CHarrell

I think I experience this too, at least sometimes. I'll be playing transposed (usually on accident), and after about 3 seconds, I start feeling (to paraphrase Dave Bryne) "This is not my beautiful D major 9 chord!" (let the water hold me down)

We had a true Renaissance man in our midst--his expertise ranging from music to agriculture, and you oust him. 😢

I uh...I caved. I bought the Collection 5 last week because I really wanted the EP1 but figured for $50 more I might as well get everything else. I wanted the EP1 because I also caved and got the V8 Pro, but felt like it wasn't "playable" enough, not from my CP4 anyways, not on headphones. The EP1 demo on headphones felt great, so there was that rationale. But I also got Alto TS408s, and now with louder amplification, I almost feel like the EP1 is too playable? It's verrrry reactive to timbre changes, to the point where I'm trying to dial back the responsiveness. As far as modelling goes, I think what Korg accomplished here is very impressive, and with the generous FX selection, you can create some really cool and interesting sounds completely "in box". It doesn't have the life of sound that sampled Rhodes can achieve-- the presence of for example V8 Pro and Keyscape Classic Rhodes are inspiring--but if this was my only option, I could definitely make it through. Since it is modelled, I wish they went hull hog and had all of the Marks represented here, but it's cool that they at least gave us the Mark V.

Thanks James! Hoping my local Kawai dealer gets one in soon.

I don't have the capability of listening right now, do you know which Rhodes the Tine 2 is going for? Also, so Stu from Merriam, as I shared, mentioned the RHC and the RHL felt pretty similar except for "give" (whatever that means) in the fff range. How would you describe the difference between the two? I know you used the word lighter earlier.

I wonder, how do the CK61 sounds feel when getting triggered by an 88 hammer action? (That's not the GHS)

I was like that when I was 19, I used to be reallll snobby about it actually. Funnily enough, what started my break away from that was one of my bandleaders, who I had a lot of respect for, was in the car with me one day and popped on some Pixies. It was a very harmonically static song, so I was getting pretty bored pretty quick, but as the track started playing, he was calling out the different things that were happening that he liked, and it really started opening my mind on the different areas of creativity that someone can pour into a tune, beyond my narrow-minded tastes of what I thought made music interesting. Since then, I treat every piece of music like a person and go up to shake its hand. I still analyze and pick apart as a composer instantaneously, but the angle is more from trying to find the value and effect of any given piece I'm listening to, and listening from its perspective. "This sounds really aggressive, what's causing that?" "Those high strings are really filling up the space, what would it sound like without it?" "The bass player is doing this thing where the notes aren't fully legato but it's not quite staccato either, I like that sound". etc.

Only if you use a rubber band to hold it in a certain position.

Thank you for the report!

This is all true! It explains when I have bad performances, too: I don't suck, it's just the crippling weight of shame inhibiting my performance!

Yeah and they should feel shame too.

I was looking up the ES60 manual, and I was surprised by the voice list. Though it has only the SK-EX for acoustic pianos, its instrumental palette is actually a little broader than the 120; for example, the 60 has a clav whereas the 120 doesn't, which was actually a dealbreaker when it came to looking for a single, simple, standalone gigging board.

That's what sticky notes are for!

I wonder if they'd be releasing a controller keyboard? To be honest I'm kinda tempted to check out the ES60 as a potential controller board but definitely want to compare with the RHC first.

In comparing the action with the RHC, he says the primary difference he feels is more "give" in the fortissimo range in the RHL. What do people mean when they say give when discussing piano action?