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Slažem se za Karmu, uopšteno to je problem HI sinteze, ali s obzirom da je ne idem toliko u analogiju icon_mrgreen.gif meni bi bilo dovoljno

 

Iskreno me zanima kako zvuči EXB-MOSS board na Karmi? Koliko sam ja skapirao to su Z1 i Prophecy farbe, ne?

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ja sam svirala pre neki dan nekog alesisa... xD ne znam, sve je to extra, ali nije to za mene :)   btw, htela sam da uzmem midi klavijaturu, ne znam da li se isplati to...?

Karma ima novu sintezu zvuka, kao i sve Triton klavijature... mada ono sto meni smeta kod te nove sinteze je plasticnost zvuka... tj. prevelika digitalnost...

 

Doduše još uvek nisam isprobao onaj EXB-MOSS Board, koji dodaje Z1 zvukove, pa tek kad to budem uradio onda mogu u potpunosti da pričam o tome.

 

Kakogod, niko vam ne brani da kombinujete tu klavijaturu sa nekom starijom koja je više a la '80s fazonu i da dobijete jedan ogroman opseg zvukova

 

Sto se tice YAMAHA, probao sam u Mitrosu Motif 6 ES (valjda je ta extenzija) i odusevljen sam bio nekim farbama, dok mi je na nekim farbama zvucao kao da sviram Triton. Recimo, fabricki preset "Sunday" je najbolji zvuk orgulja koji sam do sad cuo na workstationima... Toliko je dobar da boli icon_mrgreen.gif

 

Kompletna HI paleta syntheva ima plasticne soundove. Sa arpegiatorom i gotovim presetima sve je savrseno. Kada maknes efekte vidis koliko soundovi " ne drze vodu ".

 

Ja sam isprobao EXB MOSS kod frenda i u usporedbi sa Z1 vrlo je tanak, a po drugoj strani zvuci vise ko board u koji je ugradjen nego ko Z1. sa Z1 soundovima mogu radit sta zelim, sa EXB MOSS-om bas i ne icon_da.gif

 

Motif je odlican workstation ( isprobavao sam rack ), ali ono...nije savrsen icon_smile.gif Mozda da se spoje Motif, Triton Studio, Roland Fantom, mozda bi se priblizili Kurzweilu K 2600 icon_smile.gif

 

 

Mene zivo interesira sta je Korg smislio sa Oasys workstationom. Kao, otvorena sinteza a kosta preko 7000 Eura icon_confused.gif

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Aha, pa dobro, kapiram ja da bih MOSS koristio za leadove i ne bih nešto preterano experimentisao jer mi za sad nije potrebno. Kad bude bilo, Alesis ION/Andromeda/NordLead3, here I come icon_mrgreen.gif

 

Ali OK, zavisi od toga šta kome treba. Meni je i dalje KORG najbolji po pitanju price<->quality

 

Što se tiče Oasys... pa ja mislim da njemu samo kažeš "sviraj" i on radi icon_mrgreen.gif

 

A možda kuva i kafu icon_mrgreen.gif

 

(Imaš PP icon_mrgreen.gif)

Edited by Lordring

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Slažem se za Karmu, uopšteno to je problem HI sinteze, ali s obzirom da je ne idem toliko u analogiju icon_mrgreen.gif meni bi bilo dovoljno

 

Iskreno me zanima kako zvuči EXB-MOSS board na Karmi? Koliko sam ja skapirao to su Z1 i Prophecy farbe, ne?

 

Stvar je u tome, da ako koristis samo Karmu ili bilo koji Triton ( cak i LE icon_smile.gif ), pogotovo ako ih koristis u sklopu banda, i vise su nego dovoljni za cijeli zivot. No ako koristis vise syntheva, cujes im sve nedostatke. Meni Karma zvuci savrseno, dok ne upalim drugi synth biggrin.gificon_smile.gificon_smile.gif Prednost Karme je da ubrzava proces stvaranja muzike. Recimo, napravim kostur i da se ne moram zajebavati sa pojedinacnim synthevima, popunim ga Karminim presetima, podvucem ispod odredjeni ritam i to je to- gotov sam za dan dva, ali da li se osjecam ko 100 postotni stvaraoc svoje glazbe - definitivno ne. Uostalom, zbog sve masovnije primjene Karminih preseta u filmskoj industriji uskoro bi mogle pasti i neke sudske tuzbe zbog autorizacije icon_smile.gif iako Stephen Kay uporno tvrdi da svaki vlasnik Karme ima autorska prava nad svime. Hm...

 

Da, ali losa Z1 i Prophecy farba. Iako iz Korga tvrde da je EXB MOSSU " samo nebo granica ", ja bih ipak rekao da je granica negdje u troposferi laugh.gificon_smile.gif

 

 

 

------------------------------------------------------

 

Imas tu lijep osvrt na Karmu i Triton ( ako ti se da procitati... )

 

 

Expressiveness/Sounds: 1

I need to agree with those (esp. the 40 yr old+ guy icon_wink.gif who have berated the Korg sound. I am completely mystifed as to what people like about the Triton/Karma patches.

 

 

Have any of you actually PLAYED an XV5080 or a Yamaha Motif? Korg doesn't even come CLOSE to the Yamaha or ROland sound. Every time I go into GC there are the usual thugs hunched over the Triton playing these ridiculously thin patches. I have to laugh. But here's the deal, the reason the Triton has caught on is really simple: R&B and HipHop producers like it's drums (somebody finally got a clue and put good rim shots, etc in a board - took 'em only 10 years to figure it out) and the fact the the Triton OS (with its touch screen)is BY FAR the most intuitive workstation in existence.

 

 

COmplete idiots can navigate the Triton's OS so it only stands to reason that every wanna-be on this side of the galaxy thinks the Triton can transform him into a superstar. Same phenomena with e MPC drum machines. Korg has struck gold and should be applauded for "breaking on through to the other side.."

 

 

But make no mistake, the Triton/Karma patches, for the most part, suck. They are thin, they are poorly sampled and on top of everything else, the converters Korg use BLOW like Julie Ashton. The electronic sounds are cold and uninspiring, the acoustic samples are the same ones Korg has been using since the M1 and the drums, though "modern" in sound, suck for everything but HipHop.

 

 

Add to all of this that 95% of Korg's patches have virtually no velocity switching whatsoever. When I had a Triton, I had no idea what I was missing out on.. until I played a Motif. Play a Motif... "expressiveness" will take on a whole new meaning.

 

 

There is CLEARLY an indication that Korg was pursuing a very specific audience when they designed the Triton and then partnered with Dexter Propellerhead to launch the Karma. For the Triton is was all about rap and hiphop and american dance (because I have not yet noted any stand up europeans, who have the cornermarket on dance music) using a Triton. The guys in the UK use Yamaha products (CS6x, A4000, etc), Akai samplers, Viruses, Nords, Waldorfs, etc not to mention all of the software based stuff. You don't see them with Tritons.

 

 

Granted, there are plenty of pros using Tritons, but don't think for a minute that Korg preset sounds are being pumped into commercial music songs. After the sequences are laid down, those Triton tracks are dipped in just about every top shelf effect in existence by highly paid professionals who exist solely to make things sound BETTER, BIGGER, BRIGHTER, SWEETER and SEXIER to your ears.

 

 

I'm not a conspiracy theorist, it's just that I can see through Korg's smoke and mirrors. The Triton/Karma boards are not going to make you SOUND good. They are nothing but propagandized garbage with tons of bells and whistles to wow you at the music store. Think about it.. dual arps? SO f'g what!! Seen what Cakewalk Sonar can do with a MIDI track lately? I do things in Cubase a Triton couldn't even FANTASIZE about doing.

 

 

Listen, if you want good analog sound, get a Virus, a Waldorf, Reaktor or comparable and learn it. You will smoke everything your Triton/Karma owning peers are trying to do. If you want acoustic, either buy a new Akai sampler (Z series kick azz) and get some REAL GOOD stuff, or get a few boards like a Motif and a Roland XV5050 to complement it. And if you just want to make slammin' beats, buy Propellerhead's Reason and leave the competition in your wake.

 

 

Sorry for the rant, fellas, I'm just sick and tired of the Korg marketing machine dictating what is "hot" and what is not.

 

 

The Karma IS a gimmick, no matter how hard these guys who have invested $2,000 try to convince you otherwise. They key here, and it has been noted in several reviews, is that with the Karma it has a "mind of it's own." One guy even said you better have the recorder going for that right take if it happens.. like it's a f'g crapshoot. Nice.

 

 

THe Karma robs the musician of their creativity. It's a MIX AND MATCH technology similar to pasting together prefab parts in an application like Acid. By using the Karma's ideas, you are forfeiting your own. Personally, I don't have any desire to be a slave to the machine, as the machine will ALWAYS be a slave to ME. But that is the direction the gear industry is going. They want us all to be slaves to the machines so we gobble up their expansion accessories and keep their pocketbooks FAT. Korg is the NUMBER ONE perpetrator of this industry wide. Oh you don't believe me? DO you read Keyboard magazine? Who ALWAYS has the juiciest ads on page f'g one or two? Korg. Every issue as far back as I can remember. They have hailed everything they've ever produced as the next coming of Christ.

 

 

In summary, if you are a beginner or an intermediate producer/arranger and you're seeking an all-in-one solution that is easy to work with, and you DON'T give a $hit that the people you're competing against will hve demos that are far more dynamic and interesting than yours, the Triton/Karma IS for you. If you are a quality driven freak like me who demands realistic acoustic sounds and warm, buzzy, beautiful nasty analog, look further.

 

 

My picks:

 

 

Roland XV5050 (stay away from 5080, it's a complete rip off with no editor)

 

 

Access Virus

 

 

Yamaha Motif (best board on the market - bar none)

 

 

EMU Proteus 2000 (128 voices, better sounds than Triton, half the price)

 

 

Korg TritonLE (affordabel, lots of bang for buck..you don't need the sampler crap anyways, just use HALion in Cubase and the sky's the limit)

 

 

Reliability: N/A

 

Customer Support: 1

Assholes... just like the good folks at Roland and Steinberg. Only industry in the entire world where a company can $hit all over their customers and suffer no negative publicity. Unf'g real.

 

Overall Rating: 1

Korg is a marketing machine. They couldn't care less about THE MUSIC. If they did, they would update their patches and converters and everything else to ensure their customers were getting studio ready sound. As it stands, they cracnk out Casio grade patches.. and get away with it. For this reason, I couldn't care less about their products.

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Aha, pa dobro, kapiram ja da bih MOSS koristio za leadove i ne bih nešto preterano experimentisao jer mi za sad nije potrebno. Kad bude bilo, Alesis ION/Andromeda/NordLead3, here I come icon_mrgreen.gif

 

 

Ma treba ubost Alesis Microna ( lijepo ime, reminds me on... icon_smile.gif ) . Ima sve bitnije specifikacije Andromede i ION-a a kosta ko MicroKorg - manje od 400 eura. Ja cu sljedece investirat u Virus Rack ili Novation Nova Rack i kontrolirat ga preko Z1. Btw, trebas cuti kako Trinity Rack zvuci preko Z1 icon_da.gif

Edited by Neon Eyes

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Ma jasno je meni to... Ali meni ne trebaju arpegiatori i tome sve slično... Meni trebaju klavijature za sviranje i mogu ti reći da mi je ovaj LE koji sada imam sasvim dobar, medjutim, probao bih da dobijem više, tj. da imam prosotra da unapredim mašinu, pa bih zato vrlo rado menjao ili kupio Karmu umesto LE-ja (a i zbog +5IFX icon_mrgreen.gif)

 

I opet, Yamaha jeste super, ali skupa je! Lepo ovaj čovek sve kaže, ali kad bi se sabrala vrednost te opreme za te pare bi mogao da kupim skoro Oasys ako hoću icon_mrgreen.gif

 

Slažem se ja da je svaka klavijatura dobre u odredjenim stvarima, ali mi smrtnici moramo da napravimo najbolji odnos price<->quality. Voleo bih i ja da mogu od svega što mi treba da uzmem najbolje, ali polako..

 

Trenutno jurim da nabavim još jednu klavijaturu (nadam se da ću do srede znati) za live i eventualno da zameni Triton Le za Karmu, pa da ih vremenom nadogradjujem sa PCM-om i EXB-MOSS-om i ja sam što se tiče klavijatura live miran. Kasnije sledi kupovina rack-ova do besvesti, ali to samo onda kad budem imao para icon_mrgreen.gif

 

Neon Eyes: ono za PP, bilo je adresirano na tebe

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I da, nije mi jasno zašto se i ovo ne bi postavilo kao važna tema? Kad već mogu gitare, potražnja muzičara, što smo mi orguljaši manje bitni? icon_mrgreen.gif

Istina!

Nego, pre neki dan sam ispisao kilometarski post koji nisam uspeo da podignem jer mi se sjebao Explorer ( long live Bill Gates icon_smile.gif ), pa sam izgubio volju da pisem...

Ukratko, sto vise dirki to bolji sex!!! icon_smile.gificon_smile.gif Djedo, al te je Kole Amentes obradio da ne gotivis klavijature sa vise od 5 oktava icon_smile.gif Jebes transport, bitan je uzitak icon_rockdevil.gif

 

A sto se tice Nissinog izbora, predlazem da ne kupujes nikakve module, jer je to samo jedna muka vise. Modul od sinta k***u ne vredi, jer su kontrole svedene na minimum, a zvuk je isti, tj. JADAN!!! Ako hoces rack varijantu(modul+master klavijatura) bolje uzmi neki stariji sempler, AKAI ili KURZWEIL. Iako su "zastareli", boja sa 16-bitnog, 44Khz semplera je bolja od bilo koje boje na standardnom sintu, makar on kostao 1500E!!!!Sednes, prosetas po CD-ovima, nadjes boje koje te zanimaju, isprogramiras 10-tak i Bog da te vidi. Glavna fora je da ako se smoris od jedne boje, uvek mozes menjati setup kako ti odgovara, zbog otvorene strukture semplera. To sa klavijaturom vec nije moguce...

Nemoj da te plasi marka(akai, emu, kurzweil...), jer stariji modeli nisu toliko skupi. Jedan moj ortak bas prodaje KURZWEIL K2000 u racku cini mi se za 500-600E...

 

Toliko...

 

Btw, Djedo, nabudzio sam nove lead boje na K4...Jebes mi sve ako ne uzmem jos jedan icon_smile.gificon_smile.gif

Pozdrav kolegijume klavijaturni icon_rockdevil.gificon_rockdevil.gificon_rockdevil.gif

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A sto se tice Nissinog izbora, predlazem da ne kupujes nikakve module, jer je to samo jedna muka vise. Modul od sinta k***u ne vredi, jer su kontrole svedene na minimum, a zvuk je isti, tj. JADAN!!!

 

Zato treba dobar kontrolni synth na kojem mozes iskoristiti sve opcije sa racka. Na nekima mozes iskoristiti farbe i opcije sa racka vise nego na istom synthu. Druga stvar, treba znati koji rack uzeti. Nadalje, rackovi imaju uvijek vise opcija od maticnih syntheva jer su namijenjeni iskljucivo za studio ( makar ih jako puno njih koristi za live nastupe ).

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Djedo, al te je Kole Amentes obradio da ne gotivis klavijature sa vise od 5 oktava icon_smile.gif Jebes transport, bitan je uzitak icon_rockdevil.gif

 

Nije me naložio bre, nego zaista može da bude problem. I ko kaže da ne volim klavijature sa više od 5 oktava? icon_mrgreen.gif

 

Uostalom, videćeš uskoro icon_razz.gif

 

edit: da, što se tiče starijih klavijatura (govorimo o workstationima, ne analognim), sa njima je problem polifonija, a sa druge strane, zvuče mi mnogo toplije

 

Elem, Roland JV-1080 (da l' beše taj broj) modul je baš strava, samo što je on za napredne muzičare, jer je tamo ogroman opseg editovanja farbi, tako da je suština da ne kombinuješ (u tome je loš, mala polifonija) već da modeluješ jednu farbu. Koristili su ga od Madone preko Prodigy-ja do Richard Anderssona i Jens Johanssona icon_mrgreen.gif

Edited by Lordring

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edit: da, što se tiče starijih klavijatura (govorimo o workstationima, ne analognim), sa njima je problem polifonija, a sa druge strane, zvuče mi mnogo toplije

 

Elem, Roland JV-1080 (da l' beše taj broj) modul je baš strava, samo što je on za napredne muzičare, jer je tamo ogroman opseg editovanja farbi, tako da je suština da ne kombinuješ (u tome je loš, mala polifonija) već da modeluješ jednu farbu. Koristili su ga od Madone preko Prodigy-ja do Richard Anderssona i Jens Johanssona icon_mrgreen.gif

 

A tek Anderssonov Roland JP 8000. Rolandov Z1 icon_smile.gif

 

Mislim da sam nasao pravi rack za sebe - Yamaha FS1r. FM sinteza ( znaci sve najbolje u AOR-u i synth popu icon_da.gif ), soundova ko u prici, 32 polifonican i jebeno tezak za programiranje ( my kind of stuff icon_smile.gif ). Znam da velika polifonija i toplina sounda rijetko kad idu "ruku pod ruku" ali za ovaj synth tvrde da ima i toplinu. Jao, ima da se naduvavam do besvijesti i danima ne izlazim iz kuce kad ga kupim laugh.giflaugh.giflaugh.gif

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Ne znam da li si ćorav, ali ova tema je iako si je ti otvorio prešla na klavijature, a ne na tvoje koncerte icon_rolleyes.gif

 

osim ako nisi kao onaj mali Independor pa da svuda smaraš o sebi.

 

Uostalom, čuo sam demo i nikakav je. Lepo počinje idejno, ali su farbe muljavina nikad gora.. O sklopu pesme i pevanju neću da trošim reči..

 

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