J.F.N.

How do you mean weak? To me it sounds pretty darn identical to the old brown monster, however with higher resolution like the DX7II. Though in general I disable the filter as imho it doesn't really do anything interesting or good with the overall sound, I find it just muffles everything even when fully open. Then I run a channelstrip with gain/comp/eq after, we shall not forget that everything we ever heard in popular music from this era, was always going through a console and often some tasty analog outboard as well, I would definitely do the same with the brown monster if I happened to have to use one.

The right team won, good matches all the way through, very consistent and hard focused team!! Viva España!!!

Just did a quick test run here, if I provoke things radically, I can hear voice stealing but I do perceive it to be quite delicately done, Kurzweil style probably, stealing starting with the most silent ones or something in that line...

Hmm, I've tried arpeggio runs with 5 fingers both hands, up and then down again, with sustain and in 6 octaves, didn't really notice anything, however, maybe the voice stealing is intelligent enough to make it difficult to notice in such situation. I shall try again and give it more attention.

And I found the secret sauce for those big creamy DX electric pianos we heard in the 80's, and for only a handful of bucks in the app store... Never even got close with chorus or ensemble effects, and with this one it was head on the nail right away! https://www.eventideaudio.com/plug-ins/micropitch/

Hmm, good question, not sure I've managed to run out of voices, only been using it with either Piano or Rhodes alone, I don't think I can layer in the version I have, that's a paid upgrade right?

If you run it in a host like AUM that's an easy fix, I run this one: https://apps.apple.com/us/app/adverb2/id1373926760

I see this has been briefly mentioned a couple of times here, and after grabbing it and fiddling around with it, loading a bunch of DX7 sysex banks into it, and understanding how really powerful yet easy to work with this is, I find it deserves quite a bit more of attention! A multitimbral DX7 with huge polyphony, what more could one ever dream about!! This video popped up in my flow and was what made it get my attention, check it out!

There seem to be loads of headroom indeed, I run it on an Air M1 and even when pushing it using sustain and long sweep arpeggios I hardly get more than 8-9% cpu usage (AUv3 in AUM).

It's clear that they probably experienced overlap problems with a positioning that may have been confusing for many clients. Three models, Forte, PC, and K, I can see how that may have been tough to market to different specific segments, probably leading to internal cannibalisation in one way or the other. It will be interesting to see how they differentiate the 2088 from the 2700, and what happens to the PC4-8 in the end (most probably very close to EOL).

Two holes was all it took - And with this I also have an extra shelf for a drum machine or whatnot when needed!

I had an epiphany here this morning regarding the midi routing for the hardware in my Keyboard Lab, using AUM as a midi patchbay/router with USB midi interfaces. I have 3 ESI M8U eX MIDI interfaces (don't ask...), which are standard USB class compliant midi interfaces with no driver or control software. They have 16 intelligent ports, meaning you can use them both as in/out in any way you want, the interface itself recognizes what is going on and identifies the port as an in or an out. Back when I bought them I was routing these with an iOS app called MidiFire, which is a really powerful app but a bit too complex for a more intuitive hands on handling. Another thing is that you can't rename the midi in/out items, I have even been in contact with the developer, who is not very active anymore and wasn't overly excited about the idea (too much work I guess in relation to what he makes on the app). Today I want it to work just like the Conductive Labs MRCC, and back then I was working with a fixed set up and "scenes" etc. I just need an intuitive controller for the routing; "today I want to play my Prologue keyboard on the Deepmind 12D", and another day "I want to play my PC3 on the Deepmind 12D AND the Prologue" etc., same with sync clocks, routing from one gadget to another etc., at the end of the day - nothing is static. As my Lab is not computer centric (I have a computer for recording but don't want the potential need for routing of my boards and other hardware to be dependent on the computer running, it's just a tape machine), this will be a really neat solution. The iPad already boots up everytime I fire on the power (I turn it off after every time I have used the Lab) and with a "Default" state set up in AUM, everything should be up and ready once the Lab is fully powered up. EDIT: Just found that "Default" state is not autoloading, you still have to click on the "Default" button in AUM when it starts up, posted an email to the dev. this can't be a huge deal to sort out! Must be more than me who have a need for this, thinking installations, etc. where "auto restore" on reboot is kind of 101... This will mean that I also automatically will have access to all the virtual instruments in iOS in the hardware "network", and for the computer, well, I have three interfaces, if I connect one of them to the computer I can then connect as many midi cables I need from the interface connected to the computer to one of the other two interfaces connected to the iPad, and we're game! Hoooorray for iOS!! (Image from Reddit, not my setup)

Yeah they, pads, comes later in the text I would assume the harder shell has to do with something constructional, like the stability of the machine with the keybed or something, as cost is of course always a parameter and includes every piece of a machine.

I'm sure for the right offer money is enough, maybe that's the strategy... Make things difficult to get and their price rockets (expensive wristwatch sales strategy, limited editions, existing customers are first in line, etc).

Between K2700 and PC4-8 very little, mainly the keybed Fatar vs Medeli, the K2700 has a built in audio interface, and some insignificant discrepancies in memory and sample related specs. I guess PC4 was a logical successor to the PC3 and targeted at live musicians, while the K2700 with it's full estate (less portable) and including audio interface and drum pads, was targeting the music production segment.

Or it actually did sell enough, and both resellers and Kurzweil are out of stock, and before releasing the new series they want to exhaust all stock globally of the PC4-8 too... Not an uncommon strategy, anyone who knows if the PC4-8 is still available at the big dealers, anything that could indicate that they're sitting on stock?

4 octaves and 5 voices, talk about taking several steps backwards... Everything under 8 voices equals monophonic in my world (in terms of usability)... And 16 voices is where I start to take things more seriously...

I'd be really pleased if they announced a 73/76 key semi weighted machine too, I was very close to grab what I believe was the last new Forte 7 in Europe a couple of months ago, but decided to sit this coming release out as I'm not in a hurry... Worst case I go 88 but I don't need those extra keys...

Probably there's a strategic reason, as there's for everything when it comes to product marketing, I guess we'll find out soon enough...

Definitely would have been an interesting machine with a full size bed, exactly my thoughts when it released too!

Hmm, great.... So let's hope this means there will be a 2076/2073 then....

No idea if anyone has experienced these different pedals, I grabbed a what I belived (the box in the ad photo) was a used F10-H, as I was a but curious half pedal sustain, and wanted to see if I could make this work with my SL73 and Pianoteq. Today it arrived, and the box said indeed F10-H, but the pedal had a product sticker in the bottom with "F10", and the jack was only TS, not TRS... In addition, the box says "Made In China", while the pedal is marked with "Made In Indonesia" .. So I assume this pedal is an old boy! Conclusion, F10 is a standard one, and F10-H a half pedal sustain one, not a biggie here I paid 16€ shipped which is an amazing bargain for this lovely sturdy sustain pedal no matter what! Anyone successfully tried F10-H with half pedal sustain on a non Kawai board/piano ?

LOL!! Instructions written by the sadists at IKEA? All items included as intended or per norm 2-3 screws/bolts missing too?

And D70's keybed, yet another red glue disaster waiting to happen (A70 too if I remember correctly...).

Ooops... I happened to become a Pianoteq user...