Bertotti wrote:are the weak orchestral horns and such a deal breaker?
Hi. back from the movies, have 5 minutes.
Now, this was supposed to be MY review, not THE review.
On a workstation I use only electric pianos, pads and brass/winds/ethnic winds (plus drums for training sequences/composing, but that's just demos).
[plus VA if it was mega-modular and easily patched to and from samples and acoustic models]
So, for me the horns/winds/brass are a dealbreaker.
But that's totally personal.
Also, I think I am a competent judge on those sounds.
While I am not on hammond or guitar sounds, which I don't use.
Others will focus and be competent on those other sectors.
In
general terms, of relevance to all, I am surprised that the same programmers who could get the most detailed key noise of a rhodes,
can't or won't, IN A MACHINE BORN FROM 5 YEARS OF WORK ON IMPROVING THE OASYS, make a quantum leap and go beyond the same old tired [ok: new and already tired] "vibrato clarinets" and "falling bones" [nice, having a separate preset for vibrato clarinet... my gad, it's 2011!]
"Improving" is not enough. Not when you, on pianos, revolutionize sound generation.
That's my pet peeve, so please forgive me.
I had expectations, and THAT disappointed me.
I plan a further test after I read the manual. I need to explore in detail the VA part. The korg guy told me the ms20 and the polysix were "component-modeled".
This is something I had expected for some time. But I'd need to have a deep look at that. It's easily said. There's some ways of testing it.
PS, for sharp and others:
sagging boobs can
definitely contribute to falling bones.
That's subjective as well, but I think it's a fairly common reaction.