Quote:
Originally posted by Diki:
There's altogether WAY too much time and effort here spent on trying to address soundset issues on one keyboard alone. JMO, but I simply don't believe that, if you need a good well rounded sound selection to cover acoustic AND electronic textures, you simply aren't going to find it in any ONE keyboard. Playing out live, if you want to only use one arranger/WS/whatever, is going to involve a fair bit of compromise. Accepting that we ARE compromising is the hard part! We all think that what WE bought is the best possible solution, and in a way it is. But it is a solution to a slightly different problem to everyone else. So we ALL (or most of us!) have the BEST solution. Just not the same

But if you are recording, or playing at a level where the necessity of TOTL performance outweighs the inconvenience of carting multiple keyboards, you HAVE to use several different keyboards. No one makes ANYTHING that covers it all at the highest level. Sadly, as I have mentioned often, arrangers are the LEAST capable of any keyboard type to integrate with each other. For God knows what reason, no two manufacturers use the same MIDI codes to talk to each other, so we are left with HAVING to compromise, sometimes severely.

If they did, I would definitely gig with at least two, and maybe three arrangers and weight be damned. I would sound like a band! Right now, part of my palette sounds great, some not so great. As sadly, if we could just accept it, do we all...

I honestly believe the most revolutionary thing we could ask for on an arranger is not loops, arps, Guitar Modes, audio loops or anything like that. It would simply be a standardized set of MIDI codes so that one arranger could control another from a different manufacturer. Then let us shore up the holes in our soundsets with other arrangers with stronger sounds (but holes of their own)....


Everything you say is too true! The limiting factor is backbreaking work and the lack of "roadies" to tote those beasty workstations, modules, keyboard amps, mixers, yada yada yada. Given what many gigs pay (or don't pay, to be more accurate), the amount of legwork to drag all that stuff is a primary roadblock, assuming you have the wherewithal to BUY that much equipment. Then you have issues and concerns worrying about theft/damage to that much stuff while it's sitting onstage during breaks or if you're in a rowdy venue where mass quantities of alcohol are being consumed... So for many, the limiting factor is how much 'work' we have to do to get set up for performance gig, paid or not, and whether our ancient bodies are 'up to the task' of dragging the heavier stuff from our homes to our cars to the venue then reversing it all... this is why I don't have a motif module or a motif board. If found out my T3 doesn't easily fit in my vehicle, that's another major concern for another day... stuff happens I guess... or why don't I own a bigger vehicle???

cheers
robert