Bruce Lychee wrote:I read what was written. I just didn't give you the benefit of the doubt as Zeroesque did.
I wrote
"So yes, it's ridiculous to talk about the RH3 keybed as if it were a general problem playing it."
What exactly leaves any doubt of meaning in this sentence???
Anyway: you confirm that a non-faulty RH3 keybed is just as playable as other modern weithted keybeds. That exactly was put to doubt more than once in this forum. I think there is no serious room left for this debate after enough positive experience from msany users, including Jordan Rudess.
So imagine: we are not apart on one question!
Kronos 73 - Moog Voyager RME - Moog LP TE - Behringer Model D - Prophet 6 - Roland Jupiter Xm - Rhodes Stage 73 Mk I - Elektron Analog Rytm MkII - Roland TR-6s - Cubase 12 Pro + Groove Agent 5
Besides some of the issues that some users are having with the RH3, I really wanted to get the 88 key version....
I just didn't care for the action at all and just love the feel of the 61key version.
If Korg had made an 88key version in semi-weighted I would have been all over it. Too bad the 76 key version (oops 73 key?? WHY?) wasn't offered in Semi-weight.
Oh well...Octave up..Octave down for me. Mainly Octave down...
Great ! thanks for sharing ! ! Great player one of my favorite out of many other ones ! Great Kronos sounds !
Who told Kronos has weak sounds ? Amazing !
WOW!!! All I can say is it's time to dust off the old Hanon and Czerny books and woodshed the exercises again for four or five years! Even then though, I doubt I'd be able to match Jordan's legendary technical chops nor his musical mindset, both of which remind me quite a lot of Brian Auger's!
Despite all of the complaints I read here about the RH3 action, I have an SV1-88 with this keybed (my Kronos is a 61) and absolutely LOVE it. It performs much like the action on a Mason Hamlin I know quite well, as well as the JC Fischer baby grand in my living room. While the Fischer is not exactly what you would call a "world-class" instrument, the Mason Hamlin is...guess I got lucky that the three actions are very nearly identical...they must have been having a very good day on the JC Fischer production line that day 105 years ago, as well as on the Korg assembly line last year!
That said, I suppose personal taste in actions all comes down to individual preference and experience. Folks brought up playing "piano weighted" keyboards, such as the Triton-88, SG1, T-1, etc will most likely prefer the feel of those types of actions. Those of us who were classically trained on large pieces of parlor furniture will oftentimes gravitate toward these more traditional types of actions over semi-weighted keys or synth actions as well, while those who learned keyboard on synths or combo organs will probably prefer semi-weighted or synth actions.
As a composer, I prefer whichever action is most conducive to facilitating performance of the instrument part I am attempting to emulate at the moment. Sometimes I even play parts on a wind controller, particularly when sequencing reed and brass parts.
On the other hand, those of us unfortunate enough to either have gotten an RH3 action that was faulty from the factory or somehow damaged in transport and/or handling (Korg issued very specific instructions on handling of instruments with these keybeds to avoid damaging them) will pretty much always prefer one that works correctly for them.
The bottom line, I suppose, is this: If it works for you and you are happy with it, that is all that really matters. If it doesn't work for you and you are not the proverbial "happy camper," there is really no need to disparage the entire class of instrument or its users. Simply find one that does work and care for it properly.
The onus is always upon the buyer to seek whatever remedies may be called for to correct flaws that may have been inherent in the manufacture of their own instrument. The manufacturer is bound, under warranty, to correct these flaws when real (as opposed to "imagined"). In the event the defects are pervasive to the extent that a significant number of buyers are impacted, it is incumbent upon the reputable manufacturer to correct the problem(s) to an agreeable degree of satisfaction for those affected (through recall, os updates, etc.) or face some sort of class-action remedy, something I don't remember ever happening to Korg. It seems, from commentary on this list, that a large number of RH3 users are impacted and that Korg is aware of it.
Korg is one of the most reputable manufacturers in the business (and on the planet, for that matter) and I have no doubt that they will address any issues that may have resulted from turning out a Kronos run that was sub-standard to their specification. I have never known this company to do anything other than "the next right thing" when it comes to their consumer base, among which I have been a part since the early 1980s.
Still, sometimes resolution can take a while, especially if there is an inherent design flaw in the instrument. It can also be a very expensive proposition for the company, ergo, it may take them a while to figure out how to implement a "fix" in a way that is cost-effective, yet satisfying to all parties involved.
I would suggest that the torches and pitchforks be laid aside for now. Demonizing the instrument, the company and/or fellow users is not likely a beneficial use of our time or resources. I believe that our prime directive should be to help one another to wade through the complexity of the instrument as it is now, while kindly not letting Korg forget that we are awaiting specified "fixes," in as polite and civil a manner as possible. We have befriended the company by becoming consumers and I believe that they, in their best business interest, truly want to maintain that friendship so we will continue to be friends and patrons.
Furthermore, as early adapters, we should be aware that we become a de facto part of their trouble-shooting team, essentially further debugging the instrument, catching whatever they may have missed in development. While I'm certain that Korg never wants this to have to happen, I am equally certain that they appreciate having the flaws pointed out to them so that they may be addressed. After all, it is nearly impossible for one to repair something that one has no idea is broken.
Sorry for this much-too-long post and waxing somewhat philosophical here. Not to make this post too much longer than necessary, I have to tell you all that I love this forum and greatly appreciate all of your contributions. A few of you have helped me learn some of the finer points of this machine, and I hope that I am able to be of help for more than a few of you as well in the coming days/weeks/years. One cannot be a Korg consumer for more than a quarter century without learning something about these wonderful instruments and the world-class company that manufacturers them. There are many like me here, comprising a tremendous wealth of knowledge, experience and history about these machines and I, for one, am quite happy that you are all here!
That's my $ 0.02...your mileage, of course, may well vary.
Best,
Fox
Korg User since 1983 (Poly 61, Poly 800 and Poly 800ex). Currently own T-1, 01w/fd, i3, Prophesy, Z-1, Triton 88, SG ProX, KARMA, CX-3 (2nd Generation), PA2xpro, SV-1 88, Kronos 61.
I cant understand why anyone likes this music. almost every video ive seen of jordan rudess playing the music to me is virtually impossible to listen to. its as though he just wants to prove he can play fast.
If i recall my music history classes correctly (and it's possible I don't... many, many years have lapsed since college), I believe that is almost a verbatim quote reflecting what many thought of Wolfgang Amadeus Mozart.
Korg User since 1983 (Poly 61, Poly 800 and Poly 800ex). Currently own T-1, 01w/fd, i3, Prophesy, Z-1, Triton 88, SG ProX, KARMA, CX-3 (2nd Generation), PA2xpro, SV-1 88, Kronos 61.
EXer wrote:JR performance = great virtuosity, no emotion.
This is not music.
Agreed. And even his virtuosity is overrated.
also agreed-a friend of mine calls it "disappear up your own ass" music. He certainly plays faster then I ever will, but is it musical, interesting, and expressive? I can appreciate it for what it is of course. Just sounds like Hanon and Czerny to me, musical calisthenics. Seems like a tech geek/speed freak to me, although from what I hear a good guy.....um, what was this thread about again?
I'm also on the more emotional side of music, but I think it's unfair to use that as an argument.
Even some(!) Bach fugues to my ears sound like coming from a computer program rather than having much emotional value. But what's wrong with that? Music can be appealing to the mind as well as to emotions, and beauty can be in the rational sides of progrock as well as in the kicking rhythm of a funk piece.
I don't think Jordan's finger techique is overrated. In fact I think it's quite outstanding, no matter if you like his music or not.
Kronos 73 - Moog Voyager RME - Moog LP TE - Behringer Model D - Prophet 6 - Roland Jupiter Xm - Rhodes Stage 73 Mk I - Elektron Analog Rytm MkII - Roland TR-6s - Cubase 12 Pro + Groove Agent 5
! Great player one of my favorite out of many other ones ! Great Kronos sounds ! 
