X-Trade wrote:cello wrote:How then can you trust that supplier?
What are they going to do next year that directly affects the resale value of what you buy now? Think about it a little more
To be fair though, we're buying musical instruments which we should use and love. I don't care about the resale value of my gear. I care about what sounds it makes, and how easy it makes it for me to make music and perform it.
cello, I think your bitterness is clouding your judgment. This is how things work in the technology age in which we live, in which everything is obsolete before it's even shipped to stores! I'll have more to add to this in a few.
cello wrote:But, it's sad and disappointing that Korg have given O users very little support (compared to M3 users for example)
A - hem.
What did we M3 users get? Half a Radias on a card and a piddly 300MB expansion with some stripped down orchestral samples from you Big O owners? Oh, and a piano which was nice but not as nice as the original, so KORG had to give that back to us? Meanwhile, you guys got
four new synth engines.
Yeah, we're really rolling in goodies here.
cello wrote:I will not let people here forget that Kronos would not have happened if it wasn't for the O - and Korg should be ashamed that they told O users that their product wouldn't be further developed but now choose to launch this 'new' product... Kronos is a 'developed' OASYS - the very thing Korg said they wouldn't do!!!!!!!
Who knows, if they can do it to OASYS users at double the price, then what do they think they can do to Kronos users... (Hmmmm...)
cello, your memory is failing you. KORG most certainly
did say they were going to use Oasys technology in future products. This is where both M3 and Radias came from, trimmed down Oasys tech.
Maybe what I'm about to say is how you feel, but I
don't want Oasys to be the ultimate and best synth workstation for all time. I want technology to improve and march forward, as long as God keeps blessing human history and holding this troubled world together.
Look, I bought an M3 thinking I was going to get one of the best workstations on the market this side of the Big O for a few years. I found out that what I really wanted was a Kurzweil PC3. And then discovered that the Oasys could be had with some diligent hunting for less than $4500 US. And then Yamaha blows up the Motif
huge with a ridiculous amount of wave rom. And
then, along comes Kronos, and my M3 looks pretty puny.
But this is what I wanted to see. I want to see something like the Oasys that I can afford. I want KORG to prosper, so they can keep making new wonder goodies for us. And, news flash to you I guess, that means that every few years, our gear will all of a sudden be seriously outdated and wimpy. Did you hear the Triton Studio owners complaining about the M3??
X-Trade wrote:I recall being told (or probably reading somewhere) at some point that the worst thing you can do is sell your gear. Unless it really is duplicated by something you already have.
That would be me. I hated every sale I made, and hope to buy them all back over the coming years, even though I have way too much gear.
I also have something to say to the soft synth guys. If it worked as advertised without latency issues, I'd be all over it. Well, some of it. Frankly, I don't like the sound of most of your toys, and part of it is that you have no real instruments with circuitry and DACs, and your filters in large part are generic things. The only softs I like are the Arturias and a few similar soft synths made by others like Omnisphere by Spectrasonics. But I couldn't play the Modular Moog V, so I bouty Arturia's Origin hardware synth.
I prefer instruments with individual character, unique output circuitry, fed by cables into an expensive analog console with old analog EQs and summing amps. I'm going to be a hardware guy till the day I die, because all these hunks of metal have different character and a sound to them. It's slight but it's there. It's why I still use my old antique Ensoniqs, rather than throwing those old fossils on ebay. Of course, another factor is that I write prog rock and weird old pre-punk Brit rock stuff in the vein of Peter Hammill and Roxy Music. If I did club music, I'd probably have a Radias, a Virus, and a slew of soft synths on a laptop too.
Different strokes, guys. Your softs haven't made everything else obsolete by a long shot, and neither has hardware.
