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Motion Sound Amp


Neilo

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I'm running a Hammond XK-3 & a yamaha digital piano through a Motion Sound KRB-3D. Does a heck of a job. Never needed to mic except outside events. Just wondering if anyone is maybe using the same and can advise of any "tricks" they've learned to improve tone/sound quality. Always looking for secrets to getting the most out of anything. I'm always making adjustments either on the amp or the keyboards trying to tweak to get the best sound. I'm a seasoned (which means old) player. There seems to be so much stuff out there now & most I don't understand or know how to use. Any advise would be appreciated.
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Doesn't the KBR-3D have mics already?

I believe your direct out from the rotary is a send mic'd.

I could be wrong. I have been using the Pro 3 and 3t forever and they definately need to be DI'd for large venues.

But the most important thing is that you have a Rotary for the Hammond/Suzuki keyboard.

I am lazy but still my ears can tell the difference from a rotary emulation and tube pre rotary. So the difference in sound is worth the extra ATA case being carried.

Besides I run DAW outs for Rhodes, and ARP String samples on occasion w/ a Moog 12 Stage Pedal on the strings, and that sound is another reason for using the real deal.

That's a nice trio of kit though for sure.

 

Magnus C350 and a TV Dinner Tray Stand

 

http://soundcloud.com/you/sets

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Neilo,

 

Well I have dialed back the expansion effect these days, if I use it at all I have it set to 'on', basically a level of 0+1.

I find it tends to obscure the heart of my signals tone. Also I use a stereo 15 band EQ with it.

 

Also, I set my piano channel's EQ with B,T set to 12 o'clock and the midrange set on about 11-11 1/3. I find the Midrange on those fast 10's tend to color the pure hi and lows. Lower that 11

(o'clock) and the midrange energy fades a bit too much!

 

On the Rotary channel I kick up the Contour to about 3-4 o'clock to bring out the horn more.

 

I would never ever say I use a BBE 362 (piano/synth channel) with the above rig, but I do occasionally! Sorry for the spiritual degeneration talk about coloration , I know all! ..... that you will have to make your own mind about if you are interested in BBE gear. :deadhorse:

:laugh:

 

LB

SP6, CP-50, FP-80, PX5-S, NE-5d61, XK-3, CX-3, Yamaha YUX Upright, '66 B3/Leslie 145/122
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I thought I recalled a post a while back on tweaking the MS for acoustic piano. I am assuming the KBR 3D is similar to the KP200S.

 

https://forums.musicplayer.com/ubbthreads.php?ubb=showflat&Board=18&Number=1218961

 

Legatoboy: Hi all! I've had my S90 and Electro together in my practice space for about a month now and wanted to share how I've dialed it all in.

 

Particularly important is getting rid of the "boxy" piano sound that most people think is an unavoidable characteristic of this amp.

 

For the piano channel, its just a matter of cutting the bass slightly, the mids a lot, and leaving the highs alone. Yes, this thins out my synth bass patches a little, but a decent PA fills it out as the KP200s is only pulling monitoring/rehearsal duties.

 

So here are my settings, from left to right:

 

Channel One (S90):

Volume: 10

Expand: 7

Bass: 4

Mid: 2

High: 5

 

Channel Two (Electro):

Volume: 10

Expand: 7

Bass: 4

Mid: 5.5

High: 6

 

Masters

Click: 0 (unused)

Volume: 3

 

 

I found that the channel volumes are quiter than the master, so I keep them cranked, keep the Master low and use my onboard volume controls to balance each one out.

 

I have this exact setup (S90 + NE2), but arrive in pretty much the same place by using one of the brighter pianos on the S90. The "Wide Comp" is particularly punchy and works for blues and rock. The Triple Strike piano is a bit "refined" for what I'm playing. Hope this is of help.

 

aka âmisterdregsâ

 

Nord Electro 5D 73

Yamaha P105

Kurzweil PC3LE7

Motion Sound KP200S

Schimmel 6-10LE

QSC CP-12

Westone AM Pro 30 IEMs

Rolls PM55P

 

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