It is important to set the CMP settings to get the desired sound from the unit for your style of playing.

The following was posted on YPKO. I tried the settings and it does make a world of a difference in the sound. I even fined tuned the suggested settings to get the piano sounds to my taste.

from YPKO:

"I also received a call from Steve Deming at Yamaha USA. These are the steps to follow to get the T3 CMP settings working for you:

1. You must be sure to turn the CMP switch "on" using button G.

2. Set you Master Volume to a comfortable listening level and select any style you like, then start it playing.

3.After that, you must then go in to the controls on the bottom of the screen.

4. Start with the "Threshold Offset" control and try -10 first. You should then begin to see the top meter called "Gain Reduction" beginning to show a little green bar appearing at the right of the meter screen. If you do not see the little green bar appearing, there is no compressor effect and you should then try Threshold Offset -20.

5. If the green meter bar is appearing on the left, then adjust Ratio Offset to +3 or +4 , whatever it takes for the softest sounds of the style to become more pronounced, louder and easier to hear. Once you achieve than, go to step 6.

6. Use the Gain Offset control and turn it up or down to assure the overall volume of the keyboard is maintained at that comfortable listening level you selected in step 2. The keyboard should not sound a lot louder. Of course, if you dial up the Gain Offset, Steve says this functions as another volume control, making the whole thing sound louder.

Tom G."


Regards,

Jerry



[This message has been edited by Jerryghr (edited 10-24-2008).]

Jerry good post

This sounds exactly like the Roland G70 when it was first introduced. Roland let the units go out the door without tweaking the sound and with too much reverb. People demoing the product or opening the box turned it on and then got turned off by the sound.

How many casual users are going to immediately go into sound settings and change compression prior to testing it out, I wonder????

------------------
Al Giordano
Visit us at ARRANGER WORLD! http://www.arrangerworld.com

Korg Pa2xpro, Roland VK8-M, DW Collectors Series Drums, Roland TD-12 Vdrums, Roland SPD-S.

WOW! Not that's interesting. Al has made a very good point when comparing the Ver.1 G-70. It's not Yamaha'a nature to release a board that way. Yamaha's always been know for the "out of box" sound set and default settings being pretty much tweeked already.

That's not really right IMO. If the pro demos out there are showing the user settings of the guy doing the demo.., that would lead the potential buyer into thinking that's exactly how it sounds out of the box.., and after buying it may feel a bit disappointed.

Squeak

Let me edit just a bit what I said to Tom:

... the sounds heard on the Yamaha Tyros3 website demos PROBABLY were the result of the performer's individual settings on his keyboard for that particular studio. In addition, the demos were PROBABLY processed through more studio equipment in the playing and recording process.

I did not say the rest of this paragraph, how could I know what is possible when I don't know what if anything was done.

In MY OPINION, many of the voices have too much reverb, but the compressor settings are fine out of the box. MY OPINION.

Steve,

Thanks for the clarification. I will update my post to include only the directions for setting the CMP.

Regards,

Jerry

I'm simply uncertain why anyone actually NEEDS a big old CMP on the final output.

Yamaha's, on the whole, are not exactly brimming with heart stopping dynamics, the drumkits sound pretty squashed already. And now you are going to strap a compressor across the whole thing as well?

WHY...?

Doesn't it sound great without one?

Correct me if I'm wrong, but doesn't the T3 have just the one main CMP across the main outs? Or, like the E80, does it have TWO? One across the Style and SMF section, and one across the played Keyboard Parts.

I feel, if you are going to use any compression at all, this is way preferable, as an enthusiastic or overly loud keyboard part (we all tend to play a little louder than most tracks really need) is going to 'duck' the accompaniment tracks, and make a mess of the balance between played and arranged parts.

Without this, I feel that the best course of action is to simply avoid the CMP altogether, and simply work the styles and SMF's so they don't NEED compressing!

BTW, just a little OT...

If any of you DO want to put a little 'squeeze' on their sound, without as many compression artifacts as the built-ins do, I heavily recommend the little FMR RNC compressor, from FMR Audio. Less that $200 (better than most ten times the price), quality construction, and in 'SuperNice' mode, on of the most transparent mix bus comps I have ever had the pleasure to use.

Put it on the main outs of your PA, dial in just a few db of gain reduction, and stand back! You won't hear it working, but your overs are gone, your PA's headroom increased, all without it screwing up your mix...

It's a gem.