I had the opportunity to audition the PA1X Pro last weekend and was impressed overall as well.

The only major thing that kept me from serious purchase consideration was its messed up chord recognition. As I mentioned before, Korg has stubbornly clung to some strange (theoretically correct, but NEVER played by real keyboard players) chord interpretations of chord voicings that would make far more sense to represent chords pro keyboardists 'voice these for' instead. If the chord voicing interpretations Korg chose really were actually utilized for the chords recognition they gave them, then perhaps I could see the reasoning behind reserving it for that purpose, but I can BET not a SINGLE player here (or anywhere for that matter) plays any of Korg's esoterically odd chord voicings to signify the chord assignments Korg gave them. Here's an example: Eb1 - A1 - D2. As I recall, Korg recognizes that as an EbM7(b5) or something similar. Strangely, the important 3rd (which signifies the CRITICALLY IMPORTANT major or minor tone) is completely missing. One would never play this to signify that chord. On the other hand, playing Eb1 - A1 - D2 (together as a chord) is a very commonly played (among pro keyboard players) and considered a left hand rootless voicing for F13, where the Eb = the flatted 7th, A1 = the important major 3rd, and the D2 = the 13th (or 6th). Perhaps some of you aren't familiar with rootless style jazz chord voicings which produce an open sound suitable for comping, but 'how many' of you play this same chord voicing to represent the chord EbM7(b5) either? In other words, why doesn't Korg reserve that voicing for players who ACTUALLY utilize these popular played (especially in Jazz) chord voicings , of which were popularized by jazz piano greats Bill Evans & Wynton Kelly, and currently Diana Krall & many others. Yamaha, Technics, and even Ketron have come on board, so Korg, why aren't you listening?

Scott