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Korg SV-1 Stage Vintage Piano - Official Product Intro Video


Joe Muscara

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I've seen that the summing mono out is only on the 1/4" outputs. The XLR outs do not sum if one output is used.

 

A: Can both sets of outputs be used simultaneously?

B: Could I use the XLR's in stereo for monitors and still use the mono 1/4" out to a DI to the FOH?

C: Are the stereo inputs summed to mono when using the mono 1/4" output.

 

Great question. Does anyone know the answer? Also, maybe I'm just a little dense but someone opined that it would not be possible to put a second board on top of the SV-1. Why not? It seems like it depends on what kind of stand you have, no?

 

According to the manual:

 

These are analog output jacks, available either in 1/4 unbalanced jacks, or XLR balanced jacks. Either use the unbalanced 1/4 jacks for shorter run, or the XLR balanced jacks for longer runs, like when playing on stage. In any case, they are perfect replica the one of the other.

 

If you need mono output, connect only the L/MONO 1/4 jack. XLR jacks cannot be used for mono output.

 

HINT: XLR balanced outputs are always cleaner and louder, so they are recommended whenever possible.

 

Busch.

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Busch,

What is in the manual is quite logical. A pair of 1/4" unbalanced jacks can be purchased in a configuration that will send the signal from one to the other if nothing is plugged into that jack.

 

XLR connectors do not have the same type of connections. However, a design decision COULD be made to put a Mono Summing Switch on the unit that would sum the signals to either (or both) of the XLR connectors.

 

If I wanted to use one of these with XLR for mono summing, I would build up a small passive mixing circuit that would have two XLR connectors for inputs, several resistors for the mixer, and a single XLR connector for output. Or (more likely) I would just run the whole thing into one of my little Tapco mini-mixers. The smallest one is usually carried to every gig inside one of the EON10 bags just to deal with any situation where I need a DI, auxiliary feed, microphone, or two keys into one path.

 

Howard Grand|Hamm SK1-73|Kurz PC2|PC2X|PC3|PC3X|PC361; QSC K10's

HP DAW|Epi Les Paul & LP 5-str bass|iPad mini2

"Now faith is the substance of things hoped for, the evidence of things not seen."

Jim

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If you need mono output, connect only the L/MONO 1/4 jack. XLR jacks cannot be used for mono output.
That, quite frankly, is stupid

 

Well, it's physical reality, isn't it? A 1/4" jack can be made with a switching lug that sends the signal to the summing circuit when no plug is inserted.

 

XLR jacks cannot do that, as they have no physical mechanism to detect when something is plugged into the output. As was stated above, you would need to add a summing switch.

Moe

---

 

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If you need mono output, connect only the L/MONO 1/4 jack. XLR jacks cannot be used for mono output.
That, quite frankly, is stupid

 

Well, it's physical reality, isn't it? A 1/4" jack can be made with a switching lug that sends the signal to the summing circuit when no plug is inserted.

 

XLR jacks cannot do that, as they have no physical mechanism to detect when something is plugged into the output. As was stated above, you would need to add a summing switch.

But it's possible either in hardware, or in software routing. Forcing stereo to use the balanced outs is just stupid. Yeah, I know I may be a little different on this, but I'm sick of manufacturers trying to shove stereo down my throat. I've said it before, it's impractical live at best. I know most folks disagree with me, but I've played too many festivals and clubs where the other keyboard players were running stereo and sounded like crap because the mains were mono (as they should be). I can't wait to get on a festival where someone is using the balanced outs on the SV-1 sending their stereo piano sound to the mono mains - great advertising when the end result sounds like crap. It's worth the minor investment in adding a switch to bulletproof the sound of your product.
A ROMpler is just a polyphonic turntable.
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One economical way to provide summed mono AND a balanced output is used by recent Kurzweils - the Left Channel 1/4" TRS jack will feed a MONO signal if nothing is plugged into the right channel jack. If XLR connectors are desired, TRS to XLR cables are easily purchased for a reasonable cost - I use a lot of them, because I can then use XLR mic cables for whatever length run I need for the particular venue.

 

In a studio environment, the XLR connectors are much preferred in general, because they tend to work better when something is plugged in, then left for months or years without being unplugged; whereas the 1/4" phone plug and jack - the jack springs will loosen up after being plugged in for prolonged periods.

 

Kevin - Unfortunately, the fact that it would cost $1.50 in parts, require three additional holes in the panel for the switch, and take up room needed for the latest "whizz-bang" (like all the crap made with a tube showing from the outside) keeps most companies from adding the mono mixing switch. I happen to agree that said switch SHOULD be present on a pro level keyboard, however my power to enforce that belief on the manufacturers approaches zero. Just becasue I serviced electronic musical instruments for 35 years and worked in audio engineering commercially for another 10 does not mean that most of the companies ever listened to anything I ever said.

 

Howard Grand|Hamm SK1-73|Kurz PC2|PC2X|PC3|PC3X|PC361; QSC K10's

HP DAW|Epi Les Paul & LP 5-str bass|iPad mini2

"Now faith is the substance of things hoped for, the evidence of things not seen."

Jim

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Bump

I've seen that the summing mono out is only on the 1/4" outputs. The XLR outs do not sum if one output is used.

 

A: Can both sets of outputs be used simultaneously?

B: Could I use the XLR's in stereo for monitors and still use the mono 1/4" out to a DI to the FOH?

C: Are the stereo inputs summed to mono when using the mono 1/4" output.

 

This would be a fantastic setup. 2nd board patched into the SV-1 in stereo. Both boards in stereo for monitors using the XLR outs. Choice of Stereo or Summed Mono to the FOH using the 1/4" outs depending on FOH being Mono or Stereo.

 

Sorry for the late reply:

 

A: Yes (headphones too).

B: Yes, as long as you're OK with hearing stereo in the monitors, but only sending mono to the FOH.

C: Yes- only the 1/4" L/MONO output (not the left XLR output) will sum to mono.

 

 

EDIT: I now see the four or five posts above this one... sorry I'm late to this party. :)

Rich Formidoni

Product Marketing Manager

Casio America

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I wholeheartedly agree that stereo is a waste of space on gigs. Only a small part of any audience thats exactly central will really benefit and once you start using stereo panning and other stereo effects it just gets lost or sounds strange. What may sound great in stereo on stage(not that it ever has done to me unless im wearing in ear monitors) is wasted on the audience. The number of sound engineers on gigs that think im strange cause of it makes me laugh, theyre clueless! Mono is punchier, more focused and just works better in a live context. Now stereo for recordings is great, (providing it is mono compatible stereo and things dont start collapsing when mono'd) and for that you need to use XY/blumlein techniques for stereo micing that preserve the mono compatibility for mono systems...

Chief Product Officer at Rhodes®. Project leader and designer of the Rhodes MK8 piano and V8 Plug-in.  

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It appears that, unless they are calling it something else, that the SV-1 does not include an auto-panning effect. Not a deal breaker but it is somewhat essential for the complete Rhodes experience. Am I missing something?

 

Auto-panning is inherent in the Tremolo effect, and it's designed to simulate that famous suitcase experience. :)

Rich Formidoni

Product Marketing Manager

Casio America

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Rich, just out of interest, can you clarify what colour the 88-note model is? On the early pix I saw it looked plain brown, on later shots it appears to be more of a metallic-looking bronze and in Sound On Sound it could even be a dark burgundy.

Studio: Yamaha P515 | Yamaha Tyros 5 | Yamaha HX1 | Moog Sub 37

Road: Yamaha YC88 | Nord Electro 5D

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Well, the body is black, and the end caps usually get described as having a "copper" or "root beer" color- a dark red/brown mix.

 

Personally, I submitted "lavender-burgundy-rustberry," but it didn't make the cut. :D

Rich Formidoni

Product Marketing Manager

Casio America

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My print copy of Sound-On-Sound finally arrived yesterday, and I read their SV-1 review on BART today.

 

A wonderfully informative review, with lots of knowledge gained about the instruments being sampled. This is one of the things I love about SOS, is the breadth and depth of knowledge their reviewers bring to the table.

 

It was a balanced review, and realistic in its assessment of the criteria that would go into a buying decision for most of us.

 

I think, for me, the lack of splits, layers, and multi-timbrality, mean this would probably slot in at the 73-key size vs. the 88-key size -- depending on street price differentials, and how well I like the acoustic piano (vs. Kurzweil PC3X, which I would be buying as a master keyboard, bread & butter workstation, and to a lesser degree acoustic piano as I will still prefer Pianoteq in the studio).

 

In spite of the caveats, which for all we know are addressable in a firmware update, I am more curious than ever to try this beast out. As the reviewer states, these are the most accurate digital hardware renditions yet, of the classic keyboards.

 

Unsurprisingly, the reviewer felt its closest competition would be the defunct GEM Promega, and having owned various GEM gear over the years, I would concur, as it is trying to specialise in similar sounds at the same level of depth and realism, with similar handicapping of the master keyboard sort of functions that would make it more of an all-rounder or main gig keyboard for people who have to cover a lot of additional sounds.

 

But I think Korg was smart to limit it in this way, as it makes a clear statement as to its purpose, and thus less likely that it will start getting negative press, potentially hurting its sales, due to be judged on the merits of its workstation or bread-and-butter all-rounder capabilities.

 

In a similar vein, Roland's VP-series (I forget the latest model's number), seems to deliberately cripple its ability to go beyond being a board "just" for vocoding, harmonising, Gospel choirs, synth brass, and synth strings (a common grouping for several contexts and genres, but not "complete" for Pop music).

Eugenio Upright, 60th Anniversary P-Bass, USA Geddy Lee J-Bass, Yamaha BBP35, D'angelico SS Bari, EXL1,

Select Strat, 70th Anniversary Esquire, LP 57, Eastman T486, T64, Ibanez PM2, Hammond XK4, Moog Voyager

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Agreed, Mark. On that side note, I played a VP-770 and a V-Synth GT side-by-side at Bananas San Rafael recently. The VP makes a compelling case for a quick, intuitive-UI solution for essentially ONE problem. I liked the sound, thought it would really sound nice and unique in a live group setting, and could easily and quickly come up with some cool composite sounds. But it just costs too much for what it does, at least for mere mortals. For that matter, the V-Synth GT, for all that it does, is also priced pretty steeply, at least for my ducats.

 

The 73-key version of the SV, on the other hand, seems to be priced right in the hunt for what it offers, live demo notwithstanding.

..
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Tim, my thoughts exactly. I have always felt Roland gear is overpriced. I try not to rag on the company, even though I've ALWAYS hated their ROMpler based stuff and USUALLY dislike their digital pianos (except recent ones). I've owned Roland gear over the years. I just feel they are unique amongst the major vendors in charging a premium on everything they do. I don't understand it, as my perception is that they aren't the market leader they were for so many years.

 

So, it's good to know the VP-770 is in stock at Bananas. I'm almost afraid to try it, as I know I'll like it. But I can't imagine why it has such a high asking price!

 

The Korg is correctly priced for what it does. I've had a lot of unexpected expenses this year due to health and how many ways insurance companies have found to not pay for anything anymore, but I am fairly certain I will want to add the 73-key version of the SV-1 to my stage setup.

 

I probably still need to prioritise the PC3x ahead of that though. But it changes that equation slightly too -- possibly. Probably I still need the 88-key version of the PC3x, simply because it really does act as a full-featured master keyboard. I really don't have much doubt in my mind on this issue, but would like to try an SV-1 first, just in case I end up deciding I want that for my weighted action and can live with semi-weighted action on a 73-key PC3.

Eugenio Upright, 60th Anniversary P-Bass, USA Geddy Lee J-Bass, Yamaha BBP35, D'angelico SS Bari, EXL1,

Select Strat, 70th Anniversary Esquire, LP 57, Eastman T486, T64, Ibanez PM2, Hammond XK4, Moog Voyager

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Mark, maybe you could go with a PC3LE + SV-1 combo?

 

Also, tell me again why you sold the RP-X? Did you edit the piano sounds via the (PC-only :rolleyes: ) editor at all? I listened to a few demos on YouTube recently that were much more impressive than the demos on GEM's site (which, admittedly, are terrible). Apparently the person who posted them had customized the sounds.

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??? I just don't get what you're saying. I understand if you don't like Roland sounds or gear, but how are they any MORE overpriced than anyone else? Their stuff is built like a tank (the cheapo June D stuff aside, although its built appropriately for the price), and they're no more guilty of recycling than Korg or Yamaha.
Hitting "Play" does NOT constitute live performance. -Me.
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Well then, lets just say all of the keyboards are overpriced..I went out n tried casio's and Rolands yesterday..The casio's are fairly priced, but thats what they are worth..now the RD series, especially the 700 is a nice board...but when I saw the price, saw what it has to offer over the older 700 I had..totally turned me off...nice action though, although I swear it is lighter to the touch than me old 700..
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Every piece of Roland gear is several hundred dollars more expensive than equivalent models from other vendors. This has been true for over twenty years.

 

As for the GEM RP-x, I decided to move away from rack gear, and don't want to go into it any further than that. I may or may not have gone into it in detail in this forum at the time. The RP-x was going to end up being a studio-only device, which made it useless to me as I prefer Pianoteq and Scarbee Vintage Keyboards.

Eugenio Upright, 60th Anniversary P-Bass, USA Geddy Lee J-Bass, Yamaha BBP35, D'angelico SS Bari, EXL1,

Select Strat, 70th Anniversary Esquire, LP 57, Eastman T486, T64, Ibanez PM2, Hammond XK4, Moog Voyager

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I don't want to denigrate the unit or GEM, out of respect for Dave. Everyone has different needs. I'll just say that my motivation was similar to why I am trying to sell my Studiologic VMK188plus. More about flexibility than quality.

 

Having said that, I did find it worked well in a mix (in the studio), but had less luck with it in the band context. But I only tried it in one band, and due to the Windows-only editor, never got around to making my own patches.

 

I actually would have switched to the PRP700 had I liked the keybed better. But that was when other stuff started coming out whose keybeds I liked better. That's often the way the world goes. At the time GEM's keyboards came out (each generation), I still think they were the best on offer. It's only now that their reign is being challenged (from a quality point of view -- they were never on top, really, due to being a somewhat unknown brand).

Eugenio Upright, 60th Anniversary P-Bass, USA Geddy Lee J-Bass, Yamaha BBP35, D'angelico SS Bari, EXL1,

Select Strat, 70th Anniversary Esquire, LP 57, Eastman T486, T64, Ibanez PM2, Hammond XK4, Moog Voyager

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...the lack of splits, layers, and multi-timbrality...

 

In spite of the caveats, which for all we know are addressable in a firmware update...

 

 

I like the concept of this keyboard in general.

Normally, I play one piano type sound at a time,- but for me, it´s a big mistake, it´s not possible to have a 2nd synth-action keyboard controller on top to play the clav-sounds over midi while playing pianos on the internal keyboard.

So, dual timbrality would be a feature I wish,- but I´m not sure if this could be done w/ a software/firmware update.

Who want´s to play clav on a piano-type weighted keyboard and especially if the clav sounds good ?

 

A.C.

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Tim, my thoughts exactly. I have always felt Roland gear is overpriced. I try not to rag on the company, even though I've ALWAYS hated their ROMpler based stuff and USUALLY dislike their digital pianos (except recent ones). I've owned Roland gear over the years. I just feel they are unique amongst the major vendors in charging a premium on everything they do. I don't understand it, as my perception is that they aren't the market leader they were for so many years.

 

Really? Can you enlighten us with your thoughts on the price of Nord & Moog gear then?

What we record in life, echoes in eternity.

 

MOXF8, Electro 6D, XK1c, Motif XSr, PEKPER, Voyager, Univox MiniKorg.

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