Korg Forums

You don't need the third sensor to measure release velocity at all... It can be done with regular two-sensor keybeds too.

SeedyLee wrote:Does anyone know whether EXs instruments purchased for the Kronos are transferrable to the Kronos 2? I'd love to get a Kronos 2 to augment my original Kronos 61, but probably not if I can't transfer my EXs purchases.

Nope - this is why I've never bought a single one of them and never will.

I have already bought 2 libraries for my two Kronos´s each

I am very interested in the new Kronos but if I would have to buy the same libraries a third time - NO CHANCE - and a very good reason to save my money instead of updating to the new Kronos.

I think if they had a way to move licenses between instruments easily, they could sell more units.

mm-pro wrote:I think if they had a way to move licenses between instruments easily, they could sell more units.

This is a fact. I have never bought a library because of this issue.

Geo

geoelectro wrote:

mm-pro wrote:I think if they had a way to move licenses between instruments easily, they could sell more units.

This is a fact. I have never bought a library because of this issue.

Geo

I never bought a library for 2 main reasons, first I love to spend time and program my own sound, 2 for exactly that reason...i was interested in the orchestral sounds but never bought it because it's just ridiculous that if you change keyboard for whatever reason, you need to buy them again.

New OS3 for current kronos and kronos X.

http://www.korg.com/us/news/2014/111802/


YES...,!

geoelectro wrote:

mm-pro wrote:I think if they had a way to move licenses between instruments easily, they could sell more units.

This is a fact. I have never bought a library because of this issue.

Geo

the 'problem' is connected to software licensing agreements and the restrictive verbiage.

I think Korg has decided they can only consistenly authenticate at the machine id # ( Kronos id #) , not the users/owners name.

while it can be done at the name level, it would involve much more data from the owner to load into a data base. Its possible that Korg did not want to require owners to provide more personal data plus there is a programming/development cost for the systemic behind the scenes process.

So, I see it as a 3 step problem. I am not making excuses for Korg. Just thinking thru the data base challenges, etc

Plus, whats done is done. To have a more user friendly process on sample libs ' should ' have been mapped out 4 years ago before the first Kronos was sold. Skeptical that any changes could be instituted mid stream, after 25,000 ( est) Kronos have been sold.

I think it could be easily done with an OS update.

Remove a license from the instrument to a USB stick. The samples on that instrument go back to demo mode. Add the license on another instrument. Just like Waves does it.

One license on one instrument...no conflict with the library owners. Flexibility to own two or more instruments and move licenses between them,
and flexibility to move libraries to a new compatible instrument at resale time.

From the Piano Forum and the Casio PX-5S

Regarding tri-sensor implementation and high resolution MIDI and what it adds to the keyboard.

That means that the keys have more than 16,000 levels of sensitivity instead of just 127 (of course you can switch between high resolution or normal resolution). When I'm using the PX-5s to control stuff like Galaxy Pianos etc - it really is something else. Really brings out all the subtleties.

Everyone has their own opinion, of course. If you are not really into piano it might not matter to you. I found it to be to my liking.

As far as the startup time, couldn't they code something like a standby mode (powered on) or hibernate (power off)?

And load banks before samples, boot, then load samples with UI already running? Could shave many seconds... I've own my Kronos for almost 3 years now and it has always been On (just turned it off to change keybed and upgrade Ram and Disks).

Still runs fine, only care is the dimmed down backlight, if that has any effect on it's longevity. Long boot time is why I don't gig with it.

Kind Regards,
AMR
http://www.alvaromrocha.com

lonelagranger wrote:From the Piano Forum and the Casio PX-5S

Regarding tri-sensor implementation and high resolution MIDI and what it adds to the keyboard.

That means that the keys have more than 16,000 levels of sensitivity instead of just 127 (of course you can switch between high resolution or normal resolution). When I'm using the PX-5s to control stuff like Galaxy Pianos etc - it really is something else. Really brings out all the subtleties.

Everyone has their own opinion, of course. If you are not really into piano it might not matter to you. I found it to be to my liking.

To my knowledge the only software piano that recognizes hi-res MIDI is Pianoteq. If you're finding a difference between normal MIDI and hi-res when the engine doesn't respond to it, I only have one conclusion.

Busch.

You are correct. Pianoteq is the only software that recognizes high resolution MIDI. I should have put that one paragraph in quotes as I took it from a Piano Forum member. I noticed a difference between standard MIDI and high resolution MIDI when I played the Roland RD700NX which uses the Tri-sensor mechanism. I found it to be the best electronic piano I have ever played. I have played 9 foot Steinway concert grand pianos. We are not there yet. It will probably be a long time. However, the keyboard on the Roland played beautifully and allowed full articulation as far as I was concerned. This, of course, is only my opinion. The piano is such a personal instrument that everyone has their own idea of what is good, for them, and what is not. I realize there are other high end stage pianos that are also quite popular. Whether one see a difference in a two sensor system or a three sensor system is entirely up to their own personal preference. I find it unlikely, however, that a manufacturer would go to the expense of adding it for no reason at all.

As someone who has sampled a number of keyboard instruments (many I've haven't released) I'm very suspect of the claims of hi-res MIDI. I typically sample at 1db increments across 20 - 30 db. My take is that while an instrument like a piano might have a dynamic range of 40db (or more) the playable range is well within 30db (below that requires such a delicate touch as to be impractical). It would take a pianist with exceptional control to strike, for example -20db precisely five times in a row. Given a 40db range, normal MIDI would allow for .3db of precision. I doubt that anyone could precisely strike +/- .3db repeatedly .3db is far below the human ear's ability to detect volume differences. Similarly, it's impossible to detect tonal differences at that resolution as well.

I don't deny some digital keyboards feel more responsive that others. I just do think hi-res MID is the reason for it.

Busch.

I don't think a digital instrument will ever replace sitting down at an actual grand. I play various grands throughout the week as well as digital instruments and software pianos. It's just not the same thing and it has nothing to do with velocity range. A grand is a 9 foot long 6 foot wide wooden contraption vibrating in a room and under my fingers. No studio monitor or reference level headphone or "true graded hammer touch" keyboard is going to replace that. The rest is preference. A good player can figure out the dynamic range of a keyboard pretty quickly and adapt.