Re: Is the Karma any good to... Let's avoid a "Gear War"...

Ok. U all have been great to help me define my needs.And my need is 
a tool that produce very accurate real word instruments.

The Kurrzweil seems the tool I need. I need a sampler. And Know I'm 
wondering about the Yamaha Motif(ES)???

That was simple but I asked because when I heard the Karma's sound 
clips I was litteraly blown away but in the end I found that what 
I'm really searching for is some good REAL instruments sampling.

Know I must look carefully what IS the Yamaha Motif???? A synth, a 
sampler, a modeler... all that? some?

Anyway, again you were all of great help and this is very much 
appreciated!

Cheers everyone!

Rene


--- In [email protected], "Eric J. Sawyer" 
<doubleejprojects@y...> wrote:
> It was just an analogy, nothing more intended.  I could just have 
> well said it would be like someone going into a Republican 
> convention extolling the virtues of the Democrats claiming they 
are 
> better. I wasn't trying to impugn or promote religion.  So, if my 
> comparison offended you or anyone else, my apologies.
> 
> I agree with the rest of your post.  Can we drop this and move on?
> Cheers,
> Eric 
> 
> --- In [email protected], Dave Bourke <djmbourke@e...> 
wrote:
> > Eric, Greg: I'm sorry, guys, but I don't buy into this atavistic 
> > "church/religion" thing. I realise you were both using this as a 
> > metaphor but I find this attitude in different forums all over 
the 
> net 
> > (usually with the developer(s) as the "god" who can do no wrong 
> and 
> > whose every word is an utterance of wisdom), and personally I 
find 
> it 
> > offensive, sickening, tribal, sycophantic, and just plain 
> horseshit.
> > 
> > The Karma is a tool, nothing more. As is the Kurz. Both are very 
> fine 
> > tools, for different purposes in my book. The Karma is not a 
> sampler, 
> > the Kurz is.
> > 
> > You want real instruments in your music, you hire real players, 
or 
> be 
> > prepared to spend a *lot* of time tweaking your samples, your 
MIDI 
> > performance, and your mix.
> > 
> > You want a synth, buy a Karma :-)
> > 
> > Kind regards.
> > 
> > Dave Bourke
> > --ideation--
> > 
> > On 17 Jul 2005, at 5:53 am, Eric J. Sawyer wrote:
> > 
> > > Thanks, Greg.  That's fairly well how I think too.  I remember
> > > experimenting with an old piano.  I put thumb tacks into the 
> hammers
> > > and dropped aluminum foil behind the strings where the hammers 
> hit
> > > and I even detuned strategic strings. Added a few beers to the 
> belly
> > > and stayed up all night recording to an old wire recorder.  
What 
> an
> > > experience.  But when synthesizers came out (I started with 
the 
> old
> > > Juno 6), it was amazing. I found my new toy. I didn't want to
> > > replicate real instruments.  I was in love with synthetic 
sounds.
> > > Now that doesn't mean I won't or can't appreciate virtual
> > > instruments.  They have their place in my scheme of things, 
but 
> they
> > > are not the here all and end all.  Finally, nothing replaces
> > > strapping on an old worn Honer accordion and jamming away 
seated
> > > facing into a corner for stereo effect while playing long
> > > minimalistic passes - intoxicating....LOL
> > > Cheers,
> > > Eric
> > >
> > >
> > >
> > > --- In [email protected], Greg Krouse <gkrouse@s...> 
> wrote:
> > >> Hi
> > >> Eric you are the consummate even voice on this.  The deal is
> > > pretty
> > >> simple.  It is about what you plan
> > >> to do with the music.  If you are trying to mimic traditional
> > > instruments
> > >> then going to an instrument that
> > >> has great samples makes sense. But for me the name of the
> > > instrument tells
> > >> all: synthesizer.  I have had the
> > >> wonderful opportunity of hearing composers who take their
> > > instruments to
> > >> new depths because they understand
> > >> as traditional performers that you have to find the means of 
> using
> > > a voice
> > >> appropriately.  My first exposure was listening to
> > >> composers who made music for modern dance and it enthralled 
> me.  I
> > > have
> > >> never forgotten the personal deep space I found myself in .
> > >> Meanwhile good old Eno came out with Music for Airports. I 
have
> > > gone to
> > >> different planes on his repetitive music. It is like the
> > > simplicity of
> > >> say music of a great vocalist with a minimalistic band.  At 
the
> > > same time
> > >> one might seek complexity.  The key is
> > >> to step beyond the thrill of so many voices and develop a 
> musical
> > > image of
> > >> what one wants and then to go for it.
> > >> For me the synth is about taking unnatural voices (not 
generated
> > > in a
> > >> traditional way) and finding a new path. Clearly
> > >> we will go down similar paths of rhythm but there are new 
sounds
> > > to be
> > >> found.  It is again the difference between
> > >> a great composer of synth sound and one who applies it to
> > > traditional
> > >> music.  Pat Methany has created a synth sound
> > >> that is unique but can be compared to elevator music for 
those 
> who
> > > are not
> > >> listening. His music is so tight one can say it
> > >> was programmed yet it is not other than arranging Midi 
postions 
> to
> > > move
> > >> through.  I have seen art that looked like paper bags 
crumbled.
> > > The art
> > >> teacher told a student tap the bag. It rang as it was 
ceramic.  
> So
> > > what you
> > >> might say, why not get a paper bag.? It is about being able 
to 
> do
> > > it. The
> > >> fact that Metheny and others can create that music right now
> > > anywhere is
> > >> impressive to me.
> > >>           I have heard Digeridoo players who play traditional 
> and
> > > others
> > >> who go elsewhere with the instrument.  That for me is what a 
> synth
> > > is
> > >> capable, yet it is also an incredible tool for realizing a
> > > compostion or
> > >> hearing something that would take lots of rehearsal or could 
not
> > > be heard
> > >> without lots of great musicians.  I am anxious to hear the 
music
> > > that has
> > >> flutes that sound like flutes but frankly, for this medium, 
this
> > >> only minorly impresses me as I have friends who play flute, 
> guitar
> > > and
> > >> pianos that well sound great together.
> > >> But each instrument has its unique way of pushing it, making 
it
> > > ambient,
> > >> stretching a note, adding vibrato, bending it down, plucking 
it
> > > etc. It is
> > >> all about what you want to do with your Synth.  For me 
personal,
> > > it is
> > >> about realizing music in my head that is traditional but I do 
> not
> > > have
> > >> musicians clamoring at my door and it is about exploration 
down
> > > the new
> > >> voice and new application path. If I can give my friends a 
> window
> > > to the
> > >> music in my head through a synthesizer so they can get close 
to 
> it
> > > without
> > >> the hand waving and replays, that is what it is for me. 
Imagine
> > > what it was
> > >> like to pick up a new instrument, like the saxophone or the 
> flute
> > > before
> > >> anyone used it? That is what this instrument is about to me.
> > >> Yes I understand the timing, the percussion, the standard 
bass,
> > > etc but for
> > >> me it is about surpassing that and exploring to do what?
> > >> Make novel music, become the new wizard of tunes or just to
> > > explore? For me
> > >> it is the last.
> > >>          Finally, I do not understand what you are trying to 
do 
> by
> > >> comparing the other keyboards here. We all got our instruments
> > > because we
> > >> like them.  It is like coming into a Mormon church and trying 
to
> > > convert
> > >> everyone to become Jews.  Why? Obviously those who are 
Mormans 
> are
> > > settled
> > >> in their church.  One might get a few who are not settled but 
> why
> > > disrupt
> > >> the rest who are content? I am settled in my synth.
> > >>          Thanks however for giving us sites to listen to.  
This 
> is
> > >> inspiration, to hear different ways these instruments are 
used.
> > >> Greg
> > >
> > >
> > >
> > >
> > >
> > > Yahoo! Groups Links
> > >
> > >
> > >
> > >
> > >
> > >
> > >




 
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