has been mentioned in this forum dozens of times. I'm not sure how you could now be surprised by it.
I'm not surprised as such - indeed if you look at the beginning of this thread it was one of the things I asked about. But these things are hard to quantify until you actually play them yourself. So the Legend is heavier than the Mojo. How much heavier? There's no number for that, or for trying to predict how I will react to it.
As usual, none of these instruments were ahead of the others on every single specification, so I chose the one that I felt was ahead on the most. Obviously I would have preferred to play it first if possible, but as I said above there's literally nowhere in the country to do that.
Unfortunately action is a pretty fundamental factor - more fundamental than MIDI spec, number of presets etc. I'll play it a bit more tomorrow and see how I feel but if it's still not comfortable, it'll have to go back.
One thing that I did notice is that playing the lower manual was more comfortable than the upper, so I may have been sitting too low. I think I basically set it up so the lower manual was where I would normally have a piano keyboard. The fatigue in my right arm might have been partly from holding it at an unnaturally high angle for too long. Will have to experiment with this tomorrow. It's separating out what is specific to the Legend from what is general about moving from piano to organ.
I have followed this thread with interest - especially people tying themselves in knots to explain why one DSP is better than the other blah blah.
I've had an SK2 since they were launched and just changed to an SKX (see parallel thread)
Comparing the clones by spec (you won't be able to do so in ANY UK store) and on balance I could not consider buying anything else under the circumstances.
The Hammond sound, flexibility, MIDI spec, weight and the limited support available in the UK for anything else (even by Hammond) means this was a no-brainer choice.
I have an SK2 for sale on EBay at £650 below new price, in excellent condition - anything else is just a copy
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Rack shelf. Cable ties.
Ha, you've given me a clever idea.
I was about to order a rack shelf like you suggested, when I remembered that I have one of those 1u pull-out drawer things kicking about from ages ago. So what I've down is mount it in the bottom space, but back-to-front, so the back rack ears are mounted to the front of the rack and the drawer can be pulled out the back. That way I figure if I allow just a little slack in the cables between modules and power supplies, I can cable-tie all the power-supplies and multi-socket lead to the drawer, and then I can pull the drawer out the back if I need to tinker with anything, or just to get it out of the way when I want to repatch the mixer.
Yep - done that in mine for years - I've changed rack sizes several times but always end up with a tray in the bottom for power and loom leads with the mains cables visible, then you can push them back in or pull out in an emergency
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The SKX is now locked and loaded!
Sounds great!
An SK2 will shortly be available on EBay...........
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For me the simple answer is I don't want to get a PC out to tweak the sound in the middle of a gig!
I think the Crumar was most tweakabke but even if the Crumar could be tweaked to the same level that is the price you pay.
All good points, from both you and Jim. But for the most part, Mojo organ parameters you need the wifi editor to tweak are not ones you'd be changing mid-gig. Things like the drawbar trimming are not for at-gig manipulation. But if you do want a live knob for amounts of key click, leakage, or crosstalk, or how long "long" percussion should be, whatever, you could get it by plugging in something like a Korg NanoKontrol (because all those editable parameters have assignable MIDI CCs). It's not as nice as a built-in front panel knob, but the SK series don't have front panel controls for these things either (though yes some could be done through menu-diving... but I don't really see myself doing that kind of menu-diving at a gig either).
Horses for courses. I would just rather have access, albeit through menus, to everything all the time.
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"I don't doubt that the SK2/SKX can be a better all round option, I was only surprised that they would be found to be more tweakable."
For me the simple answer is I don't want to get a PC out to tweak the sound in the middle of a gig!
I think the Crumar was most tweakabke but even if the Crumar could be tweaked to the same level that is the price you pay.
You're right about the MIDI spec and the Hammond does allow me to run my external synths, which is important to me.
I also think the comments of the great Jim Alfredson shouldn't be ignored either..........
"Posted 31 Jan 2017
As you may have gathered asking this question in other forums / FB posts, it's a loaded question that contains a lot of emotional reactions, bias, and of course subjectivity. My own biases are towards Hammond Suzuki, since I'm an artist with them but I will preface that by saying that I approached them, not the other way around. And as of this writing, they have not given me any digital organ for free; I paid for my XK System that I used with organissimo and others from 2008 to 2012 and I paid for my SK2 that I use now, albeit a discounted price.
With that out of the way, I have played all the models you're considering with the exception of the KeyB Legend.
I currently have a student that owns a Mojo, so I play it several times a month during our lessons. Before I give my impressions, note that I have owned and used the VB3 software for going on 10 years. I still use it in some of my work today though usually it gets replaced by either a real tonewheel console or the Hammond SK1 / XK1c.
Concerning the Mojo, the short version is that I am not impressed by it. I think it sounds overly processed, the bass is rather flabby and ill-defined, and it has a strange latency that I can't believe other Mojo users don't notice. I honestly do not understand why it is as venerated as it is among organ enthusiasts. When I play it, I feel like I'm playing a synthesizer's idea of what a Hammond should sound like. I don't know if that makes sense. I think the chorus/vibrato is very good, the percussion is good, and the Leslie sim is good, but the overall tone and especially the latency or maybe better put the feeling of disconnect between my fingers and the sound really bothers me.
I will say this: Whenever I use VB3 to demo a song, when I replace it with either the real deal or the SK / XK1c, the replacement fits so much better in the mix.
The XK5 is a different beast altogether. It is way beyond the XK3c, which is a great board. If you are an organist, if you have any familiarity with the real console tonewheel Hammonds and how they feel, then you will understand why the multi-contact system in the XK5 is so important. If you've never played a real Hammond, then you might not understand.
I really think the XK5 is the best Hammond emulation on the market. But yes, it's expensive. And big.
The KeyB Legend sounds really nice but I think those two videos from NAMM that show Cory Henry playing both the XK5 and the KeyB Legend speak volumes. The Hammond responds like a Hammond should and you can hear it in his playing and how he plays it. The KeyB sounds nice but it doesn't respond like a real tonewheel organ and for guys like Cory that literally grew up at the console, that's a big deal. Playing a clonewheel changes the way you play. It's the same for an acoustic piano vs a digital piano. You have to play a digital piano differently than a real acoustic. Same for a clavinet. It's REALLY easy to emulate the sound of a clavinet yet nothing emulates the actual feel of playing one. And once you play a real one, you understand why it is played the way it is; why Stevie Wonder came up with those funky clavinet lines on Superstition and other tunes. The actual feel of the keyboard makes you play a certain way.
I'm still happy with my SK2. It sounds great. The XK5 is far superior though and there are moments in playing the SK2 where I try to pull off a technique that would sound so great on a real Hammond or on the XK5 and it just doesn't work. Case in point is this video. The sound, I think you'll agree, is killer. But dig when I do the glissando up to the high C during my solo at about 2:14 or so, it just doesn't sound authentic. This is because of how the SK2 and every other clone except the XK5 triggers the notes. On a real Hammond, doing a fast glissando like that would mean that not all the contacts under the keys would necessarily close nor would they close at the same time, making the sound almost like a 'wah wah' effect as you glide up. In other words, it would be more organic, less perfect, less stiff. "
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Hammond, Anything else is just a clone. ð
Correct!
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I looked at all the alternatives - Nord, Crumar etc but they could not compete with the SK2 for being able to tweak the sounds to your liking.
Are you sure about that? The Crumar is enormously tweakable. I think its "drawbar trimming" parameter is essentially the same as Hammond's "custom tonewheel set" functionality, and it has more additional controllable parameters.
I looked and the Hammond SK2 was a much better all round option.
Crumar is a bit player compared to Hammond in the UK - Hammond aren't that well represented and don't return support calls, so no brainer for m
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I've been an SK2 owner since day 1.
It's excellent in every way - lighter, cheaper but sounds just like a B3.
Keith Emerson would have had a field day picking it up over his head and dropping it on a knife.
As I play in a Genesis tribute band I have OCD about the Hammond sound I want.
I started out with sound modules like EMU and Roland and then moved to the XK3C, which was head and shoulders better than anything at the time.
I still have it, it still sounds great and with the lower keyboard is all you need for a great Hammond sound.
The SK2 is an improvement in sound terms and of course in portability. I already need to have a weighted board (Kronos 73) for pianos and 61 note (Kronos 61) for synth.
The advantage of the midi capability on the SK2 means I can also play pianos/Mellotrons etc on the lower keyboard if necessary.
I looked at all the alternatives - Nord, Crumar etc but they could not compete with the SK2 for being able to tweak the sounds to your liking.
I use it through a Vent, which is very good though not as good as my Motion Sound Pro 145.
As an acid test, we had Josh Philips of Procol Harum at our show last year - he is a Hammond afficiondo - he said he loved the sound of the SK2 and had no idea it was a "clone".
He said every sound was totally authentic - made my year.
I've just bought an SKX Black Edition and am in the process of transferring over my patches, as Hammond in their wisdom didn't provide a transfer method.
So far it sounds a little warmer than the SK2 and the layout is different but makes more sense for a live performance.
I like that there are more favourite sounds available too.
I don't trust software synths any more than I trust any other PC not to crash, certainly wouldn't take a B3 clone in software, give me hardware anytime.
My SK2 has never even blipped live after hundreds of gigs.
Get an SKX.
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Asking for a friend..........
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Do you use the 8pin cable on the SK2 to send audio and speed control to your Vent? I do and it works beautifully. I have yet to see an 11 pin version of the same made for the SKX although you or someone you know might be able to rig up something. It will be interesting to see if the 11 pin XK3C to Vent cable that was available for a little while will work with the SKX.
The XK3c to Vent cable works.
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Any link to this version? Can"t find it online?
Now you come to mention I couldn't find another one either - also odd is this one has no serial number..........
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Can't tell you if the setup files are compatible but as a longtime SK2 user like yourself who has looked into the SKX I have a few observations. You probably already know this stuff but here goes. It appears that the major differences between the two are the 2nd set of drawbars,the 11 pin leslie connector,and a slightly different front panel on the SKX. Supposedly the extra voices on the SKX have been tweaked to work better with the SKX keyboard although either SK's extra voices are often deemed mediocre.
Do you use the 8pin cable on the SK2 to send audio and speed control to your Vent? I do and it works beautifully. I have yet to see an 11 pin version of the same made for the SKX although you or someone you know might be able to rig up something. It will be interesting to see if the 11 pin XK3C to Vent cable that was available for a little while will work with the SKX.
My workaround for a second set of drawbars for the SK2 is a set of Ocean Beach drawbars left over from my Nord fanboy days. I had to reprogram them to work with the SK but they work great.
As for the organ sounds,they seem identical. Personally,I'll probably just stick with the SK2. I hope this has provided a little food for thought. Sorry I couldn't answer your main question. Good luck with your decision.
The SKX Black Edition has arrived! Looks resplendent in its all matt black attire, more chunky than the SK2.
The good news is that the cable which works for the XK3c also works for the SKX
The bad news is I didn't find a way to transfer patches and now I'm about 12 patches into a 40 patch setup
From a sound point of view I think Jim Alfredson is right - they have tweaked the VASEIII and it sounds warmer in the SKX side by side with the SK2
Roland FA series vs. JV1080
in The Keyboard Corner
Posted
I have had several Roland devices - JV1080, Roland XP30 (still have it) , XV (still have it), FA76 (still have it) and XV88.
There are a number of XP30s kicking around and fetching good prices on EBay - I'd recommend one of those, fantastic synth for sounds and playability