Yesterday, 05:38 AM
(Yesterday, 12:07 AM)musicalmemoriesuk Wrote: It’s better to play with a dryer reverb or sound at an unknown venue as unless you have time to do a sound check, you don’t know what the acoustics are like. So i would say 2 as the sounds also have more presence
If your at home then you might be trying to create a soundscape sounds as a movie score when you will need more reverb. But chances are if you used the same amount of reverb at an unknown venue then everything could turn to mud.
It’s a fine balance using reverb to creating the soundscape you want the sound to be in and the actual acoustics of the room.
I think the mixer eq is more suited to resolving masking issues than actually shaping sounds
⚖musicalmemories
Thank you very much for your detailed response.
I was pretty sure you would choose Version 2 at an unknown venue, which I would have done for the same reasons you mention.
That said, I find it strange that all styles on all arrangers are set up to recreate a stage with a certain amount of reverb, because this doesn't work when you play on stage; the keyboard already has the necessary reverb, which results in a double reverb effect, which sounds terrible, something that most demonstrations by the most famous are also victims of.
Why don't the manufacturers have a version of DRY styles intended for performing musicians ?
I use the mixer EQ (4-band Parametric EQ) primarily subtractively - to remove frequency overlaps, and then give a slight boost in desired tonal ranges.
A minimum of dB is needed to achieve the desired result.
My goal with these demos was to demonstrate how easy it is to remove mud from all tracks to create a punchy sound, as well as to highlight the negative effects reverb can have.
My perception of punchy sound seems to work, because no one has suggested that it is TOO punchy, even though I have adjusted more dB than necessary to demonstrate the effect.
As a long-time HiFi enthusiast, I am allergic to a muddy sound, and most styles (all..?) sound much better WITHOUT reverb played through my horns or STAX headset.
This is because both the horns and STAX reproduce a significant amount of ambience (NOT reverb..!), which regular speakers and headsets do not.
Therefore, most users will probably find my preferred edit too dry, while I hear everything differently due to other equipment.
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MY PA EQUIPMENT NON-ACTIVE AND ACTIVE
Aune S6 32 bit/384 kb DAC ||| Topping USB Isolator ||| MOTU 32 bit Audio Interface ||| TEYUN Q26 32 bit/384 kb Audio Interface ||| FM Acoustics FM 300A Power amp ||| FM Acoustics FM 255 Resolution Series Pre amp ||| MBL 6010 Pre Amp ||| STAX SR-L300 (Lambda) electrostatic headphones with STAX SRM-252S Amplifier ||| beyerdynamic T70 headphones (without pads) ||| Baffle horns equipped with Seas Exotic 8" fullrange units ||| JBL horns with Compression Planar membranes ||| Fountek NeoPro 5i (Special Edition) ribbon tweeters with Compression Planar membranes ||| Hexagonal subwoofer with 12 pieces Push&Pull coupled Seas Prestige 8" units, 1 item 10" slave unit and built-in XTZ power amplifiers & Cambridge Azur 640A as pre amplifier ||| Yamaha HS-5 active monitors connected to all keyboards
If we all share everything we have, we all have everything
Every theory is only a hypothesis until it is practically proven
KEYBOARDS, SYNTHS & MODULES I HAVE HAD AND HAVE
Casio CTK 811-ex ||| Roland EXR-7 76 ||| Yamaha DGX-620 ||| Yamaha PSR-550 ||| Yamaha PSR-S700 ||| Korg Pa800 ||| Korg Pa3X 61 ||| Deebach XMS-Pro ||| Ketron Ajamsonic ||| Casio WK-7500 ||| Yamaha Tyros5 61 ||| vArranger ||| Ketron Audya5 61 ||| Yamaha PSR S950 ||| Solton X8 Chromatic ||| Yamaha Tyros4 10th Anniversary ||| Korg Pa4X 61 ||| Roland BK-7m ||| Technics KN-6000 ||| Technics KN-7000 ||| Roli Seaboard RISE 49 ||| Deebach MAX Plus ||| Yamaha Genos ||| Korg Pa700 ||| Korg Kronos2 73 ||| Tyros4 61 ||| Deebach BlackBox ||| Korg Pa2X Pro ||| Yamaha A3000 ||| Ghenos Plus ||| Medeli AKX10 ||| Korg Nautilus 73 ||| Yamaha DGX-670 ||| Korg Krome EX-88 ||| Korg OASYS 76 Sondius-XG version ||| Korg Pa5X 76 (Pythagoras Tuned) ||| Yamaha Tyros1 ||| Ketron Audya 76 (Own developed OS) ||| Yamaha PSR-3000 ||| Yamaha 9000 Pro ||| Yamaha MODX M8 ||| Korg Grandstage X ||| Roland Juno-D7 ||| Korg Kronos 1 73 (Pythagoras Tuned)
MY PA EQUIPMENT NON-ACTIVE AND ACTIVE
Aune S6 32 bit/384 kb DAC ||| Topping USB Isolator ||| MOTU 32 bit Audio Interface ||| TEYUN Q26 32 bit/384 kb Audio Interface ||| FM Acoustics FM 300A Power amp ||| FM Acoustics FM 255 Resolution Series Pre amp ||| MBL 6010 Pre Amp ||| STAX SR-L300 (Lambda) electrostatic headphones with STAX SRM-252S Amplifier ||| beyerdynamic T70 headphones (without pads) ||| Baffle horns equipped with Seas Exotic 8" fullrange units ||| JBL horns with Compression Planar membranes ||| Fountek NeoPro 5i (Special Edition) ribbon tweeters with Compression Planar membranes ||| Hexagonal subwoofer with 12 pieces Push&Pull coupled Seas Prestige 8" units, 1 item 10" slave unit and built-in XTZ power amplifiers & Cambridge Azur 640A as pre amplifier ||| Yamaha HS-5 active monitors connected to all keyboards


