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Korg Kronos?
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Naviára
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Joined: 29 Jul 2010
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Location: germany

PostPosted: Thu Jan 20, 2011 3:05 pm    Post subject: Re: Kronos IMO not the OASYS2 Reply with quote

Hedegaard wrote:
Naviára wrote:
Bachus wrote:
John Hendry wrote:
I just spent a little time on an ATOM powered Dell Latitude 2100 looking at info on the Atom CPU. It's slow....seems slower than my very old Celeron 1.3 lap top and too slow for a desk top replacement. I don't know what chip set Korg used but the Dell 2100 runs really cool so has some great features....just not horse power. Don't take this wrong... IMO Korg hit another home run with the Kronos, M50 then Kronos, 2 for the dollar packed machines that beat the competition hands down, but I do not believe it is the OASYS2.

Read about the OASYS PCI and why a computer could not do the work needed and then tell me the Atom is for a flagship. Nope, IMO Korg has a monster hidden in a cage waiting to let it out with Poly AT.

John^^


Tough i seriously think they could have opted for a faster CPU at not much extra costs (Every laptop CPU even i5 and i7 would function without problems and not much coolfan noise)

But you can't seriously compare something running on a resource hogging Windows OS with a minimalistic Linux OS with real time processing embedded intoo the Kernel....

Next to that i am pretty sure this processor is fast enough to keep up with the Specs and perform at any given polyphony without much problems. Its way faster then the Oasys CPU, just check some floating point benchmarks and you'll know what i am talking about. Hell yes, my Iphone CPU is faster then the OAsys CPU.

The beast will perform just fine, the CPU only limmits the possibilities for expansions, but then its not an open system....


Got this from the Korg page:

Oasys polyphony:

HD-1: 172 voices
AL-1: 96 voices
CX-3: 172 voices
STR-1: 48 voices
MS-20EX: 48 voices
PolysixEX: 172 voices
MOD-7: 52 voices

Kronos polyphony:

SGX-1: 100 voices
EP-1: 104 voices
HD-1: 140 voices
AL-1: 80 voices
CX-3: 200 voices
STR-1: 40 voices
MOD-7: 52 voices
MS-20EX: 40 voices
PolysixEX: 180 voices

If you look on the strongest VA engines (AL-1, STR-1, MOD7, MS20EX - not the sample based ones) seems like Oasys has a little bit more power. Maybe the Kronos needs some extra power for the diskstreaming, switching programs without loosing voices.... or the ATOM simply isn't faster then the Oasys CPU.


no, its because the Kronos has deeper quality, 8 velocity layers contra Oasys 4 layers, so its virtually DOUBLE that of Oasys!!!


The velocity layer has nothing to do with CPU performance - it's just a simple switch triggering different samples in HD-1 programs. The Oasys can trigger 4 different samples, the Kronos 8 - since only one sample is triggered at the same time makes no difference in CPU performance.
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Hedegaard
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PostPosted: Thu Jan 20, 2011 3:49 pm    Post subject: Reply with quote

I'd presume that 8 layers uses more resources than 4 layers?
(Not just switching that is going on)

That means the more petrol I put in the car, the less km distance I can drive?

Something about physics and resources I obviously don't understand here, perhaps you could explain a bit deeper for me please?
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X-Trade
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PostPosted: Thu Jan 20, 2011 4:00 pm    Post subject: Reply with quote

If crossfading is enabled, does that not use up two voices like it does on the M3? (because two samples are played and balanced out depending on the velocity)
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Randelph
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PostPosted: Thu Jan 20, 2011 7:48 pm    Post subject: Reply with quote

Pepperpotty,
A PA2x eh? Still a lot of technology. My point about digital pianos like the Nord Stage (which has fantastically satisfying sounds and a super straightforward interface) is that you'll spend time learning to play the keyboard, not learning to play the features on the keyboard.

I had an arranger about 5 years ago, the Yamaha PSR 3000. I really liked the sound quality of the board. But unless you have one woman band aspirations, or want to practice to different musical styles, is not very interesting. Personally I get tired of the canned styles (they eventually sound canned if you hear them repeat enough times). And they require a fair amount of time to really take advantage of the many advanced features they possess. They're a workstation as well, just a specialized one for self-accompaniment.

Someone on this forum that might shed some light for you is Rob Sherratt. He has the PA2x as well as the M3 (which is comparable to the Kronos in terms of type of workstation). You might try describing what you want and asking his advice. From what he's written the PA2x is closer to the sound quality league as the Oayses (which means a step above the M3), and it sounds like he really enjoys his.

IF you're going to go the workstation route (either PA2x or the Kronos) and not the digital/stage piano route, I'd seriously consider the Kronos. If you're a geeker tweaker and are turned on by sound, it's going to be FANTABULOUS! Sound quality has been a major issue up until now (unless you had $8000 for an Oayses), and that'll be a non-issue with the Kronos. The user interface was another stumbling block, and with an 8" touchscreen, it'll be a joy to interact with the board. And judging by the M3's interface, Korg has the most? musician friendly system.

So what this means is with 9 virtual engines in the Kronos, and a big ass screen, you'll be able to tweak sounds with virtual patchcords and all kinds of visual assist- and they'll be super quality sounds. And building up a combi on this will be a dream: starting with those high quality sounds, you've got 16 different voices you can easily layer/split, which means some massive sonic mayhem and Voice of God sounds! And on and on- it's a great time to be in the market for a keyboard!

But seriously- if you haven't got your keyboard chops up yet, and want to get that in place before getting distracted by the current keyboard technology, you can find a used digital piano for less than $1,000 (600 pounds?) with decent weighted action, built-in speakers in some cases (which I love for quieter, personal practice sessions and instant portability), and decent piano sounds. I wouldn't want to give up my M3, but seriously, I often spend more time programming sounds than I do playing/practicing, which is easy to do with these boards.
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Naviára
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PostPosted: Thu Jan 20, 2011 8:02 pm    Post subject: Reply with quote

Hedegaard wrote:
I'd presume that 8 layers uses more resources than 4 layers?
(Not just switching that is going on)

That means the more petrol I put in the car, the less km distance I can drive?

Something about physics and resources I obviously don't understand here, perhaps you could explain a bit deeper for me please?



Just look here:



you see the 4 bars (velocities) for OSC1 on the right side of the image??

every blue bar represent one sample, you can choose if it's stereo or mono

one stereo sample will use 2 HD-1 voices
one mono sample will use 1 HD-1 voices

you see that the bars in the picture doesn't crossfade eachother, that's normal for a piano patch. So it doesn't matter how hard you hit one key on the keyboard - even if there would be 8 or 16 different bars with different samples there will only be 2 HD-1 (if it is a stereo sample) voices used, because just one bar would be played back at the same time - so different volumes triggers different samples. Easy!

Now comes the tricky part - It's also possible to extend the 4 bars for each sample on the entire velocity range (for crossfade reasons - Wave sequencing) - So if all 4 bars are completly filled and each bar triggers a different sample the number of total HD-1 voices will also raise.

4 full bars with stereo samples (without velocity splits): 8 HD-1 voices will be used if one single key is pressed!

On Kronos now it's possible to assign 8 bars with samples on one OSC - that will raise the maximum voicecount to 16 HD-1 voices on one single key.

You see it doesn't matter how many velocity switches (bars) you could use. Don't make the mistake and see one OSC program as one HD-1 voice. It depends on how the HD-1 OSC are programmed and how many total samples are played back the same time. That's how the HD-1 engine works... (you can get a similar explaination if you open the help page on the O)

Why do I write so much?!

I really try to find out if it's technically possible to get the entire Kronos OS with all it's features to the Oasys without loosing performance...

From what I've seen, heard, reading in the specs the last days I come to the conclusion - YES it has to be completly possible to install the entire Kronos OS on the O (at least the O has to be equipped with 2 GB) without loosing any performance, even the audio hardware is the same ...

All O users have to know that both machines share the same hardware-performance, that an modified Installer (paid or free upgrade) from Korg could bring them to the Kronos level instead of selling their O's for a Kronos....

The update could be delivered on a prepared 32GB IDE SSD or USB stick installation including a Boot-CD Image for USB installation and/or BIOS configuration.
A.
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Pepperpotty
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PostPosted: Thu Jan 20, 2011 10:27 pm    Post subject: Reply with quote

Hi Randelph,

You don't need to worry about me getting a cheap stage piano to get used to it before I buy something big. I've been playing the keyboard for 25 years so I think I'm ready to play with you blokes now! Although I have an old keyboard, that is only because I haven't been playing mine much because I've been learning to play the guitar for the last five years. I know for a fact that I don't want a workstation as I don't have a lot of patience and I'd get really bored really fast if I decided to make my own patches and sounds. I have bought more computer software than I can remember and they all end up gathering dust because i just don't enjoy creating music that way. The reason why I'm going for an arranger rather than a stage piano is for the auto accompliaments. Not to use them on stage, and certainly not for recording (I have quite a few computer programs I can use to create my own original drum track) but just for my own entertainment. I also want one of Korg's arrangers for the tc helicon voice effects. I love to sing so that's a big bonus for me.
You see, I don't play to make money, or to entertain other people. I just play for my own amusement. I'm gonna have a long go on my uncles pa1x next weekend so I'll know if the pa series is for me.

Thanks for the advice

Emma
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synthguy
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PostPosted: Thu Jan 20, 2011 10:41 pm    Post subject: Reply with quote

Randelph wrote:
Synthguy,
That's awesome that you've got the synth collection, the interest, and the aptitude to relate to synth/sound technology from the 70's and 80s. I consider the 70's, which my Nord Stage does such a bang up job of re-creating, to be some of my fav sounds: killer organs, EPs, synths, fx.

My personal opinion is that anyone who doesn't at least reflect on the heyday of electronic music from the 70s is doing themselves a disservice, as well as not giving some excellent music a chance. Whether it's prog rock in the vein of Yes, ELP or UK, fusion from Jan Hammer, Joe Zawinul, Stanley Clarke, or experimental rock from David Bowie, Robert Fripp or Brian Eno, these guys pioneered some marvelous musical landscapes without which today's music might not exist. Or certainly not quite in their current forms. The Nord Stage is certainly designed to be that basic gigging machine which can cover many of the bases well.

Of course, now we're getting the Big K...

Quote:
I've found a better modern musical workstation partner in the M3, and while I appreciate the workflow a lot more, I have to work so hard to find the good sounds on that board. So having engines and not just rompler playback is major, 'cause ultimately for me its about sound quality. Whether I'm playing my flute, hand drums or keyboard, I've found over the years that everything that drives it for me is the quality of sound.

Personally, while I admire people who created great music with the old synths, I also know that it was their full time job, they often had help creating the patches, and that the amount of work dealing with the first stage of technology (synths in particular) is rather onerous. That would be a lot of time taming various boards, which of course takes away from time composing/sequencing/etc.

Well, that's certainly true for most of us. Wink

I'm curious as to what you mean by "quality of sound." I suspect that you mean "character." I know that OASYS owners are fairly vocal about the fact that nothing can match the sound quality of the Big O, but my own M3 has been a very good musical companion for me and delivered some very nice sounds of all types. It helped that I bought the Radias board with it, so I did have a few options rather than being stuck with using a better rompler for the most part. And as someone who has been messing with this technology for a couple of decades or so, I've learned a lot about how to coax some fantastic textures from an instrument.

Because the M3 was so versatile for me, it was often the only thing I'd use. I always seem to need more, and am so addicted to collecting gear that when I couldn't push the Radias board as far as I wanted, rather than midi-ing up another VA, I bought a Radias. When I wanted more Moogy sounds, I bought a Virus, and then the Origin. And as good as the M3 is, I'd end up wanting the sounds of the other romplers and synths I own, so they'd get turned on and join the "orchestra."

As I said, they all have a character, a quality that makes each one a unique entity in its own right, rather like the various instruments in an orchestral ensemble. Obviously the rom waves are all different, but so are the filters, effects and even the output electronics. They all play differently too. As I mentioned previously, I just can't recreate my TS-10's electric 12 string patch on another synth, or play it the same way. So having a different sound as well as behavior is very significant to me with all my gear. I'm no Jordan Rudess by any means, but he's very pertinent when he says that his instruments are very organic and inspiring to him. When I turn all this stuff on, each one suggests how it wants to be played, and inspires its own musical directions.

Fortunately I've lived with all these guys for so long that I remember who is good for the killer distorted lead patch, who gives the best pipe organs and saxophones, and who has the drum sounds I'm needing. Wink

Which brings me back to Kronos...

Quote:
For myself, it's such a task already dealing with the always-more-to-understand technology, that I'm glad that something that's built from the ground up to be a musical instrument (Kronos) finally has multiple synthesis engines at an affordable, reasonable weight and high sound quality all around- it's a first as far as I can see.

But more power to you- it's guys like you that are still working with the old gear that make excellent programmers for the boards many of us have never played. That's why it takes me so long to audition sounds, 'cause I'm aware that I don't necessarily know what kind of sound quality potential it can have, and have to do a ton of compare and contrast.

I'm certainly ready for that ultimate instrument, having passed on an OASYS in hopes it would drop in price, and then picking up an M3 instead hoping to have the equivalent of an OASYS Le, and then discovering that I really wanted a Kurzweil PC3 instead. The Kronos gives me the chance to own the instrument I wanted all along.

While I'm likely to want a better reverb on it, the rest of it will no doubt blow me away. Having a CX-3 organ instead of trying to fake a Hammond with organ samples. Having a full blown FM synth rather than getting by with my K2000 similarities, or the four operator V50 with its wimpy effects. Having a modeled string synth to manipulate to ridiculous lengths. Having a piano with each note sampled end to end without loops, and finally a CP-80 Electric Grand I'll love - hopefully. Wink And the huge AL-1 modular analog synth engine under KARMA control, and its MS-20 and Polysix sidekicks.

All this will mean I'll finally have ONE instrument which just about makes my whole synth collection obsolete. Composing will mean turning on one instrument which is actually nine very high quality instruments with a large effects rack included. For the most part, I'll be able to program in many of my choice patches from my other instruments. Perhaps not quite as good, but perhaps improving on them greatly, we'll see. Still, I can see that I'm still going to be running midi cables to my other gear when it comes time to get serious and do the actual arrangements because... well, that darn Ensoniq 12 string just doesn't happen on anything else. Wink
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Akos Janca
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PostPosted: Fri Jan 21, 2011 12:28 am    Post subject: Reply with quote

Naviára wrote:
From what I've seen, heard, reading in the specs the last days I come to the conclusion - YES it has to be completly possible to install the entire Kronos OS on the O (at least the O has to be equipped with 2 GB) without loosing any performance, even the audio hardware is the same ...

All O users have to know that both machines share the same hardware-performance, that an modified Installer (paid or free upgrade) from Korg could bring them to the Kronos level instead of selling their O's for a Kronos....


If the above is true, somehow I feel this will happen: after Korg sell many-many Kronoses they will give the update (or the part of it) to OASYS users. For free. (?) Shocked Why not?
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vEddY
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PostPosted: Fri Jan 21, 2011 7:26 am    Post subject: Reply with quote

synthguy wrote:

My personal opinion is that anyone who doesn't at least reflect on the heyday of electronic music from the 70s is doing themselves a disservice, as well as not giving some excellent music a chance. Whether it's prog rock in the vein of Yes, ELP or UK, fusion from Jan Hammer, Joe Zawinul, Stanley Clarke, or experimental rock from David Bowie, Robert Fripp or Brian Eno, these guys pioneered some marvelous musical landscapes without which today's music might not exist. Or certainly not quite in their current forms. The Nord Stage is certainly designed to be that basic gigging machine which can cover many of the bases well.

Gotta offer only one comment here, don't misunderstand me as I agree with what you wrote Smile ... Nord stage is quite ok as a product. But when you take its price into account, it becomes rather ridiculous. Check the price of Stage 88 EX here and now almost universally beloved Kronos here.

A lot of product prices like these will have to realigned, and soon. That's one of the biggest side-effect gains with Kronos.
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KONNECTORAS
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PostPosted: Fri Jan 21, 2011 8:45 am    Post subject: Reply with quote

synthguy wrote:

All this will mean I'll finally have ONE instrument which just about makes my whole synth collection obsolete. Composing will mean turning on one instrument which is actually nine very high quality instruments with a large effects rack included. For the most part, I'll be able to program in many of my choice patches from my other instruments. Perhaps not quite as good, but perhaps improving on them greatly, we'll see. Still, I can see that I'm still going to be running midi cables to my other gear when it comes time to get serious and do the actual arrangements because... well, that darn Ensoniq 12 string just doesn't happen on anything else. Wink


I can feel exactly what you say about the vintage Ensoniq sound.
But why keeping a whole instrument for just a single sound?
Why you do not sample it it the best possible-and-ever quality? Very Happy
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synthguy
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PostPosted: Fri Jan 21, 2011 11:22 am    Post subject: Reply with quote

vEddY wrote:
Nord stage is quite ok as a product. But when you take its price into account, it becomes rather ridiculous. Check the price of Stage 88 EX here and now almost universally beloved Kronos here.

A lot of product prices like these will have to realigned, and soon. That's one of the biggest side-effect gains with Kronos.

Wow... is that ever true! I hadn't been following the price of the different Stages because the keyboard simply didn't interest me. I know it was very high when it initially launched, but I thought the price would have dropped by now to be more in-line with what the old K2600 used to sell at. Silly me. But definitely, Kronos is going to change the game for the rest of the manufacturers, because the focus of many many keyboardists have shifted to this one instrument.

KONNECTORAS wrote:
synthguy wrote:
I can see that I'm still going to be running midi cables to my other gear when it comes time to get serious and do the actual arrangements because... well, that darn Ensoniq 12 string just doesn't happen on anything else. Wink

I can feel exactly what you say about the vintage Ensoniq sound.
But why keeping a whole instrument for just a single sound?
Why you do not sample it it the best possible-and-ever quality? Very Happy

I do make it sound like I keep that old dinosaur around for that one patch, don't I? Wink

It does have more than that to offer in what is now a meager 3.5 megabytes of wave rom, but to be honest, if it only had that one sound, I'd keep it for that. Sampling it wouldn't solve the problem because somehow, the TS-10 and Ensoniqs in general just don't play the same way. Those crazy engineers created a sound engine which is very dynamic and lifelike, and those envelopes just don't respond the same way on other synths. Sort of, Korg, Kurzweil and Yamaha synths are pretty good, but then there's the dynamic sample start in the oscillators which I don't believe exist on other synths or samplers, which I can modulate with key velocity. And then there are the effects, the fantastic patch select functions, and as I said before, the sound of the instrument which would get muddled by trying to sample it. Plus the headache of sampling itself.

No, the easiest thing would be to keep it, and because of that signature sound it has, the only thing. Wink
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vEddY
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PostPosted: Fri Jan 21, 2011 12:42 pm    Post subject: Reply with quote

synthguy wrote:

Wow... is that ever true! I hadn't been following the price of the different Stages because the keyboard simply didn't interest me. I know it was very high when it initially launched, but I thought the price would have dropped by now to be more in-line with what the old K2600 used to sell at. Silly me. But definitely, Kronos is going to change the game for the rest of the manufacturers, because the focus of many many keyboardists have shifted to this one instrument.

Yeah, well... I really have to stress one thing out - it's a good sounding keyboard, Nord Stage thing.. But for me it was always like... If I put used K2600 or PC3, and for example Motif beside it and think really hard what I'd buy... It _definitely_ wouldn't be a Stage, ever. However good it might sound and cool/hideous it might look (subjective thing).

I know - they are different products, but in a very similar price range which is the basis on which I'm comparing. And with that reasoning in mind, all of the hw synth manufacturers are gonna have to think really, really hard about their prices.

I'm not sure we're gonna see huge price drops (it might happen), but something will happen for sure. And Kronos will have a major role in that.
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Randelph
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PostPosted: Fri Jan 21, 2011 5:08 pm    Post subject: Reply with quote

vEddy,
Let's hope the Kronos drives down prices, but I really have no clue as to the dynamics of pricing and how that affects R&D and general viability for the maunfacturers.

For example, I imagine if this wasn't such a small market, we wouldn't have gotten so much rehash of old technology and ever improving romplers as our main diet for so long from the big 3. What I'm imagining is that only now that the price and level of computer technology is becoming powerful and affordable enough, that we're getting something like the Kronos that fulfills the promise of workstations. Look at the damn XS: not a synth engine in sight! And look at Open Labs and other companies that couldn't make a go of it in this small market.

And look at the pricing in other countries: why do Europeans and many people around the work pay a third? more than I do in the US? Whats up with that?

As for the Stage: Clavia doesn't control the final price sold- they sell it to AMS, who then provides warranty service and sells it for whatever they see fit, so who knows how much they mark it up.

As for the Stage- I can see how it seems over priced. It's certainly no workstation. My take on it is that being built in Sweden they're not realizing the cost savings of doing the engineering and then having a Chinese factory build it- they build it in Sweden. And I think in many ways they're very Apple like in how they're able to build a product that everyone else has made endlessly complicated, and they've managed to create something that is magnificently user friendly for the performing musician- and with a sound quality that satisfies.

I love my M3, and I love my Stage 88 for completely different reasons- they're both awesome boards. I would feel unprepared trying to perform with the M3 (or the XS that I sold) without spending weeks and weeks of looking for the best sounds, tweaking them, building combis, modifing the fx and controller routings, tediously building up set lists of sounds i want for a particular performance, etc.

With the Stage I don't have the total flexibility that the workstations do, but for bread and butter sounds, I arrive at much the same place as I do with the M3 but the prep time is almost non-existent. It's a brilliant board for what it is, and a superb complement to a workstation (and in this case, to the sounds of the M3).

Randelph
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vEddY
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PostPosted: Fri Jan 21, 2011 5:11 pm    Post subject: Reply with quote

Randelph wrote:

With the Stage I don't have the total flexibility that the workstations do, but for bread and butter sounds, I arrive at much the same place as I do with the M3 but the prep time is almost non-existent. It's a brilliant board for what it is, and a superb complement to a workstation (and in this case, to the sounds of the M3).
Randelph

Exactly what I had in mind when I said what I said Smile And noted that I feel Stage is a good product. It's just that it's overpriced, however you look at it, nothing else.
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Hedegaard
Senior Member


Joined: 20 Jan 2008
Posts: 498
Location: Denmark

PostPosted: Fri Jan 21, 2011 5:41 pm    Post subject: Reply with quote

Naviára wrote:
Hedegaard wrote:
I'd presume that 8 layers uses more resources than 4 layers?
(Not just switching that is going on)

That means the more petrol I put in the car, the less km distance I can drive?

Something about physics and resources I obviously don't understand here, perhaps you could explain a bit deeper for me please?



Just look here:



you see the 4 bars (velocities) for OSC1 on the right side of the image??

every blue bar represent one sample, you can choose if it's stereo or mono

one stereo sample will use 2 HD-1 voices
one mono sample will use 1 HD-1 voices

you see that the bars in the picture doesn't crossfade eachother, that's normal for a piano patch. So it doesn't matter how hard you hit one key on the keyboard - even if there would be 8 or 16 different bars with different samples there will only be 2 HD-1 (if it is a stereo sample) voices used, because just one bar would be played back at the same time - so different volumes triggers different samples. Easy!

Now comes the tricky part - It's also possible to extend the 4 bars for each sample on the entire velocity range (for crossfade reasons - Wave sequencing) - So if all 4 bars are completly filled and each bar triggers a different sample the number of total HD-1 voices will also raise.

4 full bars with stereo samples (without velocity splits): 8 HD-1 voices will be used if one single key is pressed!

On Kronos now it's possible to assign 8 bars with samples on one OSC - that will raise the maximum voicecount to 16 HD-1 voices on one single key.

You see it doesn't matter how many velocity switches (bars) you could use. Don't make the mistake and see one OSC program as one HD-1 voice. It depends on how the HD-1 OSC are programmed and how many total samples are played back the same time. That's how the HD-1 engine works... (you can get a similar explaination if you open the help page on the O)

Why do I write so much?!

I really try to find out if it's technically possible to get the entire Kronos OS with all it's features to the Oasys without loosing performance...

From what I've seen, heard, reading in the specs the last days I come to the conclusion - YES it has to be completly possible to install the entire Kronos OS on the O (at least the O has to be equipped with 2 GB) without loosing any performance, even the audio hardware is the same ...

All O users have to know that both machines share the same hardware-performance, that an modified Installer (paid or free upgrade) from Korg could bring them to the Kronos level instead of selling their O's for a Kronos....

The update could be delivered on a prepared 32GB IDE SSD or USB stick installation including a Boot-CD Image for USB installation and/or BIOS configuration.
A.


Thanks for your elaborate explanation.
However, if 8 layers (all at the same time) sounding samples per oscillator, that is already double the Oasys, so therefore it would require more resources, unless perhaps you scale down the available amount of resources.
But thats just part of the overall picture.
The Oasys is sadly a dead horse now, and I don't think Korg will release something so "wild" as an upgrade.
If they were to do that, it would have been announced already and more comparisons would have been made between the Kronos and the Oasys.
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