Korg Forums

[jimknopf]

I too would call Aaron a valued member explicitly, anytime.

The reason is simple: he belongs to the people who share essentials - from demos over patches up to experienced musician perspectives. And for my perception he also is a really friendly soul.

I see much less value in the contributions of members who are mainly commenting on others' posts or nit-picking about a Kronos they don't own or want.

So while I of course (!) value contributions of the first kind of members much more than those of the second kind, that does in NO way imply any difference in basic human respect and equality, and I very much doubt Dan does. He managed to stay cool and friendly even in cases when I got angry about Korg at certain points: that has my respect.

If we need something, then certainly no lessons in equality, but rather a better post quality (just for the record: I like France a lot, speak French and regularly visit the country). And if in the heat of the moment we see a little crash between two people, we should be glad to see verbal shake-hands, instead of putting oil into the fire to get even more second rated chatter.

Dan did nothing wrong at all, and the only two in question have moved on, as far as I see. Isn't that enough for the moment?
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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

[Scott]

[rrricky rrrecordo]

[RonF]

And how exactly is this thread on topic now with anything Kronos related? And its different than the infamous JP80 thread because.......
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http://soundcloud.com/ronf-3/sets/ronf-music
https://www.youtube.com/channel/UCr1zAKpV_F226LQZrUYGPQA
Favorite Gear: Kronos 61, M3, Z1, Radias, KPro, KP3, Moog Voyager, Foogers, Virus TI, Jupiter 80, Integra7, GAIA, SPD-30, Kiwi 106, RE-201, MC808, RC505, MV8800, DSI P6 and OB6 and P12, Ensoniq SQ80, EMU MP-7, Eventide H7600, Eclipse, SPACE, Pitchfactor, Timefactor, Looperlative LP-1, Axe FX Ultra, Nord Modular, DSI Tetra, Tempest, PEK, JDXA, Eurorack Modular, Octatrack, MDUW, Monomachine, A4, RYTM, Waldorf Q Phoenix, MWXTk, Blofeld, TR8.

[Chriskk]

[rrricky rrrecordo]

This revealing thread was locked by admin, so I could not take a quote, but I was able to copy one of Dan's replies to me:

ricky recordo wrote:

My studio expenditures over the last two years have exceeded the cost of the OASYS 88, but in my opinion it has been money rather well-allocated.

It's amazing how easily a couple of new well-fed Macs and a few dedicated synths can make "OASYS envy" a non-issue Very Happy

Have to say, I'd prefer one OASYS to a big, low-budget menagerie. Or, better yet, an OASYS plus just a few other well-chosen, best-quality instruments.

People come down on different sides of the quantity vs. quality issue. I'm generally on the quality side, myself.

- Dan
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Dan Phillips
Product Manager, Korg R&D
Personal website: www.danphillips.com
For tech support, contact your Korg Distributor: http://www.korg.co.jp/English/Distributors/

All the bits in my signature below are, in Dan's opinion, part and parcel of a "low budget menagerie".

Still, a "low budget menagerie" = better results for my clients and me. It's all good
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Current Korg apparatus: MicroStation, MicroKorg, MicroSampler, WaveDrum, Trinity V3, M1REX, Wavestation SR, X5DR, Original Legacy Collection w/ MS-20 controller, iMS-20, DS-10 Plus x2, ELECTRIBE Rhythm Mk ll, iELECTRIBE, Kaossilator, padKONTROL, MicroKONTROL, NanoKey, NanoKontrol, Stage Echo SE-300

[danatkorg]

I stand by that quote, and am happy to see it in bold and large type.

(Although I must confess that recently I've had a bit of a problem with a snare drum addiction. Happily I think I'm on my way to recovery, since the racks are full and there's no place left to put any more of them. I'll start weeding out the less-favorite ones eventually...)

As I responded in the original thread:

[jimknopf]

I would prefer a Kronos over a bunch of software with different UIs anytime, just for the sake of concentration on music making, after knowing how to handle this one well.

The good news is:
- while using a Kronos I still have all software options to my liking at my fingertips while
- the other way round I would miss a lot

Simple as that
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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

[Bruce Lychee]

I don't see how a MacBook and software necessarily amounts to a low-budget menagerie. The cost of a robust MacBook setup and software can easily run way over the cost of a Kronos or an OASYS and the resulting tools can arguably be more powerful. Of course you could use an older Mac and freeware, but I think given the state of hardware and software today, a Mac can be the basis for an extremely powerful and versatile setup in the studio.
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Shigeru Kawai SK5
Roland Jupiter 80
Vintage Vibe 64

[synthguy]

You can argue that a powerful computer loaded to the last sector with softinstruments and effects is more powerful, but to say that it's better than having a studio full of instruments is opening up a door to a huge debate that will never end or satisfy either side, most likely.

I sincerely doubt Bruce would happily sell his Shigeru for thousands of software apps and hardware to host them. Amirite?

Are the thousands of software apps more powerful? Oh heck yes. Even the best piano in the galaxy is basically a one trick pony. But are they really more desirable?

I think this is where everyone needs a good dose of "think" on this subject. Lord knows I can get cranky when one of my fave companies or instruments is being assaulted. But if you sift through my post history, you'll find that I'm generally pretty ecumenical in my love of instruments. And if you saw my - still slumbering - keyboard arsenal, you'd see I'm pretty gregarious when it comes to all synths and makers. And I will NEVER run out of polyphony!

11 years ago, I became a KORG convert when my newly purchased Fantom X failed to be the do-all synth I was hoping for. Mostly, it was because of the filters which I found thin and brittle sounding. I bought a Triton on a whim because I recalled that it sounded good in the store. Spending time with it, I was amazed that, in spite a yucky (to me) reverb, it had an amazing sound to it. The wealth of waveforms gave it the ability to craft powerful sounding textures which required sometimes twice as many layers on my landlord's S80, and the filters sounded rich and pretty darn analogish. Still, the Yamaha had some definite sonic advantages - all synths have some - so I decided when I could to buy a Motif module. This was also an age in which softsynths didn't sound great to me at all, and computers just weren't powerful enough to really let them shine anyway. DAWs either.

If I recall correctly, the Triton has 62 voice polyphony, for CPU and effects overhead, so playing it alone required some clever programming on my part. While the Motif module has double the polyphony, I could hear some voice stealing on rare occasions, but I didn't trust it anyway. Long ago, I learned to be frugal with patch layers when I only had an Ensoniq SD-1, originally with just 21 voices! I never lost that programming ethic, and if you're a serious programmer and sound designer as I am, you learn that having a lot of voices sounding at once tends to make a mix sound denser and more cluttered. In this digital age, fewer is better, and it also means you have to worry less about voice stealing.

While Kurzweil seems to be the king of maximizing polyphony, Yamaha is apparently a close second. It seems Yammy uses a variation on Kurzweil's method of grabbing layers which are quieter, not just voices, when max polyphony is threatened. This is a lesson everyone seems to be picking up on.

The Kronos has a huge advantage in that it has a number of engines which allow you to tailor a combi or multitrack mix to a fantastic degree. With the high polyphony and great sound inherent in the MS-20 and Polysix engines, you can make wonderful sounding patches which cut very little into the overall polyphony count, and give the Kronos a theoretical polyphony well beyond 120 voices.

I'm gonna be all over this. With all the utterly amazing sounding instruments in the Kronos, I finally will have an instrument which can essentially do it all, which is something I still can't say about other instruments, including my recently purchased Kurzweil and Alesis, or computer hosted softsynths. Besides, outside of Omnisphere, I really don't care for softsynths other than vintage emulations.

But even then, The K won't completely satisfy me, which is why I'm not dumping my arsenal for one. Maybe I should, considering all it can do, but I just can't let go of these other synths, because everything offers up something unique which gives it value. Just look at Dan's arsenal and drool.

I think the lesson here is that everyone has their faves, everything does something cool, and that should be good enough. Even if the Kronos does pretty much smoke about everything on the market. Sorry, couldn't resist.

By the way, Roland is still my favorite company of all time.
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PRAY FOR THIS PLANET!!

[NuSkoolTone]

Wow this thread really HAS gotten off topic. My apologies to my part in it everyone.

Though FWIW while we're at this pitstop, I'd MUCH rather have an all in one integrated solution vs. a "Menagerie" of junk provided the quality was consistent in the all in one. Managing Technology can be a REAL PITA!
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Korg: KRONOS 73, M50-61, 01W/r
Yamaha: Motif XS7, FS1R
Kawai K5000S, Roland JD-990 w/Vintage Synth

[danatkorg]

[jimknopf]

Really funny how the ghost of one old sarcastic remark comes to live here again.

Being sarcastic myself at times, I guess I should carefully weigh my words in the future.
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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

[RonF]

[Bruce Lychee]