Korg Forums

Someone who ultimately know's their gear i think eh and thankyou

About the touch screen... I don't use it live. I only use it while editing sounds. For live situations I have all my patches set up in order and I just step through them with my pedal assigned to "program up"

E: one reason that some artists don't want to go to M50 or M3 is the fact that they don't have the 10's Hold function which is very important to some performers...

chilly7 wrote: if the reason is keys feel, well i strongly can not belive that Oasys or M3 can not beat Tritons. M3 or Oasys for shure is better

The Triton's had a very solid feel to them... I warmed up to the M3's feel, but I go back to my 01/W (same keybed as the Triton) and the keys definitely feel more solid, with the M3 I always feel like I'm going to break something. There was actually a Yamaha keybed in there that I think was retired recently. I tried out a Motif, and I was really disappointed in the keyboard feel, the M3 actually felt more solid than the Motif's. I expected more from yamaha! Not sure why, but I don't expect to see that keybed back in any new synths.

McHale wrote:
Every synth Korg puts out always has changes/improvements, but something is always lost along the way. There's things my DW-8000 or DVP-1 can do that the rest can't. I can get sounds out of my DSS-1 sampler that no Korg sampler synth is capable of. On paper, it always looks like the next synth can take over full time duties but in reality, it's not true. Every synth has it's own "charm" so to speak.

-Mc

so true... even when the Triton came out, I initially assumed it did everything the Trinity did, but the Trinity had it's own sound and features to it that stayed unique to it. I even thought I could sample a number of sounds from the 01/W to my Triton, but besides that being so complicated, there were some sounds that depended on the 01/W's waveshaping feature that the Triton could not replicate (nor can the M3, unless you're really clever and use velocity-layering - wish i had the time).

imagine if they made a super-synth that could do everything all the past synths could do... and how much it would cost! I thought OASYS was a lot like that, but yet, no MOSS, no VALVEFORCE, no AI2 emulation (that would have been nifty to have a 120-voice M1 in your OASYS).

Vitalij Kuprij still uses an 01/W even with all the newer synths available... that sound just isn't manufactured anymore.

Maximon wrote:Thanks for the feedback guys..
I decided to opt for the 61 merely as space is tight..i think i wished i'd held out for a 76 again..but as you say, maybe this 61's keybed frame feels...Worn! shall we say.

If i may pop another question to you seeing you have the luxury of M3 and M50.. would you say the audio quality output is noticably different from one to the other?
I nearly went and bought an M50 but then i read somewhere about it not having the sonic depth of the M3, relating to it's output that is..not the synthesis potential. If so then this is to do with cost limiting factors in the output board along with lesser quality converters.. ?

There *are* two differences that will have an effect on the sound. One is that the M50 has only one insert effect while the M3 has 5. The other is that the M3 has twice the polyphony as the M50 (which will only affect sound if you're playing a lot of notes at once with a large number of timbres sounding at the same time).

It is true though that if you take an M50 patch and load it on the M3, they will sound the same. Going in the opposite direction, it depends on how many insert effects the patch uses.

1. The M50 has 5 insert effects.
2.
3. refer to number 1...

-Mc

kanthos wrote:

Maximon wrote:Thanks for the feedback guys..
I decided to opt for the 61 merely as space is tight..i think i wished i'd held out for a 76 again..but as you say, maybe this 61's keybed frame feels...Worn! shall we say.

If i may pop another question to you seeing you have the luxury of M3 and M50.. would you say the audio quality output is noticably different from one to the other?
I nearly went and bought an M50 but then i read somewhere about it not having the sonic depth of the M3, relating to it's output that is..not the synthesis potential. If so then this is to do with cost limiting factors in the output board along with lesser quality converters.. ?

There *are* two differences that will have an effect on the sound. One is that the M50 has only one insert effect while the M3 has 5. The other is that the M3 has twice the polyphony as the M50 (which will only affect sound if you're playing a lot of notes at once with a large number of timbres sounding at the same time).

It is true though that if you take an M50 patch and load it on the M3, they will sound the same. Going in the opposite direction, it depends on how many insert effects the patch uses.

not true.
The TR had one insert effect.
one of the main marketing points of the M50 has been that it has the same number of IFX as the M3. it has 5 IFX. plus two MFX and one TFX. I think korg picked up on this from complaints on the TR and LE. It is for this reason alone that I would buy an M50, currently owning a TR (although I guess i'd rather a 2nd hand triton, given the M50's lack of aftertouch and sampling)

M50 Effects
5 Insert Effects (stereo in/out), 2 Master Effects (stereo in/out), 1 Total Effect (stereo in/out) are available simultaneously

2 effect control busses, 2 effect common LFOs

170 types (can be used for Insert/Master/Total.) Note: double-size effects cannot be used as a Total effect.

Effects Presets: Up to 32 per Effect, 700 provided in OS 1.10

3-band Track EQ (High, low, and sweepable mid band) Per Program in Program Mode, per Timbre in Combination mode (16 total), and per Track in Sequencer mode (16 total)

M3 Effects
5 Insert Effects (stereo in/out), 2 Master Effects (stereo in/out), 1 Total Effect (stereo in/out) are available simultaneously
2 effect control busses, 2 effect common LFOs
170 types (can be used for Insert/Master/Total.) Note: double-size effects cannot be used as a Total effect.
Effects Presets: Up to 32 per Effect, 700 effect presets
AUX bus: Two internal buses for sampling and routing audio to the EXB-RADIAS
3-band Track EQ (High, low, and sweepable mid band) Per Program in Program Mode, per Timbre in Combination mode (16 total), and per Track in Sequencer mode (16 total)

kanthos wrote:
There *are* two differences that will have an effect on the sound. One is that the M50 has only one insert effect while the M3 has 5. The other is that the M3 has twice the polyphony as the M50 (which will only affect sound if you're playing a lot of notes at once with a large number of timbres sounding at the same time).

It is true though that if you take an M50 patch and load it on the M3, they will sound the same. Going in the opposite direction, it depends on how many insert effects the patch uses.

As said before, the M50 has EXACTLY the same effects as the M3.

As for the polyphony, the M50 have 80 voices and the M3 have 120. Hardly the double.

No offense, kanthos, but it takes just a quick look in korg.com specs sheet of each keyboard to avoid giving inaccurate figures.

Sorry if i opened a can of worms good people

Gargamel314 wrote:

chilly7 wrote: if the reason is keys feel, well i strongly can not belive that Oasys or M3 can not beat Tritons. M3 or Oasys for shure is better

The Triton's had a very solid feel to them... I warmed up to the M3's feel, but I go back to my 01/W (same keybed as the Triton) and the keys definitely feel more solid, with the M3 I always feel like I'm going to break something. There was actually a Yamaha keybed in there that I think was retired recently. I tried out a Motif, and I was really disappointed in the keyboard feel, the M3 actually felt more solid than the Motif's. I expected more from yamaha! Not sure why, but I don't expect to see that keybed back in any new synths.

Absolutely yes
I use at work a TR-61, and I always feel I'm gonna break the keybed any time... and the keyboard is not mine!

Well maybe mine has been particularly well used' in previous hands (classic 61) the keys feel like switches, not pleasant at all..maybe the keybed frame is the issue as mentioned before..although it doesn't rattle or feel loose, just a bit cheap and nasty.

Maximon wrote:Sorry if i opened a can of worms good people

No no, it was my fault for talking about the specs as I remembered them, which was clearly wrong, instead of looking them up

kanthos wrote:

Maximon wrote:Sorry if i opened a can of worms good people

No no, it was my fault for talking about the specs as I remembered them, which was clearly wrong, instead of looking them up

Naahh, it's been a very friendly thread, Maximon. No worries

I wouldn't call myself a PRO but yup! im sticking with it...

***Korg designers got it right the 1st time with the Trinity....on the Triton things only got better.

chilly7 wrote:Sorry, no offence to anybody, i jast whant to say that at my opinion thay are very lazy to reprogram all their sounds to a new keyboard, because thay spent alot of hours for programm them with Tritons.....

Correct me if I'm wrong but isn't it that all Korg keyboard share the same file format for the Sounds?
They all can read .PCG right?

You can transfer the files via storage devices then fine tune them on the target keyboard?

And by the way JORDAN RUDESS of DREAM THEATER uses the OASYS.

He never used the TRITON unlike DEREK SHERINIAN that has (2) Korg Triton Extreme 76.