CHarrell

They have a reputation for being heavy, and I get it, but it's a very smooth and firm action, with a satisfying repetition speed and good pivot length to allow for that back of key playing.

The PXS actions feel really really light to me...probably too light actually, but again they're smooth and the key dips easily.

If you're okay with barebones options, I always think of the Kawai ES (not 920) and the Casio PXS x000 (preferably 5/6/7) when it comes to lightweight actions. I give points to the PXS for being really smooth, and the ES points for feeling more solid and put-together (with the PXS, I feel a noticeable difference between the white and black keys).

Sorry for the confusion, I meant that I thought our mystery clip was sampled, not a model.

Happy to hear y'all are safe! ...and hopefully willing to give me, a young millenial, power of attorney over your SoCal estates.

Does it not have LH/RH samples? (like a Snare Hit 1/Snare Hit 2) I know it took some time for sample libraries to adopt that as a pseudo standard

I can practically see the velocity ramp for the MIDI notes 😂

How are those on the HQ Quartet?

Art thou not entertained, AROIOS? How long must you watch us fumble in darkness and misery????

Definitely has the tine-y sound, if it's a synth it's a Lounge Lizard/Arturia Stage model synth (though I think it's sampled). I was actually wondering about GM, too.

It's gotta be an Arturia Microfreak, I know it.

Alternatively, if you wanted to set one LFO to control all oscillators' vibrato simultaneously (the above solution I gave is per individual oscillator), you'd probably want to assign an LFO--I'm not super familiar with the Summit, but 3 or 4 are most likely "free" LFOs with no-hardwired function-- to the pitch of all three oscillators in the mod matrix:

Hi Eric! It looks like the Summit has a hard-wired vibrato effect built in with LFO 2. Theoretically, it should be a simple matter of turning up the LFO2 knob in the oscillator section to control how much vibrato you want, and using the rate knob in the LFO2 section to control how fast/slow you want it (or what kind of pitch modulation you want by changing the LFO waveform).

And sometimes the same boards! I was at a store a few weeks ago with two SV2-88's vertically stacked: one felt very rigid and clunky, which I've also experienced in some other RH3 boards, but the one above it felt really smooth and pleasant to play! I could only assume one was "played in" more?

All these years and I thought they were the same game! 😭

And even then, the hodgepodge of instruments gone by isn't a true substitute for the relatively modern engines Korg has had with the Kronos.

Don't you think Rudess has been piled on enough in this thread already?

First and the best! Korg's software offerings are second to none, and the fact they release their newest big synths in software is awesome (though maybe not for your CPU). Still, especially with the Oasys infrastructure being almost 20 years old now, you wonder when/if they're going to give it the Triton treatment.

Echoing other's sentiments, you'd be surprised by how low your perceived 100% is when you expand your capacity by taking on challenges. Further too, you never know what opportunities will arise from your life when you say yes to things! In 2018, a band director approached me to perform keyboards for an upcoming production of Young Frankenstein, because his first pick was unavailable. I looked at the book, which had some complicated areas, switching instruments, and it was just sooooo thick! I got really nervous about my ability to hang. I told him I'd think about it, but as soon as I said it, I knew if I said no, I'd be capping off my own potential, and said yes like 20 minutes later. While I was nervous, I created a simple daily goal: during rehearsals, play one bar with both staves. This was my goal because in performance situations prior, I would just play one staff with both hands out of fear of making mistakes. As it happened, when you're in the heat of the moment and the music is flowing, you don't just say "Well, I played my one bar, I'll just play one staff with two hands now!" So what was the end result of me taking on this challenge? I ended up vibing with all of the people in the band really well, and we formed a band that's getting bigger and bigger every year (I moved away a year after it formation, but I'm still really close friends with several of them and get updates from them and see the social media posts). The band director loved working with me to the point where I became his first pick piano/keyboard player for the rest of my time living there. I made a connection with the theater owners and producers, and the following year they had a play that desperately needed music, and I got to score it. From then, I became their in-house composer for several years...last year was really dry for me musically, but the income for music I got was solely from the royalties for their theme I wrote last year! And of course, I now had an irrefutable experience in my life that told me I could take on tough challenges. : ) Obviously, it's your decision whether you take on the gig or not, but it's truly amazing how much the course of our lives move because of one three-letter word.

I was wondering the same, especially after Roland Cloud was brought up.

I was thinking about that, and I'm sure it's been brought up before, but on the first point: I do wonder how much a VST would take away from hardware sales, especially given its high and premium price tag. For example, myself? I'm not gonna buy a Montage M, and don't have any intention of doing so. So that's $4,000+ they're not getting from me. However, if I bought the software for whatever they would charge for it, that'd give them a profit, yeah?

Honestly I'd pay Keyscape prices, maybe $100USD more even.

Any news on the release date?

Niacin, listen. I feel the need...the need for LFO speed!

THE KORG MS-20?? YOU KNOW WHAT THE MS STOOD FOR? MANLY SUNUVABITCH!!!...20!!!!