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Kross 1 Note Receive Function

 
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Musicwithharry
Senior Member


Joined: 23 Mar 2012
Posts: 410
Location: Anamosa, IA

PostPosted: Thu May 21, 2020 10:36 pm    Post subject: Kross 1 Note Receive Function Reply with quote

First, I would like to acknowledge that the Kross 2 has been out for a while, but many of us are still using the Kross 1 and are likely very happy with them. I am in that camp.

I have had a Kross 1-61 for about 4-5 years now and thoroughly enjoy it. I have been able to make nearly identical versions of sounds I had on my M50 on the Kross and aside from not being able to use Reverb and Delay together (like you can on the M50, Krome, etc...), the Kross is very functional.

I have been making Combis/Sequences on the Kross 1, using both the keyboard itself and the stand-alone editor for Windows. Having the editor makes creating Combis very fast and easy.

I recently purchased a Kross 1-88 for live use. I had to get it repaired because apparently the company I got it from (will not name names) does not understand how to fully test a unit before they post it for sale. What was considered in 'Good' condition with no problems, turned into the middle three octaves not working unless you strike the keys with a sledgehammer, the headphone jack being cracked and loose, and there was something loose inside it. The company sent it for repair, on their dime. If they decide not to fix it, I will get a refund. If the latter happens, I will look for another Kross 1-88 for purchase.

Anyway, my question is for the function, in the MIDI Page, for 'Note Receive'. You have different choices, two of them being 'Odd' and 'Even'. I know what these are, as they will respond to whatever setting you have, only playing the odd/even notes, either on board or through MIDI.

The specific question about the 'Odd/Even' setting is whether or not this setting turns the Kross into a true 'Slave' unit; receiving its MIDI data from the controller, program stuff, etc...

My application is that when I have the Kross 1-88 back from repair (or purchase), if I chose it to be Odd and chose the other Kross 1-61 I have (or another one if I buy another) to receive Even, I would, in effect, be doubling the polyphony between the two for live performance.

Can anyone confirm this, or offer any discussion on it, if they have used it in the past?

I have an X5DR and used to have an 05R/W and they too have that feature, but I have never used it in either one.

I appreciate any conversation on this.

Grace,
Harry
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Alesis Vortex Keytar, Alesis QSR, Ensoniq Avista 7600, Ensoniq VFX, Ensoniq VFX-SD, Ensoniq SQ1+, (2) Ensoniq SQ-R/32, Korg i3 (2020 Version), (2) Korg Kross 1-61, (2) Korg Kross 1-88, Korg Minilogue XD, Korg Minilogue XD Module, Korg M50-61, Korg PA700, Korg X5DR, Korg Z3, Lowrey EZP3, Roland D-05, Roland E-09
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OpAmp
Platinum Member


Joined: 07 Jun 2013
Posts: 990
Location: Brussels, BE

PostPosted: Fri May 22, 2020 8:01 pm    Post subject: Reply with quote

Hi,

The odd/even setting indeed doubles the polyphony. It is only about the notes.
So it does NOT make the device a real slave.

Though if the filters enable it, one Kross will receive program changes from the other and switch accordingly. To be consistent, it is a matter of installing exactly the same programs/combis on both boards. Otherwise you may end up with strange sounds. I guess that sound editing on one board will NOT automatically result in automatic replication at the other one (not sure how extensive the SysEx implementation is)/

Bye
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Musicwithharry
Senior Member


Joined: 23 Mar 2012
Posts: 410
Location: Anamosa, IA

PostPosted: Sat May 23, 2020 4:34 pm    Post subject: Reply with quote

OpAmp wrote:
Hi,

The odd/even setting indeed doubles the polyphony. It is only about the notes.
So it does NOT make the device a real slave.

Though if the filters enable it, one Kross will receive program changes from the other and switch accordingly. To be consistent, it is a matter of installing exactly the same programs/combis on both boards. Otherwise you may end up with strange sounds. I guess that sound editing on one board will NOT automatically result in automatic replication at the other one (not sure how extensive the SysEx implementation is)/

Bye


That is what I thought. I was not thinking that it would be a true Master/Slave type scenario like the Minilogue XD has. It sounds like it is simply an Odd/Even MIDI note assignment, as you suggest (and as I figured),

I plan on loading up both synths with identical sounds/sequences/etc... and simply adjusting each one to the same location for each song.

I found out yesterday that the Kross 88 I have in for repair will completed the end of next week. I am programming my Kross 61 now with everything so when I get the Kross 88 back, I can simply load in the data I have been programming into the Kross 61 and it will be identical.

Aside from not being able to use Reverb and Delay at the same time (although using a double effect of Chorus/Multi-Tap Delay can be a workaround), I have found A LOT of functionality in the Kross 1 units. I create my own sounds and my piano sounds are just fine for live use.

When one takes the time, one can find the Kross to be VERY capable units for just about everything.

I believe in having numbers of keyboards on stage. This allows me to simply turn to one and start playing it, instead of programming one to do most/all of the work. If there is a failure on stage, I can make a quick change and keep going. Yanni does this, and while many people make fun of him, he is not wrong when adopting the multiple keyboard method. If one of his breaks (or one that his other keyboard player is using), he simply gets another one from the truck and puts it in the failed one's place. While I will not have a truck full of them to choose from, the process is similar when having a backup.

When using the Kross Grand Piano, with all of its layers and such, polyphony can get reduced to 20 notes. If you add any string/pad/EP layers to that in a Combi, note stealing is a real thing. Having two working together with the same sounds will negate much of the note stealing and allowing for more dense playing passages.

Thank you for your input.

Grace,
Harry
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