Hi BB - Bruce is right, the JP is entirely different to simply selecting 'arcticulations'. Most of the things you list are actually dynamics and technique.burningbusch wrote:For recording, keyswitches are completely unnecessary as you can use Program Change to instantly get any program within the Kronos. All are available at any time. This is very different from software-based samplers. You plop a PC into the sequence just as you would a keyswitch note.Bruce Lychee wrote:Using keyswitches isn't great for live playing. It is extremely useful for recording however and would make complete sense on a workstation like the Kronos. At the very least more articulations should be available.
As for the Jupiter, I don't think people really understand how different the articulations are from programs like EastWest or Kontakt. They function very differently and SN articulations are much more suited to playing.
We don't have any details about the Korg Legendary Strings library but if it's a semi-serious attempt it should have either sections or numerous articulations or possibly both.
I think I have a pretty good handle on how the JP80 works. I do see (and have only found in my demoing) only a "Strings" for ensemble strings listed with sustain, staccato, pizz and tremolo articulations. That's pretty basic stuff, the kind of thing you'd expect from really any ROMpler. I'm hoping the Karo/Korg string libraries are several notches up from this.
You know the articulations you find in pro string libraries (marcato, spiccato, con sordino, détaché, crescendos & diminuendos, fortepiano, sforzato, legato, portato, staccato...) are included because they are in the scores. Working with these articulations can be a PITA, but it makes all the difference in the world when they are properly applied in the music.
Busch.
How the JP works is determines dynamically, which effect/articulation/dynamic you are actually playing and responds. For example, the SN acoustic cello on the JP (there are only 2) and you can change to 3 techniques (normal, staccato and pizz). You then have two swtiches ch that can add marcato to any of those listed above.
However, I can get col legno without selecting such a setting - cos there isn't one. It simply happen by me playing it in a certain way within a passage. It's enormously clever. How it treats synth and acoustic brass is (no pun intended) breath-taking!
To return topic to Karo libraries - I have the KSL for the OASYS and they are astonishingly good. And yes, there are dozens and dozens of different 'articulations' for each sound - ie philharmonic strings, quartet, chamber, vienna; way too may to list! Then there are all the individual instruments at different dynamics and articulations. The quality is excellent and I regularly use the sounds.
Word of caution however from an old O user - if you use the on board seq, don't compose a song with onboard sounds then decide to load up Karo libraries to get 'that violin sound'. Doesn't work. The KSL is so large it more or less takes up the whole memory so wipes the onboard multisamples (KSF) so your already recorded tracks don't sound as they should (ie they longer use the onboard samples, they use the Karo ones).
Vice versa applies!
