Artomas

The Grateful Dead used to have fire shooting out over you, and dragons, and they could turn people in the crowd into ewoks and wookies and they'd get tentacles, and they could make it rain or the sun come out, like if they played Looks Like Rain or China Doll. They had a giant screen too, but most of the visual fx weren't on the screen. You know, I think The Sphere could make that sort of thing happen, too - they just need to bring the right bands in. Or better yet, the right festivals. The Burning Man people won't go back to the Black Rock "dry" lake bed next year, right? I mean, they're not stu... well, okay, if they decide not to go back, maybe the Sphere can host Burning Man? If Sphere were to host it, they could log the biggest BM ever, right in the heart of Vegas! Let's do this, Sphere!

We just need to pass a law - maybe call it the Nostalgia Act, to remind the congress of their roots - that makes it so they can't enforce sex and drug laws, involving adults, within earshot of official live music. A porch jam, or someone practicing, wouldn't count. It would have to be a house party at minimum... or maybe only licensed venues. We'd have to work out the details and exceptions and so on, but I think this could really suddenly increase the demand for live music. Culturally, in the US, it's not really that farfetched from how people already kind of expect things to be... you just codify it, make it into the law of the land, is all. I mean, if you want to increase the perception of that people have concerning the value of live music, well, there you go. I know it's "all about the music", but it wouldn't hurt to remind people of the sex and the drugs, too. Instead, people are like, "WTH is that blonde woman doing in the video?!" So, it's going to be an uphill fight. It'll be worth it, though. Venues will be begging you to cover Tuesday, Wednesday, whenever you can make it. At least give it some thought. Okay, maybe not every vice law, but that's the point of the negotiation period. What's your backup plan? NFTs?

You can spell it "Matsu****a", but you aren't hiding the fact that those keyboards played like ****. You can remember the DX7, whose original keyboard velocity only went to 100 instead of 127, but you can't in good conscience compare it to new synths that cost less than the Alpha Juno, which was too cheap to include a velocity sensitive keyboard. Even then, it cost about the same as the Modal Argon 8 did, at launch - and that's without adjusting for inflation. I think the Alpha Juno 1 was around $900... and the Prologue 8, with 2 VCOs and a digital osc per voice, and nice onboarf fx, was around $1000? People complained that the single DCO Juno didn't have velocity, and people complained that the Prologue didn't have aftertouch. Just like in the old days, there are more expensive keyboards with nicer keys and action (though the Prologue keys are the Kronos keys minus AT, not the cheaper Wavestate/Kross keys, so you actually get decent ones for that price, just no aftertouch). As far as weighted keys, I'm definitely one of those whiners who wants great piano-style keys in around a 30 lb board, or less, for much cheaper than the Nord HA73. Of course I do. And yes, I caved in and settled for "just okay" keys in order to fit my other criteria. I'm not going to live forever, so I wasn't going to not buy anything until they include a better key action in a lightweight affordable board with lots of sounds and a good UI. I wish I could've budged on the weight/price requirements before trading off the better key action. But I couldn't. It was either a lightweight piano I could afford, or none. I wasn't going to pick "none", and then write to each manufacturer explaining why I didn't buy one of their keyboards. That's silly. Same thing with the Wavestate, for synth keys - yes, I would prefer to have the SE version, with the Prologue/Kronos61 keybed. But it wasn't available when I got the WS, and OMG Korg decided on a ridiculous upcharge once they did release the SE... especially considering they make both keybeds in-house (both the original Wavestate and SE keybeds), and didn't increase the number of controls. Korg doesn't do bottom up pricing, and that's the one area where I agree entirely with this thread. They usually use their "good" synth keys as one of the incentives to get you to pay their luxury tax... and I don't like that. Decent keys shouldn't be considered a "luxury" feature of a synth or digital piano. I understand not putting it on entry level products, but they should include it in the mid-tier that working musicians do end up using sometimes. That fact alone should be reason enough for them to include the good keys in the mid-tier keyboards. It's bad enough that aftertouch has become a luxury feature, in their minds. The price would have to go up a little, but not as much as they'd like it to. They have to stop thinking in those terms regarding the key action, but I know they can't. That's how people are. Holy book, batman. I started typing that earlier, and forgot how much there was!

No, unfortunately the YC/CP73 have keys that are like the CK88, not the wooden triple sensor keys of the YC/CP88. If Yamaha had put the wooden core keys in the YC73, I probably would've bought that instead of the CK88, even though it was double the price of the CK88. But the keys were really similar - even the lower keys' weighting difference wasn't that substantial. I'm used to the cheaper keys (Yamaha calls it GHS) but I didn't think it was worth paying $2500 or so for. Especially since the YC73 Hammond emulation has kind of a low trigger point... so I decided not to pay double for that, for a better organ and build quality (and real FM, but to me, a worse UI). If it had the YC88 keys, I would've probably gone for the YC73, though.

The entire length of the CP/YC73 keyboard is supposed to have keys that are the same as (and do feel like) the top octaves of the CK88, whose keys get heavier in the lower octaves. I just bought a CK88 yesterday. I tried it right next to a YC73. The YC73 felt very similar to the CK88. In the upper octaves, it did feel like exactly the same keyboard. The CK wasn't even that much heavier lower down. If someone doesn't like the keys on a CK88, I don't think they'll like the keys on a CP73 either. For me, the choice was mostly between the new CK88 and a used CP88 available locally (the new YC73 cost double the CK88. The used CP88 was right in the middle). When I was in the store, I lifted up the CK and the YC, and decided that even though I'd much rather have the CP88's keys, I didn't want to deal with the extra weight. I needed portability, so that was that. I'm already used to the keys. Neither type (CK88/CP73 or CP88) feels normal for organ, to me, but I'm not really an organ player, so that wasn't a deal-breaker.

The list must be based on historical importance, in his estimation. I probably wouldn't take an M1 today if you offered it for free, unless I planned to flip it. Otherwise, I think the Wavestate and Kronos are better at what the M1 can do. Historically, though, the M1 is more important than either of those.

You can wheel me and the theremins down to the Parkinsons ward, and I should be awake in no time. It'll be like a human smoke alarm. This also might work (Kilo Drone - the sound demo starts around 5:45)

The singer would lean against the far end of the piano, singing into a megaphone instead of a microphone. And the pianist also could have one, so they could communicate between songs... I'm amazed by it, don't get me wrong...

Well, I wasn't expecting Elektron to show up before, but now the decision's made for them.

The speakers on the CK61 faced downwards, if I remember right, and I think they're a little less powerful than the P-125 speakers. I tried it in a store, so YMMV, but next to each other, the P-125 won, in that dept, IMO. The keys felt and looked very much like the keys on a nearby under-$400 Yamaha e-series arranger keyboard... but they felt a little springier, and like there was slightly more initial resistance to overcome. On Syntaur, they look like completely different parts for the 2 models, but next to each other, installed in the keyboards, the keys seemed really really similar. If a nearby store has a Yamaha arranger around that price range, that would be about what to expect for keys. I'm trying to decide between a few different models right now, including a heavier triple sensor model... however, if they made a CK73 with the BHS or GHS keys, $1200, then that would make it an easy decision for me. In the store, I decided I wouldn't like the CK61, because I try to play delicately too often, and I couldn't do that so well in the store. Maybe someone better than me would adjust quicker. I suspect that this keyboard is better for folks who like to shred, for people who play fast. IMO, obv

Q: How many K-pop producers does it take to change a light bulb? A: What? I just changed it yesterday! Why are there 20 people here? A: 1 to change the light bulb, and 19 to write a song about the new one's baggy baggy baggy baggy baggy baggy jeans

Did you really mean CP, or the newer CK? I'm assuming it's the much cheaper CK... but then again, Yamaha has the CK88 on sale already, and it just came out a little while ago.

A few years ago, Thomann had a random MIDI router in their year-end 10 best-selling synths list. Before that, I'd wondered if the lists were gerrymandered, but after that, I assumed there was institutionalized DILLIGAF about the lists. But it's possible the lists are accurate. I also wonder, as others above have, if this is like when the sports network and the satellite TV provider are negotiating, and people are like, what happened to football? It's gone! And then, just in time, it comes back all of the sudden. We'll see.

What? Seems like Juno X and Fantom Oh just came out, maybe a year ago? I must be getting older faster than ever. Oh boy... EDIT: oh, you mean the big Fantom. Still... Juno X?

To me, the funniest thing is you can see that the seller actually did "clean" it, to their standards... If you look closely, you can see that they used an old sock for a vertical swipe wipe between the knobs and faders, but the toggle switches in the fx section proved to be too much of an obstacle for the sock. That's how I know it wasn't panties - you can wedge those into some pretty tight spots. The sock is like your rough grit sandpaper, and the panties are more for detail work, and final polishing. It's also possible they used a greasy hash-browns finger, to wipe the dust between only the most widely spaced of the knobs and sliders, after they'd spilled the coffee. It was probably a pretty frustrating moment - I bet they were scream-whining after the coffee spill. Probably it was in some back corner on the previous owner's 2nd desk and never got used, to the point that, when the coffee spilled, they picked up the Reface and wiped the desk under it, and put it back down, without even thinking about wiping the under side of the Reface too. It was an afterthought item, not like the phone and laptop, which they checked thoroughly after the spill. So, it's probably actually in decent shape, not used very much. Mine has been traveled a ton, but otherwise kept in its case (they make a soft case that you can wear like a messenger bag) and it's held out so far. I was torquing the knobs like it was a groovebox, for a bit... I'm a little worried they'd get scratchy if I kept that up for too long... otherwise it seems solid, for a mini-keyboard.

Behringer Swing, Crave, and Edge copy the Arturia Keystep, Moog Mother-32 and DFAM. I don't know if it's related, but I think, from here on out, we will see less R&D from Moog, than during the period that gave us M32 and DFAM, among other synths. It's possible that very few of the people who bought the Behringer versions would've bought the Moogs instead. Many of the Behringer customers couldn't afford to buy the Moogs instead, but I know some could've. How many actually would've, though? Who knows? Probably not enough? It's complicated, for me, all the other stuff, Kirn Sniffer, suing Gearspace. And then, I don't mind having a cheap 808 and 303 to play around with. The remakes of the classics, that's pretty cool. I wouldn't buy the copies of contemporary competitors' IP. I think the "superpartners" distribution network sucks, and I haven't bought any of their gear since they did that. My local store was going to set up a synth class (they already cover other instruments) and would've moved quite a few of their synths. They had an entire display of B monosynths going thru a mixer, so people could try them out. I guess it was cheaper for B to consolidate - 1 store per country, like a giant mill town. Eh. The 808 is fun. As someone above mentioned, you can find plenty of them on the used market.

I'm mostly a lurker here, but a little while ago I posted a picture in the "Keyboardists with fx pedals" thread, showing a hotel room setup with my Yamaha P-115 going thru a different Moog pedal from each of its outputs (Murf and Clusterflux), which then separately went to Ventris and DC-2W pedals, which created 4 channels going to my mixer. There were actually 6 channels, because of an internal fx return from the mixer, using its ping-pong delay as a chorus. So, how it sounds really depends on how I mix it. Yesterday and today, I finally took the annoying step of doing that for a couple more jams from that trip, and also cutting out the parts I didn't like, and doing some electronic music manipulations to parts... which in this example mostly means I did a bunch of internal crossfades... but the first 1:20 isn't like that, and that part is pretty much how it sounds to me playing (though it needed noise redux). The percussive sounds and thumps all come from the Clusterflux with the Depth knob pretty high, twanging out the piano sound to the extreme. Next trip with this pedal, hopefully I'll turn that aspect down a bit. I've said that before, tho 🤣: P115withFXpedals&internalXFADES.mp3 After 1:20 or so, there are quite a few spots where I highlighted an region of audio, and told the software (Audacity) to crossfade the clips... even though there was a single highlighted area, rather than 2 clips. When you do this, Audacity acts as if there is a clip boundary down the middle of your selected area, and then it crossfades the "virtual" clips on either side of it. In the above example, you're hearing that a lot in the last 2/3. The above is a very stereo mix, but because it's 6 channels, involving 2 parallel pedal chains, the stereo field isn't perfectly balanced very often. It's a little squirrel-y sometimes. So, I mixed my 2nd example (bottom of this post) down to be more centered. I think I did it in parallel - first a normal mix, and then I blended that with a mix where one stereo pair stayed the same, one was inverted, and one had the R&L stereo sides swapped to L&R... or some combination of those steps. It's not mono, but still much more centered than the first example, FBOW. I actually didn't even check mono compatibility, even though I usually would. That's the whole reason I started using parallel fx pedal chains from the P-115 outputs - I didn't like the "bass towards one side, treble towards the other" default, so I decided to reconstitute my own stereo field, via fx pedals (and I'm still experimenting in that regard). But these were just hotel room jams using headphones, so I went for a different type of more centered sound... even tho I know inverting and swapping, and then mixing with the original, can cause issues when the resultant mixdown is summed to mono. That's actually a technique I use sometimes when layering audio with itself (often shifted in frequency and/or time) - I'd purposely pursue phase cancelations and reinforcements, and IMD and so on, in order to change the timbre. That's not what I did here, even tho the timbre did change slightly with the extra layering. Like the first example, the next one was excerpted from a longer jam and edited, limited etc in Audacity. I'm a hobbyist, and I know I play some weird stuff... so I don't take myself too seriously. I figured, after posting a picture of such an unusual pedal/instrument combo, in the other thread, in addition to the people here not knowing me... I should provide some audio of the kind of stuff I like to do with a digital piano. I like to play regular songs, too, but it's so easy to be lazy about that when I'm alone and have some time. My name's Adam. Probably, once I choose a new digital piano, I'll go back to being a less frequent visitor. Despite that, I really do appreciate the forum and the people here. Even tho most of the time I don't have any input that would improve the conversation, I still enjoy reading. Anyway, this is a more centered but still stereo example of the fx pedals and my style of playing. It's also got the internal crossfading that I've been doing lately, and it's also kinda slow... probably because the faster I go, the more my improvs fall back on my most common habits. P115&pedalsMOREcenteredJAM.mp3

I'm lurking in this thread, and on this forum more lately, because I want to replace my old P-115 with a YC, CP, CK, X, GT, RD, etc, and doing my due diligence. So, every time I see one of these thread pop up, I'm on it!🤣

It might be related to the humidity change? Even my all-plastic Yamaha GHS action is affected by relatively sudden humidity changes - it gets extra clunky. Hopefully that's what it is. Another suggestion is, if it was leaning up in one particular direction for a while... try leaning it in the exact opposite way for a bit. I know that sounds kinda dumb, but it's an easy thing to try, while waiting for a response from the company.

If you're using Audacity, and you have to cut out enough audio that it messes up the timing... sometimes you can get away with using the "sliding stretch" or "change tempo" effects plugins (depends on the instrument/sound). I would highlight most of the note leading up to the cut, except for the attack portion, starting at a zero crossing and ending at a zero crossing just before the cut point (zoom in to locate these points). Then apply just enough of the effect to expand the highlighted area to cover the time lost by the cut. Then, you may have to repair new discontinuities (clicks) at the end of the highlighted area (with sliding stretch) and sometimes at the beginning too (with change tempo). I do this by zooming in until the waveform looks like a row of dots. If there's any vertical jump after the last dot within the highlighted area... In that case, you have to select 5 or 10 dots on either side of the discontinuity, and then use the "repair" effect. Even if, earlier, you'd carefully selected the "sliding stretch" area so that it was bounded at zero crossings, that effect will mess up the ending boundary, every time, so you always have to fix the new click that it creates there. Software such as Ableton is a little more graceful about automatically fixing the edges after audio warping, as alluded to by someone else.

Maybe I've known more low level hippy jam band types than normal rock and pop tribute bands... but the bar manager actually drank from a container that a band member said was "homemade tea"?! And the worst they were worried about was whiskey?!! The fact that it actually was just normal Lipton... they really should count their blessings, and not risk doing that again. Especially if they suspect they can't trust you!🤣

I just tried this combo, to find out what happens. The piano's left output goes to the Murf, which then goes in stereo to the Ventris. The right output goes to the Clusterflux, which outputs stereo to the DC-2W. In the past, sometimes I've kept the left piano output as a mono channel, and only re-stereo-ized the right channel. I've tried a few different pedals. At one point I had a dozen or more pedals hanging off a Kronos. That really starts to get into lo-fi territory, at that point. It sounded like a record that had washed ashore from a different timeline. The pedals pictured up above, in that routing with the Yamaha digital piano, smeared the details, saturated the audio, added many pitch instabilities, added sustain, weight, girth, and made mono compatibility worse. The DC-2W has the least headroom, and the Moogerfoogers have the most, of that bunch. To answer another question, I think the EHX Mod Rex had stereo I/O. That, plus a stereo dual delay/reverb pedal, or even something like the Eventide H90, would make an interesting multi-fx combo.

Imagine investing in Taylor Swift's back catalog, and she hates you so much that she re-records it all. What if I buy Matt Johnson's Montage, and then like a week later, he says, "The only reason I sold it was because I'd used up all its mojo." Now my resale value is screwed! I'd be beating myself up for not buying Moroon 5 stuff instead. It's too difficult to predict.

It seems to include the 3 big pianos (German, Japanese and Berlin)... those aren't already included in Nautilus? I'd be surprised if none of those are. Then there's the "ambience drums". By which, I assume they mean the kits towards the beginning of the list of the drum kit presets on Kronos (if you browse by category). If you want more "realistic" drum kits, and they're not already on Nautilus, then I they could be worth it... they're pretty run of the mill realistic recorded drum samples, so it's a question of if you want/need those (there are quite a few samples, rock and jazz kits, etc). I can't tell what's in the last EX (320), except for brass. It seems like the pack's value is for compatibility with Kronos programs and combis, with the most likely use case being if you wanted to use someone else's combis (or your own older ones), which were made with a stock Kronos, then this pack is what you'd need in order to guarantee that they would port over successfully and sound the same. If you just want new sounds, and aren't concerned about those specific pianos that take up 3/5 of the pack, then it might not be the best value... though I like the brass and strings and extras on Kronos. I'm still surprised Nautilus doesn't come with all the old sounds and then some. Whichever is the piano that loads default in a Kronos after 3.0 (Is it Berlin or German, I forget?!)... the D note that's an octave and a tone above middle C... at a nice playing velocity, I hate that note. It gives a dead metallic thud in one velocity zone. I think the B that's 2 notes below it had some issue too. Probably most people would be like, what? But I'd say, for the most part, those are very nice pianos. Though, TBH, I think I prefer to play the piano on the Yamaha CK you just reviewed, even though it's probably less detailed. That's just my personal opinion, obviously.

Korg has periodic sales on the Kronos (now Nautilus) expansions. I wonder if they heard everyone say that the somewhat affordable Nautilus showed how overpriced the Wavestate SE Platinum really is, and Korg was like, oh yeah? Well... aftertouch is a $500 feature! See? That's what it costs if we add it to Nautilus! It's true that Korg won't fix just the aftertouch on this keybed... but they'll sell a drop-in keybed assembly to your tech. So, they seem to be pricing the aftertouch, on the new Nautilus AT, based on the retail price of the entire keybed assembly. Which doesn't make sense, because the vast majority of that assembly is already price in to the non-aftertouch Nautilus. I certainly hope Korg isn't in financial trouble... and my solace is that they're not having a fire-sale. The sound expansion sale has been a normal occurrence.