Hi people I don't write too many posts because I find what I'm usually looking for on the posts here but with this, I really need some help.
I've had my O for about 10 months and love it to death. I have programmed all my samples and sounds to almost perfection. I now need a second keyboard to assist with this machine on stage. You probably guessed the keyes I'm about to mention so here they are. Fantom G7, Motif XS7 or XS8, and a Trition Studio.
This is the explanation. Tried all of them. They're both almost even in my ears to sound and I honestly could do with either as most of my min patches are in the O.
The Triton Studio popped up on ebay and basically will save me a lot of money and debt because I can pay for it cash and I've also owned one which I needed to sell to buy the O. Was looking for an extreme but they're to rare in Australia. This is why the I mentioned the TS. Its in new condition without even a mark. I feel bad though because I've owned it, and I'm buying another one.
The Fantom and Motif are different stories as they are more than double the price of the TS and they both sound good in their own way and either will sound good with the O for me. They both have ample sounds that I use on stage and I can make do with both so its not a fantom sound vs motif sound argument here.
I use 40 or so sounds live on stage and with the fantom g you are now able to use pads as numeric dials but with the motif I don't know whether this is possible as it does'nt have a numerical keypad. So this is my only problem. I'm sure you can do it on the motif but I don't want to be on stage pressing 5 buttons to get to say example patch 35. I also don't know how hard it is to sample sounds on these machines as I have never owned anything apart from Korg. All this I can do on the TS but the problem is 96MB ram....
The music shop has a sale on brand new Motif XS's and I don't know how, but they XS8 is cheaper than the XS7. I think because they have too many, so fantom g7 and motif XS8 are the same price. Thats what the store owner said he can do for me.
I'm leaning towards the TS honestly because it means NO DEBT LOL but in the end, it is old technology and I like to buy things I don't have to update and can keep and get my money out of them.
So this is my situation. If anyone can help, please fell free to leave a comment as you guys to me are all educated with sounds which is why you are members here. Any help that can make me think of something I may have missed would be great. I have around 7 days to make a decision.
BTW Bert from the Motif Comedy Club is coming to my town this week and I got a VIP pass to see the Motif XS clinic and have tea with him but its no point going as I'm sure he won't tell me to buy Roland or Korg......lol If I go, I'll get some photos of me with him standing next to an O if I can and post them here....
Thanks
Oasys needs a sister. Help!!!
Moderators: Sharp, X-Trade, Pepperpotty, karmathanever
Oasys needs a sister. Help!!!
Korg Oasys 88
Korg Oasys 76
Jupiter 80
Fantom G8
Fantom G7
Korg Oasys 76
Jupiter 80
Fantom G8
Fantom G7
-
EJ2
- Approved Merchant
- Posts: 2291
- Joined: Mon May 13, 2002 11:46 am
- Location: Port Rowan, Ontario, Canada
- Contact:
Neither of those choices, because you basically have your stock sounds covered. I realize there may be a few nuances/preferences for some of the different categories of sounds - eg. acoustic. However, why would you want to have different versions of the same thing?
My advise it to seek something a bit different such as V-Synth XT. If you are into programming your own mangled sounds, then its bigger brother the GT might work. Having said that, though, I feel the XT is the better bargain. You get all of the possibilities of the D50 and an awesome vocal designer built in. Couple this with V-Synth's reputation and power for mangled, amorphous sounds that can't be matched in Roland's new flagship Fantom G and Yamaha's Motif XS, then you have a choice that really offers something different.
Others might chime in with a Virus, but for the price that an XT can be had for, it's the better deal IMO.
Cheers,
Eric
My advise it to seek something a bit different such as V-Synth XT. If you are into programming your own mangled sounds, then its bigger brother the GT might work. Having said that, though, I feel the XT is the better bargain. You get all of the possibilities of the D50 and an awesome vocal designer built in. Couple this with V-Synth's reputation and power for mangled, amorphous sounds that can't be matched in Roland's new flagship Fantom G and Yamaha's Motif XS, then you have a choice that really offers something different.
Others might chime in with a Virus, but for the price that an XT can be had for, it's the better deal IMO.
Cheers,
Eric
Cheers,
Jim (aka EJ2) Karma-Lab Associate Combi Developer
CATALYST v 2 Blast of Inspiration for KRONOS & OASYS: http://www.karma-lab.com/sounds/catalyst2.html
CATALYST v 1 Combi Explosion for KRONOS, OASYS, M3, & K-M50: http://www.karma-lab.com/sounds/catalyst1.html
CHEMISTRY 3, a Groove Injection for Your Karma: http://www.karma-lab.com/sounds/chem3.html
SoundCloud MP3 Demoshttps://soundcloud.com/ej2-sc
Jim (aka EJ2) Karma-Lab Associate Combi Developer
CATALYST v 2 Blast of Inspiration for KRONOS & OASYS: http://www.karma-lab.com/sounds/catalyst2.html
CATALYST v 1 Combi Explosion for KRONOS, OASYS, M3, & K-M50: http://www.karma-lab.com/sounds/catalyst1.html
CHEMISTRY 3, a Groove Injection for Your Karma: http://www.karma-lab.com/sounds/chem3.html
SoundCloud MP3 Demoshttps://soundcloud.com/ej2-sc
Go for a Kurzweil PC3X! You won't regret it!
Current Arsenal:
Kronos 61, Kurzweil PC3K6, Nord Stage 3, Yamaha MOXF8, Muse Receptor 2+, Mainstage
Previous:
Korg:X5D,Wavestation, N364, Trinity,Triton Classic,Triton Studio, Korg M3 61 w/ EXB-Radias
Ensoniq:TS12, SD1, ASR10
Roland:XP10, JD-800, Roland XV88, A90ex
Kurzweil:K2500RS, K2661, PC3
Nord: Electro 3
Kronos 61, Kurzweil PC3K6, Nord Stage 3, Yamaha MOXF8, Muse Receptor 2+, Mainstage
Previous:
Korg:X5D,Wavestation, N364, Trinity,Triton Classic,Triton Studio, Korg M3 61 w/ EXB-Radias
Ensoniq:TS12, SD1, ASR10
Roland:XP10, JD-800, Roland XV88, A90ex
Kurzweil:K2500RS, K2661, PC3
Nord: Electro 3
-
lcmorley
- Senior Member
- Posts: 312
- Joined: Wed Jan 10, 2007 10:53 am
- Location: Cardiff, South Wales, UK.
- Contact:
I would say the Virus TI. Sold it to buy my O.
I will be getting one when I can afford it.
I will be getting one when I can afford it.
Music is the stuff Dreams are made of!!!
Please checkout my music at www.soundcloud.com/lcmorley
My Gear History (from 11 years old until now):
Yamaha PSR-31, Technics KN1000, Technics KN5000, Technics KN7000, Korg PA-80, Korg Triton Classic, Microkorg, Korg Triton Studio, Alesis Ion, Korg Legacy Collection, Korg Triton Extreme, Roland Juno D, Access Virus TI 2, Korg M3, Korg Oasys, Roland TR-8, Korg Kronos 2 88 Platinum, Mac Studio, Logic Pro, Kontrol S61 MK3, Native Instruments Komplete Ultimate, Diva, Serum too name a few.
Please checkout my music at www.soundcloud.com/lcmorley
My Gear History (from 11 years old until now):
Yamaha PSR-31, Technics KN1000, Technics KN5000, Technics KN7000, Korg PA-80, Korg Triton Classic, Microkorg, Korg Triton Studio, Alesis Ion, Korg Legacy Collection, Korg Triton Extreme, Roland Juno D, Access Virus TI 2, Korg M3, Korg Oasys, Roland TR-8, Korg Kronos 2 88 Platinum, Mac Studio, Logic Pro, Kontrol S61 MK3, Native Instruments Komplete Ultimate, Diva, Serum too name a few.
-
bctines
- Senior Member
- Posts: 358
- Joined: Sat Feb 26, 2005 7:22 pm
- Location: In the Pit Bull Parlor, Staghorn Springs, CO
Interesting question!
While there's a lot to be said for a rack synth, as well as the Kurz, etc. Daz asks the key question: "What sort of sounds are you after?" That's a question that's got to be answered before plunking down for whatever. you've also got to really get the handle on the kind of music you want to put out there. Both questions need to be carefully considered in order to make a choice(s) that you can live with, unless you have gobs of money to waste on trying this and that.
If you like the sounds in the O, as I do, my choice for a gig rig that really works well is the Korg M3-73. It's light; it has an interface so much like the OASYS that you won't have to get hung up on a whole new learning curve; it can act as a back-up for your O in the studio if needed; it's price has come down significantly; there are a bunch of aftermarket patches for it, including Korg's, and best of all, it has KARMA which allows you to do all sorts of whoopi-do on stage in realtime.
What works real well for me is to use the OASYS or M3 to compose backing tracks. Take them to the gig (see below) and play along with them. If you do this in the M3, you can set up the onboard sequencer to let you double in all sorts of sounds/timbres/beats, etc.
If you compose/arrange on the O (which I prefer), you can then port your work to a MAC or other laptop, using the arrangement and mixing tricks you want, then gig along with that. You can also record your O work to WAV files then stick them on a thumb drive, put that in the M3 and play with those.
Then there's the sampling route in the M3, but you can't sample in enough actual songs to fill even a gig set, but of course you can sample in sounds you've made on the O.
There are less expensive solutions too, such as do the laptop thing as above, then get a little Korg 49 key thingy and be a DJ with your backing tracks.
I know guys who put all their backing tracks on an iPod, which works well for them. Pretty cost effective if the frozen music isn't a bother.
If you're really good with MIDI work, and buy a relatively inexpensive, but rock solid controller, then you can control a fast laptop, or an inexpensive (especially a good used one) sound module. You might even consider the Roland Sonic Cell as it can both play MP3 and WAV songs, as well as put out some pretty decent patches (which are programmable up to a point).
The trouble with a lot of this is that with backing tracks you're sort of locked into the same song all the time EXCEPT with the M3 on stage. With KARMA you can tweak in realtime enough so that each time you play a song, it'll be a bit different, especially if you get adept at making percussion and rhythm guitars do some tricks. Ditto the KAOSS screen in the M3, as well as the other controls by messing about with assignments.
I've got an XS and, as good as it is, it can get stale on stage unless you redo each number a bit in the studio between gigs. The same will hold true for any synth, except a Korg with KARMA.
One key point is that whatever you get, be sure the interface is easy for you to use fast in dark and bright stage light. That's another appeal-factor with the M3--it's so easy to whip through changes using either the touch screen and/or all the buttons and sliders. In fact, you can play a song and make it almost sound live without even touching the actual keyboard. That can come in real handy at times.
It's *awfully* easy to jump right out and get something that looks good on the surface, but the answer you might be most comfortable with over the long haul is not necessarily an easy one. So I'd give a long think to Daz's question and thoroughly plan just exactly what you want to do on stage. Real thorough planning before buying, then real thorough testing of a piece of kit before you buy, will probably save some painful gear gas.
The screwy thing is: Once you figure it all out, along will come a new whiz-bang that'll make you wish you'd waited for it. But, hey, that's the electronic music game these days. Course, you can always get an inexpensive laptop, put your O's stuff in it, then jam along with a MIDI kazoo.
Good luck, have fun with the challenge, and please let us know how it works out.
While there's a lot to be said for a rack synth, as well as the Kurz, etc. Daz asks the key question: "What sort of sounds are you after?" That's a question that's got to be answered before plunking down for whatever. you've also got to really get the handle on the kind of music you want to put out there. Both questions need to be carefully considered in order to make a choice(s) that you can live with, unless you have gobs of money to waste on trying this and that.
If you like the sounds in the O, as I do, my choice for a gig rig that really works well is the Korg M3-73. It's light; it has an interface so much like the OASYS that you won't have to get hung up on a whole new learning curve; it can act as a back-up for your O in the studio if needed; it's price has come down significantly; there are a bunch of aftermarket patches for it, including Korg's, and best of all, it has KARMA which allows you to do all sorts of whoopi-do on stage in realtime.
What works real well for me is to use the OASYS or M3 to compose backing tracks. Take them to the gig (see below) and play along with them. If you do this in the M3, you can set up the onboard sequencer to let you double in all sorts of sounds/timbres/beats, etc.
If you compose/arrange on the O (which I prefer), you can then port your work to a MAC or other laptop, using the arrangement and mixing tricks you want, then gig along with that. You can also record your O work to WAV files then stick them on a thumb drive, put that in the M3 and play with those.
Then there's the sampling route in the M3, but you can't sample in enough actual songs to fill even a gig set, but of course you can sample in sounds you've made on the O.
There are less expensive solutions too, such as do the laptop thing as above, then get a little Korg 49 key thingy and be a DJ with your backing tracks.
I know guys who put all their backing tracks on an iPod, which works well for them. Pretty cost effective if the frozen music isn't a bother.
If you're really good with MIDI work, and buy a relatively inexpensive, but rock solid controller, then you can control a fast laptop, or an inexpensive (especially a good used one) sound module. You might even consider the Roland Sonic Cell as it can both play MP3 and WAV songs, as well as put out some pretty decent patches (which are programmable up to a point).
The trouble with a lot of this is that with backing tracks you're sort of locked into the same song all the time EXCEPT with the M3 on stage. With KARMA you can tweak in realtime enough so that each time you play a song, it'll be a bit different, especially if you get adept at making percussion and rhythm guitars do some tricks. Ditto the KAOSS screen in the M3, as well as the other controls by messing about with assignments.
I've got an XS and, as good as it is, it can get stale on stage unless you redo each number a bit in the studio between gigs. The same will hold true for any synth, except a Korg with KARMA.
One key point is that whatever you get, be sure the interface is easy for you to use fast in dark and bright stage light. That's another appeal-factor with the M3--it's so easy to whip through changes using either the touch screen and/or all the buttons and sliders. In fact, you can play a song and make it almost sound live without even touching the actual keyboard. That can come in real handy at times.
It's *awfully* easy to jump right out and get something that looks good on the surface, but the answer you might be most comfortable with over the long haul is not necessarily an easy one. So I'd give a long think to Daz's question and thoroughly plan just exactly what you want to do on stage. Real thorough planning before buying, then real thorough testing of a piece of kit before you buy, will probably save some painful gear gas.
The screwy thing is: Once you figure it all out, along will come a new whiz-bang that'll make you wish you'd waited for it. But, hey, that's the electronic music game these days. Course, you can always get an inexpensive laptop, put your O's stuff in it, then jam along with a MIDI kazoo.
Good luck, have fun with the challenge, and please let us know how it works out.
-
billysynth1
- Platinum Member
- Posts: 1148
- Joined: Sat Jan 22, 2005 5:09 am
- Location: Australia/Melbourne
Wait until NAMM - its only 2 months away. What part of Aus are you from, where is Burt performing... ah, anyway i wouldnt go see him, id rather watch Jack Hotop in action lol
Billy
Billy
Yamaha C1 Grand Piano.
Korg Oasys 88, Jupiter 80
Kronos 88, V Synth GT
I am a student of classical piano...I am not a classical pianist.
Korg Oasys 88, Jupiter 80
Kronos 88, V Synth GT
I am a student of classical piano...I am not a classical pianist.
Hi people thanks for all your help and please continue to do so as I think I might have to wait a while instead of rushing.
Daz, my main aim for this second keyboard is just for live work and not in the studio. I have so many vsti's and soft/hard samplers going through nuendo and euphonix etc.. The only keyboard I really use is the Oasys when it comes to hardware keyboards and I just use sounds and sampler. Very little karma except manual advance, and arps. Don''t use the sequencer on any keyboards. I do tv commercials, movie scores for bollywood, and commercial releases, now live shows. So I basically just need a second set of keys for stage to make quick changes and since all my main sounds are in the O for live work, I just need a keyboard with acoustic, ep, piano, pads, ethnic/world, and synth sounds, but even then I have all these sounds on my O, so it will mostly be used for backing sounds if you that makes sense as all lead sounds are in my O. Like perfect example, Greg Phillangaines with Toto his main machine is the O but with all his "ghost" patches, he uses the Trinity just to play simple/subtle sounds that get noticed but are not primary. So I just need something really with overall good sound. Its subjective, I know, and I've tested them all but I think its more or less ease of use for me on stage and what sounds brighter/cleaner (would be the word) on stage. The motif seems to be complicated but thats just me.
Bctines, Thankyou for the great reply also. Much appreciated. I play mostly with professional bands so I don't need to use backing tracks, but I was looking at an M3 but I thought I own an O, and a lot of people say the sounds are very similar and I should look at non Korg for the contrast, but because I really am going to into unknown territory with other brands, I may need to look at this as an option now. This is why I mentioned the Triton studio because it is a little old but it is still Korg and I cannot find an Extreme anywhere. I like using a simple setup so laptops and racks are a little stressful incase say something goes wrong I'll have to think on my feet and find where the problem is coming from or press too many buttons. Because a lot of gigs and performances I do get broadcasted on Sony and Zee tv which is India's worldwide tv station, if something does go wrong, it looks very major, because often they record and release the performances on dvd's, and next year I'm touring all over the US and Asia and Europe with some of the biggest names in bollywood so I'm planning on an Oasys and one other keyboard. We use to use complicated syncing workstations and sequencer based computers on stage running logic or protools and playing along with a basic click track like Madonna rig with all fx dialog and orchestra movements synced then we play all main parts live, but it gets too complicated if singers start to adlib or fool around on stage which they do, and a couple of times we have come very close to complete failure on some songs, so the MD sticks to just live now. Even if we need to hire the whole orchestra, I do all the sfx, dialog, and unmusical elements along with my own parts. From now till feb I'll be in Australia, then I will be in Mumbai after that, so once I buy a keyboard, I'm stuck with it, because in Mumbai, these boards are very expensive and I want to master them so when I go there I start to fight a different battle with rehearsals and sessions. I actually feel bad because of how much I've spent on gear this year so the Triton Studio did interest me because it will do what I need it to do at a cheap price, but the way my life seems to revolve is I live on debt for a while, then I'll get really busy and pay everything off, then do it again. I think its the nature of when there's work because in all honesty, I'm trying to break out and do my own project which I'm praying will take off and next year will definately be a good year, but I have to break this cycle and turn it around for the sake of the stress you get when you don't know when you get the next major job. So far so good....
Right now I'm trying to predict whether the Namm show will bring some new Korg toys, but by the time it starts shipping to Oz or even Mumbai, it might be too late.
Hi BillySynth. I'm in QLD currently. He should be coming to your part of the woods, if your in Mel or Syd cbd.
Daz, my main aim for this second keyboard is just for live work and not in the studio. I have so many vsti's and soft/hard samplers going through nuendo and euphonix etc.. The only keyboard I really use is the Oasys when it comes to hardware keyboards and I just use sounds and sampler. Very little karma except manual advance, and arps. Don''t use the sequencer on any keyboards. I do tv commercials, movie scores for bollywood, and commercial releases, now live shows. So I basically just need a second set of keys for stage to make quick changes and since all my main sounds are in the O for live work, I just need a keyboard with acoustic, ep, piano, pads, ethnic/world, and synth sounds, but even then I have all these sounds on my O, so it will mostly be used for backing sounds if you that makes sense as all lead sounds are in my O. Like perfect example, Greg Phillangaines with Toto his main machine is the O but with all his "ghost" patches, he uses the Trinity just to play simple/subtle sounds that get noticed but are not primary. So I just need something really with overall good sound. Its subjective, I know, and I've tested them all but I think its more or less ease of use for me on stage and what sounds brighter/cleaner (would be the word) on stage. The motif seems to be complicated but thats just me.
Bctines, Thankyou for the great reply also. Much appreciated. I play mostly with professional bands so I don't need to use backing tracks, but I was looking at an M3 but I thought I own an O, and a lot of people say the sounds are very similar and I should look at non Korg for the contrast, but because I really am going to into unknown territory with other brands, I may need to look at this as an option now. This is why I mentioned the Triton studio because it is a little old but it is still Korg and I cannot find an Extreme anywhere. I like using a simple setup so laptops and racks are a little stressful incase say something goes wrong I'll have to think on my feet and find where the problem is coming from or press too many buttons. Because a lot of gigs and performances I do get broadcasted on Sony and Zee tv which is India's worldwide tv station, if something does go wrong, it looks very major, because often they record and release the performances on dvd's, and next year I'm touring all over the US and Asia and Europe with some of the biggest names in bollywood so I'm planning on an Oasys and one other keyboard. We use to use complicated syncing workstations and sequencer based computers on stage running logic or protools and playing along with a basic click track like Madonna rig with all fx dialog and orchestra movements synced then we play all main parts live, but it gets too complicated if singers start to adlib or fool around on stage which they do, and a couple of times we have come very close to complete failure on some songs, so the MD sticks to just live now. Even if we need to hire the whole orchestra, I do all the sfx, dialog, and unmusical elements along with my own parts. From now till feb I'll be in Australia, then I will be in Mumbai after that, so once I buy a keyboard, I'm stuck with it, because in Mumbai, these boards are very expensive and I want to master them so when I go there I start to fight a different battle with rehearsals and sessions. I actually feel bad because of how much I've spent on gear this year so the Triton Studio did interest me because it will do what I need it to do at a cheap price, but the way my life seems to revolve is I live on debt for a while, then I'll get really busy and pay everything off, then do it again. I think its the nature of when there's work because in all honesty, I'm trying to break out and do my own project which I'm praying will take off and next year will definately be a good year, but I have to break this cycle and turn it around for the sake of the stress you get when you don't know when you get the next major job. So far so good....
Right now I'm trying to predict whether the Namm show will bring some new Korg toys, but by the time it starts shipping to Oz or even Mumbai, it might be too late.
Hi BillySynth. I'm in QLD currently. He should be coming to your part of the woods, if your in Mel or Syd cbd.
Korg Oasys 88
Korg Oasys 76
Jupiter 80
Fantom G8
Fantom G7
Korg Oasys 76
Jupiter 80
Fantom G8
Fantom G7
-
EJ2
- Approved Merchant
- Posts: 2291
- Joined: Mon May 13, 2002 11:46 am
- Location: Port Rowan, Ontario, Canada
- Contact:
Hi Ken,kenackr wrote:Eric,
Do you own a V-synth XT?
Ken
Yes; and the GT as well.
Eric
Cheers,
Jim (aka EJ2) Karma-Lab Associate Combi Developer
CATALYST v 2 Blast of Inspiration for KRONOS & OASYS: http://www.karma-lab.com/sounds/catalyst2.html
CATALYST v 1 Combi Explosion for KRONOS, OASYS, M3, & K-M50: http://www.karma-lab.com/sounds/catalyst1.html
CHEMISTRY 3, a Groove Injection for Your Karma: http://www.karma-lab.com/sounds/chem3.html
SoundCloud MP3 Demoshttps://soundcloud.com/ej2-sc
Jim (aka EJ2) Karma-Lab Associate Combi Developer
CATALYST v 2 Blast of Inspiration for KRONOS & OASYS: http://www.karma-lab.com/sounds/catalyst2.html
CATALYST v 1 Combi Explosion for KRONOS, OASYS, M3, & K-M50: http://www.karma-lab.com/sounds/catalyst1.html
CHEMISTRY 3, a Groove Injection for Your Karma: http://www.karma-lab.com/sounds/chem3.html
SoundCloud MP3 Demoshttps://soundcloud.com/ej2-sc
Hi Anukis,
Have you thought about getting a Muse Receptor to run your VST's and then using a midi controller keyboard (and possibly pedalboard too) to handle the sound selection? I saw almost the perfect pedalboard controller the other day for around AU$300 it was Behringer iirc - had about 10 footswitches and two pedals. I've decided that since the external footswitch jack on the OASYS only allows one assigned function I'm going to have to use external midi triggers to do what I want particularly leaving the hands free to play. An 88 key midi controller with a passable feel is about AU$1200. Don't ask about the Receptor, not even sure if they sell them here and with the way the dollar currently is I think we're better off not knowing for the time being. Use a laptop instead perhaps.
If I was to get another actual stage piano/synth keyboard I'd probably go with the Motif S90 ES but only because I got the 76-key OASYS so I'm interested in complementing it with decent weighted keys. It's got the Motif ES functionality which makes it better than the Roland FP-7 at the same price bracket. If I had the 88-key OASYS I'd get something rack-mount like the Fantom-XR or V-Synth XT. If Korg had a rackmountable Triton Extreme I'd probably go for that. I already run my kit through a rackmount power filter/distributor (Samson PowerBrite PB10) and (where applicable) some $4 IEC/AC adaptors from Jaycar
so for me it would make sense to start filling the rack up, much easier to cart around to gigs.
Have you thought about getting a Muse Receptor to run your VST's and then using a midi controller keyboard (and possibly pedalboard too) to handle the sound selection? I saw almost the perfect pedalboard controller the other day for around AU$300 it was Behringer iirc - had about 10 footswitches and two pedals. I've decided that since the external footswitch jack on the OASYS only allows one assigned function I'm going to have to use external midi triggers to do what I want particularly leaving the hands free to play. An 88 key midi controller with a passable feel is about AU$1200. Don't ask about the Receptor, not even sure if they sell them here and with the way the dollar currently is I think we're better off not knowing for the time being. Use a laptop instead perhaps.
If I was to get another actual stage piano/synth keyboard I'd probably go with the Motif S90 ES but only because I got the 76-key OASYS so I'm interested in complementing it with decent weighted keys. It's got the Motif ES functionality which makes it better than the Roland FP-7 at the same price bracket. If I had the 88-key OASYS I'd get something rack-mount like the Fantom-XR or V-Synth XT. If Korg had a rackmountable Triton Extreme I'd probably go for that. I already run my kit through a rackmount power filter/distributor (Samson PowerBrite PB10) and (where applicable) some $4 IEC/AC adaptors from Jaycar
so for me it would make sense to start filling the rack up, much easier to cart around to gigs.-
bctines
- Senior Member
- Posts: 358
- Joined: Sat Feb 26, 2005 7:22 pm
- Location: In the Pit Bull Parlor, Staghorn Springs, CO
Anukis,
Thanks for clarifying the paradigm.
Yeah, I'd nix the Madonna-style rig, too, unless you've got a dedicated wizard (not just the MD) and redundancy in the budget, and even then it's a lot of ulcerage where too often it seems the fingers get pointed at us keys guys.
You mention, using custom sounds. How many of those are instrument-like patches you create (or tweak) and how many might be actual SFX.? If the SFX need is strong enough, wouldn't that tend to govern the choice of the keyboard or rack synth, as long as the sound and tweakability of instrument patches was decent enough? (Unless you want to ham it up with a Foley table ).
I like mdh's idea of something like the Muse and a controller. But, that's still possibly prone to occasional MIDI glitches. FWIW, I think having all your custom patches in the keyboard, and getting a board that's popular enough where you tour that there's good dealer/distributor presence in case you need a fix or a temporary replacement would also be important factors. The simplicity of something like an Extreme (yeah they are scarce) a MOTIF, a Roland (although I've had rotten luck with Roland's quality control), or other Korgs is a plus. And those three probably have the most prevalent geographical presence around the planet.
His idea re the rack PS & Jaymounts is interesting, too.
Maybe I/m too antsy about outboard MIDI, but, I've duked it out with Mr. Murphy enough to know MIDI is his middle name. So having onboard lots of preset slots where I can park and order my tweaks seems much moer secure.
I really liked my S90es, but sold it (couldn't resist the deal) and got the XS7 instead because of weight and capacity, although I hated giving up the 88 properly piano keys. And I put as many of the S90es piano patches in as I could. But then I got the M3 and really fell in love with that keybed. Also, my eyesight has gotten to the point where the XS screen just isn't easy to scan anymore, whereas the M3 is.
You also mention what singers do. I agree 110%, which is another reason why having to make just one or two button pushes on the internals to keep up with them would be a plus. Further, the quick tweak where you don't have to have all the CCs memorized, can often kick the singers into a better place and groove, if the band isn't too hung on the pluckers..
Interesting challenge...good luck and please lets us all know what you choose and how it works out. And good luck with the tour.
Thanks for clarifying the paradigm.
Yeah, I'd nix the Madonna-style rig, too, unless you've got a dedicated wizard (not just the MD) and redundancy in the budget, and even then it's a lot of ulcerage where too often it seems the fingers get pointed at us keys guys.
You mention, using custom sounds. How many of those are instrument-like patches you create (or tweak) and how many might be actual SFX.? If the SFX need is strong enough, wouldn't that tend to govern the choice of the keyboard or rack synth, as long as the sound and tweakability of instrument patches was decent enough? (Unless you want to ham it up with a Foley table
).I like mdh's idea of something like the Muse and a controller. But, that's still possibly prone to occasional MIDI glitches. FWIW, I think having all your custom patches in the keyboard, and getting a board that's popular enough where you tour that there's good dealer/distributor presence in case you need a fix or a temporary replacement would also be important factors. The simplicity of something like an Extreme (yeah they are scarce) a MOTIF, a Roland (although I've had rotten luck with Roland's quality control), or other Korgs is a plus. And those three probably have the most prevalent geographical presence around the planet.
His idea re the rack PS & Jaymounts is interesting, too.
Maybe I/m too antsy about outboard MIDI, but, I've duked it out with Mr. Murphy enough to know MIDI is his middle name. So having onboard lots of preset slots where I can park and order my tweaks seems much moer secure.
I really liked my S90es, but sold it (couldn't resist the deal) and got the XS7 instead because of weight and capacity, although I hated giving up the 88 properly piano keys. And I put as many of the S90es piano patches in as I could. But then I got the M3 and really fell in love with that keybed. Also, my eyesight has gotten to the point where the XS screen just isn't easy to scan anymore, whereas the M3 is.
You also mention what singers do. I agree 110%, which is another reason why having to make just one or two button pushes on the internals to keep up with them would be a plus. Further, the quick tweak where you don't have to have all the CCs memorized, can often kick the singers into a better place and groove, if the band isn't too hung on the pluckers..
Interesting challenge...good luck and please lets us all know what you choose and how it works out. And good luck with the tour.