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chini
Senior Member
Joined: 13 Jan 2013
Posts: 284
Location: London, UK
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 Posted: Mon Jan 23, 2017 4:32 pm Post subject: Limitations of using KARMA scenes for changing sounds |
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| drama1 wrote: |
Concerning patch change, I use Karma for smooth sound patch change, achieving one of your wish list items. In fact, I rarely use SST in setlist, I just find it much easier to use the scene buttons to achieve SST than the touch screen YMMV. |
I understand what you are saying here and indeed there are some instances where I use a single combi or song patch utilising KARMA for key zone control. However I often have sound pallets derived from more than 4 midi channels (i'm accessing sounds externally as well don't forget!)… even if I harnessed the Kronos editor to max out to 6 possible KARMA engines it would still leave me missing some of the sounds I need to switch to through the passage of quite a few of my songs. Recently I have started using the sequencer in KRONOS Song patches more so I can automate patch changes around my rig but the max possible max 8 zones the 4 KARMA engines can give me (in zone and outside zoning of the selected KARMA zone range per engine) is still bot enough at times to cope with the necessary sounds I need access to: hence I'm force to set up a sequence of patches that have to be patch changed from the A-50. I do try to compact everything in on Song patch as much as I can but often this is simply not possible without splitting verses/choruses/bridges/m8s etc into separate performance patches.
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chini
Senior Member
Joined: 13 Jan 2013
Posts: 284
Location: London, UK
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| Posted: Mon Jan 23, 2017 5:10 pm Post subject: The future of high end keyboard manufacturing |
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| Akos Janca wrote: | The internet is full of “show your studio”, “this is my new gear” etc. topics. But what about music? Is it getting any better because of this acceleration, this vicious circle?
We all know the answer.… |
I sympathise with this however as GregC points out we are all capable of ignoring evolving technology… nothing wrong with high tech saturation - the upside is that there will always be an abundance of second hand kit to choose from and indeed because technology moves on so fast it will become increasingly apparent to find second hand models with very little difference in features from the current models but with a much lower price tag! There will always be people obsessed with the latest gear! Leave them to it! indeed it is what you do with the tools you have that counts! and yes! I agree that current music, at least, in the "pop" world does not benefit from what I call "auto technology". The same kind of "lazy man's creative tools" is happening in the camera/video recorder market where auto-focus is becoming increasingly more sophisticated negating the need to use manual focus. In fact in all warps of life digital progression is quickly turning humans into automative behaviour. Parents are battling with their kids to spend less time surfing on the "internet encyclopaedia" whenever they need answers to their homework, adults spend silent breaks from work glued to their smart phones instead of talking to each other in cafes that used to buzz with with conversation. Actually if one looks back to when the commercial use of digital technology began we marvelled at its instantaneousness: now we take its ever increasing speeds for granted and complain when it slips milliseconds behind! I agree GregC that on the one hand we do live in exciting technological times but at the same time we must be wary of its misuse in society.
You are right! learning a new architecture is no mean feet! Pro musicians certainly don't chop and change gear often. I like GregC bought the Kronos when it came out in 2012 and as I've already mentioned I wouldn't swap it for a new model should it have appeared this time round at NAMM: nor will I should the new flagship appear next year because the current model does what I need it to do. Even after 5 years I still ask questions of the Kronos to fulfil a certain task and often it obliges and along the way am delighted to find a new functionality I had not previously discovered!
Instruments like the KRONOS are indeed vast in their architecture, so much so that to re-program everything from scratch with a new synth architecture is not practical. Dare I say it: I think manufacturers are getting ever closer to perfect designs! Hence the survival of musical instrument manufacturing relies more on true innovation rather than adding more bells and whistles in a new flagship model of an already established instrument.
As far as the KRONOS is concerned I think Korg learned a lot by watching the progression of Kurzweils K2000 over the years and have realised it makes much more sense to just release cosmetic changes of a flagship product along with software OS updates that every model owner can benefit from, keeping the innards and controller hardware unchanged. Not that I'm into bling but why not bring out different colours of the Kronos?! after all I think one can now regard the K as a classic that may well become collectable in the decades to come! No! if Korg do replace the flagship model it will be with something truly innovative incorporating/harnessing other concepts along the lines of what some of the posters here on this forum have suggested.
We have already seen the Apple iPad infiltrated into many products over the last few years and maybe Korg are already thinking of incorporating the entire PC and Mac OS within their keyboards which would negate the need to run a laptop on stage for running virtual instruments and general midi/recording tasks. Perhaps a keyboard with a dedicated Mac OS/PC audio/sequencer with fully fledged audio interface is just around the corner! Now that would interest me if merely from the point of view of portability and less wiring needed! I hate having my MacBook in toe! However they would be foolish to introduce something that could not import the previous flagships patches.
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Last edited by chini on Tue Jan 24, 2017 12:01 pm; edited 2 times in total |
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synthguy
Platinum Member
Joined: 05 Jan 2005
Posts: 661
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| Posted: Tue Jan 24, 2017 2:51 am Post subject: |
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In complete disrregard of Akos Janca's warning, some further NAMM gear news. 
In case you have been living in a sheltered studio for the past weekend, some whiz kid named Jacob Brashears made an OB-X desktop clone called appropriately enough, the Relic-6. By the number you should have known that it's a six voice polysynth with a classic Oberheim voice architecture minus audio rate FM, down to the lack of a mixer, and only a Soft button to balance the volume of the second oscillator. Noise is enabled full blast with a button press too, but it's a juicy, buzzy sound right out of the late 70s. Jacob accomplished this by using the same circuit designs of the OB-X, down to using silver-mica capacitors in the filter resonance circuit. It's SMD fabrication, but the sound is quite authentic.
https://www.youtube.com/watch?v=xiV7lzYuM8I
You know you want one.
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chini
Senior Member
Joined: 13 Jan 2013
Posts: 284
Location: London, UK
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| Posted: Tue Jan 24, 2017 11:44 am Post subject: Shear Electronics Relic-6 |
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| synthguy wrote: | In complete disrregard of Akos Janca's warning, some further NAMM gear news.
In case you have been living in a sheltered studio for the past weekend, some whiz kid named Jacob Brashears made an OB-X desktop clone called appropriately enough, the Relic-6. By the number you should have known that it's a six voice polysynth with a classic Oberheim voice architecture minus audio rate FM, down to the lack of a mixer, and only a Soft button to balance the volume of the second oscillator. Noise is enabled full blast with a button press too, but it's a juicy, buzzy sound right out of the late 70s. Jacob accomplished this by using the same circuit designs of the OB-X, down to using silver-mica capacitors in the filter resonance circuit. It's SMD fabrication, but the sound is quite authentic.
https://www.youtube.com/watch?v=xiV7lzYuM8I
You know you want one. |
Hi Synthguy, thanks for the link!
Nice to see such a bright young man following an idea though like this. He comes over very focussed and the result sounds great! I will certainly keep an eye out for his products. I have yet to be tempted though to replace my Andromeda. For me I must have more polyphony if only to avoid note stealing when playing slow release lush Lyle Mays type string pads. I also use one-shot/freerun envelopes on the Andromeda a lot - this synth may well have this feature (not too familiar with the original OBX) I'm sure with the right backing though this chap will do really well!
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Kronos2ison
Full Member
Joined: 18 Feb 2017
Posts: 123
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| Posted: Sat Mar 11, 2017 3:31 pm Post subject: |
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| Surprise ! NO Kronos 3 |
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marc1
Full Member
Joined: 04 May 2015
Posts: 119
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| Posted: Sun Mar 12, 2017 7:06 pm Post subject: |
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Kronos2ison: | Quote: | | Surprise ! NO Kronos 3 |
Who would have ever guessed. But I think someone pointed out in a previous thread that still there might be a new Kronos on the way. So, maybe summer Namm 2017, who knows!? |
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afr
Senior Member
Joined: 07 Oct 2005
Posts: 315
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| Posted: Wed Apr 05, 2017 10:25 am Post subject: |
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Where is the GrandStage?
Is not in the list of the musikMesse 2017 news  |
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billysynth1
Platinum Member
Joined: 22 Jan 2005
Posts: 1148
Location: Australia/Melbourne
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| Posted: Thu Apr 06, 2017 9:12 am Post subject: |
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Don't worry, Nord Stage 3 is there instead...korg fell asleep, it's so hard to bring out a piano nowadays
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Yamaha C1 Grand Piano.
Korg Oasys 88, Jupiter 80
Kronos 88, V Synth GT
I am a student of classical piano...I am not a classical pianist. |
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