hardware

Was hoping for a better Master MIDI Control module. Love the idea but with a Physis K4, I"d rather use Legends sounds inside of the K4. Thanks for the vid though.

Dr. Mike, I would love a link to your WaveState vids. I bought one and hacked off the keys so it could be semi flushed with my K4 Controller. Finally have some gigs coming up that will be more EDM/HipHop instead of (yawn..yawn) the tributes ..again.

Can you please eleaborate on this a bit more ? I´d be interested to know what this "patch box" is, how it works functionality wise and how that "PA Feed" is added. When you have a diagram, I´d be interested to have a look. Is Scope/XITE involved too ? thx in advance A.C. XITE-1 is the ultimate router for any stage scenario. PA feeds into it via AES/EBU, XLR, TRS via A16U, or ADAT, depending on the Midas, Toft or RCF mixer choice. Patch box is just a touch of everything to everywhere also. I can change any outgoing or incoming signals from my K4. Really helps out when players change their levels and claim they didn"t touch anything. Don"t bother me none, I can control the PA levels via MIDI as well. And again Al Coda, SR Pro can store entire projects as a preset so I can even decide to knock out vocals when I get annoyed. Usually I set and forget. IEMs knocking out cymbals is most enjoyable too.

Anyone using Omnisphere Multi with Keyscape can use this to avoid loading a Rhodes or Acoustic Piano more than once. First off you must load Keyscape from Omnisphere browser to assign the MIDI CC#"s as the GUI disappears to the Omni GUI once data is saved. Try the LA Classic Rhodes first since it has more FX options, Grand Pianos are a breeze in comparison as their FX are more basic. Load the Rhodes into Part One of the Multi, go to FX Selector and right click on first option, notice MIDI Learn option, give it a CC# you choose, then assign 0-127 that will take you through all of the various choices from Panned, to choruses, phaser, tremolo, analog vibrato, etc. Reverbs can also have assignments and selections/values. This avoids the long loads (even with NVMe M.2"s). Rhodes doesn"t need reloading to access various Rhodes Panned, Rhodes Chorus, Rhodes MXR-90, etc. Whenever you want the Rhodes or C7 Grand it is now loaded. I use Part 1/Part 2 (MIDI 1/2) for these, then 2 other channels for Omnisphere Presets. No more annoying dropouts, no glitchy crap from 'dynamic loading' just to have another preset with a different FX choice. After no gigs for a year I had time to finally learn some software tricks. Couldn"t rent rehearsal spaces either. Vegas went dark. So for guys like me using hardware analog and PC for samples, hope this helps.

Aspen Pittmans Space Station for my mates since it throws the sound around the room when placed right. Henry Engineering Patch Box for my IEMs with a PA Feed added. Always used a PA until I tried this.

The Three Fates by Keith Emerson, middle section Clothos. I know it"s not a jam/improv type piano solo, but always a pleasure hearing his chops on that.

I use an 18 year old SurgeX SR115 and in another rack the short depth Trip Lite. Also a pair of Trip Lite strips when needed. I didn"t like Furman PL8 + after the light tubes couldn"t be fixed. Told me cutting corners was in play. But Strips for power use quality parts so I"m sure they"re good products since they sell well.

Even my K4 has software issues but thankfully only during programming. I replaced the entire knob/button/fader board and still slider 8 and 9 tend to switch back and forth so I have to keep moving the slider slowly while changing MIDI CC or whatever controller I assign. It"s random but must be watched lest you screw your FX or mixer channel in live mode. Two handed editing is the work around. I even bought a second unit for rehearsals and after a few months it replicated the same issue.

Only in the beginning, then you learn to use your hips.

Anything goes in new style country. Loopers are becoming popular too at the Nashville airport. You"ll never see so many people carrying instrument case or live acts, grand piano. Getting stuck at airports is a drag except in NashVegas.

Since the mid 90"s I looked to replace the B3 management provided and exhausted all options, even 4 different pedals, motion sound rotary cabs, etc. HX3.5 was my final stop, even the HX3 wasn"t quite there, but their devotion to details provided by users and is as close to the Hammond you"ll get. There are others, even software versions that get close. We are at least spoiled by options unavailable 25 years ago. My opinions are always based on how it sounds through cabinets and not IEMs or headphones. I suppose having your own OS free from a one size fits all approach might have something to do with live sound. I just get frustrated with a sound that seems to emanate from behind the cone instead of in your face. Ferrofish uses the DSP version from 1998, with some new tweaks to the hardware by Juergen Kindermann who was on the original DSL team, but master of Converters, which are so good, I still haven"t upgraded to the A32. I use the 20+year old A16 Ultra with impedance switches for pedals. Sounds as good as RME and MOTU hardware made now. So while the B4000 is nice it"s better at distorted tones to cover up the original tonewheels that sound like a German Home Organ or Wersi. The new Ferrofish converters though are Top Shelf, and sound as good as 4-5000 dollar models. Same as the old Creamware converters being as good as Apogee back in the day. They were so good Bose bought out all of their remaining units which nobody knows what for unless the powered pole cabs copied the design. We are spoiled though. After 15 years of frustration there"s a choice for everyone. Gave Fun.

I tend to agree about its tone and using cleaner sounding OpAmps. Since they worked so well on mixers of the era it prolly seemed a wise option. The Behringer MonoPoly sounds very similar, which is why Behringer would likely pass on it though. One thing is certain, Behringer resources and acquisitions makes them a perfect choice to create the Synth of Death once they run out of clones. My guess is somebody is submitting designs for R & D. I"d love to get rid of my PC"s and modules for an all in one synth. Kronos is really a good option for now, but I"m a B3 and Horn Section lover and keyswitched Chris Hein Horns is noticeably better, as is the HX3.5. Guess I"m lazier these days, but still can"t let go of quality sound. Thankfully after years of using Omnisphere and ZebraHZ I can get pretty much everything I need synth wise. I got 10 more years of motivation left, Really want the all in one.

Color My World by Chicago, and anything by Leo Sayer. Whiny love songs for 200. Who was Leo Sayer. Yes, that"s correct.

EML-101 is a really powerful 4 Oscillator synth w/ MultiMode Filter. It"s duo phonic capability really is unique, especially holding down the root and hitting 5ths or Octaves. It would be a great candidate for a clone due to having the ability to have 2 Sub Oscillators and 2 OSC" s for waveforms. HipHop guys don"t know what their missing as this beast can do 808 style including the kick transient. Definitely a cone killing beast.

I think they"re on their way to the era of big poly synths that also do gigantic monophonic needs. MemoryMoog would work. Don"t need the EML-101 though. Found a mint condition with all original knobs, etc. at a Pawn Shop 15 years ago. Never heard one, never even knew it was made in Long Beach. Got lucky.

We"re to the point where the software and new hardware both sound the same. Sold my vintage gear, even though it sounds much better than newer hardware and software. Just like lugging around a Master MIDI controller and a PC. I prefer the endless mediocrity of software because it"s a quick set up/tear down. Behringerheim sounds pretty good though. Much better than the CAT knock off.

I like the box. When I replace my Physis K4 it will be a good choice.

I gave up looking for a Physis K4 replacement. Bought a new spare and enough parts to replace or swap anything. Hoping for this to be equivalent but 4 zones is never enough. I layer EPianos, Pianos, Electric & Acoustic GTR"s, Horn Sections alone are 4/6 zones. Forgetabouddit. I have a Maschine + coming. I"ll program everything and sit at the bar in 2021.

Dragging gear around to events can be hazardous. I got 6 years of easy money w/ my Physis K4 but noticed (only during editing/programming) faders bouncing from #8 to #9, and going from perform to view mode. Can"t live w/o the K4 so I ordered spare parts for it and it"s spare since they"ve been discontinued, unless you want weighted action & sounds for 2k more. I am way past using a different keyboard now. Spares & parts for me.

Great to hear. No fuss with me now either. Phasing option is separated from the lower baffle, so lower and upper C3 can also be separately adjusted. So many damn parameters I"ll be busy for a while. Cheerz

Well loading the Panel was the way I figured this out. Just keep all MIDI hooked up and add the USB, then fish through here. I put the Phasing on weak and selected ensemble under Bohm, saved preset. Voila.. Anyone who kept their HX3 that likes that traditional tones from Earl Grant, BookerT, plus Classic Rock Leslie tones should for the upgrade. I no longer use Vent 2 or MiniVent. Great pedals but just not needed with new CaM Rotor.

Anyone else here upgraded to new HX-3.5 hardware? If so have you figured out how to combine the C3 vibrato along with phasing options? Seems I lose C3 when adding phasing option. I use to use a Phaser on the old HX-3 because the horn needed that slight coloration, especially on Classic Rock. But the new option is so much better than 4/6/8 pole phaser. It really nails the 147 or 122 horn really well. Just want to make sure I can still have C3. It sounds like it"s in there but so low in volume it actually muddies the sound. It"s the last little tweak I need and there"s so many damn good tweaking options now it"s a new language. Plus I can mail back the extra module and spare motherboard to Carsten/Christian. They"ve been incredibly helpful with everything. The new editor is so much better than the last one too. Cheerz

I get more sound for leads from ZebraHZ than my hardware. But my hardware CAT and SE-02 especially on Bass can"t be touched by software. I"ve had ZebraHZ for so long it can do just about anything. Even though it"s not my bass synth it does the 808 Kick layer, and Super Fat 4 Osc Mono. Never use to be like this but ZebraHZ is a beast of a synth. So big I stopped using Omnisphere but run Keyscape through it. You might like CAT though. Just no presets which is as useless as tits on a bull.

I wish I could use low cost plugins Live. FL Studio with auto tune and vocoders sound fine because you can crank them, EQ, merge copies for thicker sound, etc. Live those dogs won"t hunt. To get them to work you need so much gain and EQ you start getting feedback and crappy artifacts. TC VoiceRack with the programmable MP75 mic and an EHX V256 sounds awesome and super thick. But damn, it cost me 1300 bucks. Even my foul voice sounds good. I was a singing fool for a few days. It"s the same with a software talk box compared to a Dunlop or other hardware pedals and a Guitar.

App£ could make a custom OS for Logic and EXS that would be so much better than iO$ or Micro$oft. ASIO limitations are basically limitations of the OS which is why composer and orchestral instrument library users need VEPro or 16 Core Space Heaters. Years ago @ AES I saw Merging Technologies bypass Windows and the process only allows stealing a single core of an i7, but that single core was dedicated to their app called Pyramix. Plug ins on 64 stereo channels, tons of VST"s {proprietary}, but still it demonstrated to others and myself how useless these one size fits all OS"s are. I use an XITE-1 which allows a few lines of code to operate so my mixing and use of soft synths is twice the amount if I used a DAW instead of Scope/Bidule. So I am anxiously looking for something more customized before I make a move. Always wanted to use ESX, the best software sampler out there IMHO. App£ ARM CPUs would be great if a custom OS was used.