I wonder if, like the DX EP section, crumar are planning on expanding the MKS section to include other MKS-20 presets at some point? IIRC the manual states that the MKS sound they've recreated is based on "e.piano 1" preset. I think they could probably incorporate all 8 presets fairly easily considering the other modeled sounds on the Seven are a much, MUCH more complex process than the MKS-20's structured adaptive synthesis ever was :)
Thanks for a great demo! Is there modeling of specific Rhodes models, i.e., mk1, mkii, mkv of various years (usually a novelty, I know, unless we're talking key years (Fender years, post '75, etc.) or is there a general Rhodes and Wurlitzer model with variations and fx?
thanks to you for comment :-) according to the Seven Manual: "This is a simulation of the famous Rhodes Electric Piano. It's not specific to a Mark I, Mark II or Mark V model because it can do them all. The parameters you find in the EDIT PIANO page are: TYPE: This lets you select one of the 9 different variations. ATTACK LEVEL: Adjusts the volume of the wooden noises. RELEASE LEVEL: Adjusts the volume of the damper noises you can hear every time a key is released. HAMMER HARDNESS: Adjusts the hardness of the hammer tips; a higher value produces a snappier attack, a lower value produces a softer attack. This also affects the amount of metallic component you hear at the attack of each note. BITE AND BARK: Adjusts the aggressiveness of the virtual tines. This aspect also varies according the selected variation. METALLIC: Adjusts the metallic component of the tine sound. RESONANCES: Adjusts the level of the sympathetic resonances. When the sustain pedal is held down, the whole harp is free to vibrate so each key stroke puts the harp into self-resonance. PICKUP OFFSET: Adjusts the average offset of the pickups in front of the tines. This parameter affects the balance between the fundamental and its overtones. The picture at the right shows the correlation between the tine, the tonebar and the pickup in a real Rhodes piano. HI-PASS FILTER: Adjusts the hi-pass filtering, similar to the original “BASS BOOST” knob, which is indeed a passive high-pass filter. PEDAL NOISE LEVEL: Adjusts the volume of the noise produced by the sustain pedal"
"This is a simulation of the Wurlitzer 200A electric piano. This particular model also included a built-in amplifier and a couple of oval speakers, however the Seven only simulates the dry piano sound as found at the output jack. To obtain a sound similar to that produced by the piano's internal speakers, the AMP simulator must be turned on. The parameters you find in the EDIT PIANO page are: ATTACK LEVEL: Level of the attack wood noises. RELEASE LEVEL: Level of the noises produced by the dampers. RELEASE TIME: Slightly adjusts the release time. If dampers are worn out, the release time tends to be a bit longer. HAMMER HARDNESS: Adjust the hardness of the hammer tips. A higher value produces a snappier attack, a lower value produces a softer attack. This parameter affects the whole aggressiveness of the sound. PEDAL NOISE LEVEL: Adjusts the level of the pedal noise. RESONANCES: Adjusts the level of the sympathetic resonances. As seen on the Tine EP, when the sustain pedal is held down, all reeds are free to resonate as soon as a key is played. A Wurlitzer 200A piano also has a built-in tremolo effect. This can be accomplished by turning on FX1, set the Mono Tremolo effect and set the rate at about 6,5 Hz. Factory preset number 2 uses both the amp and the tremolo effect."
@@marcoballa Thanks for that! I was going to buy an SV-2, but talked myself into considering a Seven again! GSI has been a great company, so I'm really leaning this way! Thanks again, boss!
great demo! but there’s something artificial in the lower keys of the clav (with heavier „strings“), don‘t you think? you almost can hear the strings vibrating too much imho🤔 also it’s waay more brilliant/sparkly and aggressive sounding than my own original clav...but maybe that’s because i have the c model, not the d6...?
thanks for comment! this simulation is very close to my D6. I think it depends on lot of variables (my previous CLAV, the Pianet Duo, was more brilliant, due to new strings, etc.). also, everything is editable on the Seven, so you can get almost the exact sound you like :-))))
marcoballa wow marco, thank you for replying! that’s interesting, seems like i’m gonna have to play the mojo61/seven at a store to really dive deep into the editing software, since my nord stage is pretty nice for acoustic pianos and synths but kinda lacks the electromechanical instruments, especially clav sounds...but that’s complaining at a very high niveau hahaha...cheers my friend!
the keybed is the "usual" Fatar TP100 (same of Dexibell, Nord, Studiologic, etc.). yes, it's a bit noisy, yes it's somehow "slow". but it's simply perfect for THIS instrument. the Seven has unbeliavable dynamics thanks to the virtual modeling engine, recreating the REAL behavior of a vintage Fender Rhodes, or Wurlitzer, or Clavinet (etc.) - noone of the other sampled stage pianos can produce this FEELING at the moment, if you are used to the real vintage instruments - and if you know the old keybed of a 1972 Fender Rhodes... this TP100 is even too performing :-)))))
Ciao! I tested the CP73, good overall instrument. I liked the upright sample. The other acoustic pianos are not my favorite (I prefer dexibell). Electric pianos... same samples (or derived from) of montage, good as many other sampled ones (I prefer Kurzweil). The sampled CP80 sounds poor or "strange" (the Dexibell is definitely better on that). The electric pianos on the Seven are REAL, there is the correct feeling and huge dynamics (if you are used to the real vintage instruments you can easily understand). This is possible thanks to the virtual modeling (no samples). The acoustic piano (virtual modeling) on the Seven is still in development, but there is a good sampled piano and a new one is coming. With the virtual modeling you have a HUGE dynamics (not comparable with any sampled stage piano), you "feel" a real instrument under your finger. If you just need acoustic pianos... Kurzweil, Dexibell or (my favorite) the CP1. If you need electric pianos with the right feeling, the Seven in on another planet. Seven has the same Fatar TP100 you can find on Nord... this is not as good as the TP40 for acoustic piano but, if you know the action of a Rhodes or of a Wurlitzer... yes, the TP100 is more of what you need :-)))))
marcoballa hahaha thank you anyway for the trilogy experiencing the Crumar. You’ve supported me in the right decision buying one of those. A fantastic bunch of instruments!
I wonder if, like the DX EP section, crumar are planning on expanding the MKS section to include other MKS-20 presets at some point? IIRC the manual states that the MKS sound they've recreated is based on "e.piano 1" preset. I think they could probably incorporate all 8 presets fairly easily considering the other modeled sounds on the Seven are a much, MUCH more complex process than the MKS-20's structured adaptive synthesis ever was :)
Thanks for a great demo! Is there modeling of specific Rhodes models, i.e., mk1, mkii, mkv of various years (usually a novelty, I know, unless we're talking key years (Fender years, post '75, etc.) or is there a general Rhodes and Wurlitzer model with variations and fx?
thanks to you for comment :-)
according to the Seven Manual:
"This is a simulation of the famous Rhodes Electric Piano.
It's not specific to a Mark I, Mark II or Mark V model because it can do them all.
The parameters you find in the EDIT PIANO page are:
TYPE: This lets you select one of the 9 different variations.
ATTACK LEVEL: Adjusts the volume of the wooden noises.
RELEASE LEVEL: Adjusts the volume of the damper noises you can hear every time a key is released.
HAMMER HARDNESS: Adjusts the hardness of the hammer tips; a higher value produces a snappier attack, a lower value
produces a softer attack. This also affects the amount of metallic component you hear at the attack of each note.
BITE AND BARK: Adjusts the aggressiveness of the virtual tines. This aspect also varies according the selected variation.
METALLIC: Adjusts the metallic component of the tine sound.
RESONANCES: Adjusts the level of the sympathetic resonances. When the
sustain pedal is held down, the whole harp is free to vibrate so each key
stroke puts the harp into self-resonance.
PICKUP OFFSET: Adjusts the average offset of the pickups in front of the
tines. This parameter affects the balance between the fundamental and its
overtones. The picture at the right shows the correlation between the tine,
the tonebar and the pickup in a real Rhodes piano.
HI-PASS FILTER: Adjusts the hi-pass filtering, similar to the original “BASS
BOOST” knob, which is indeed a passive high-pass filter.
PEDAL NOISE LEVEL: Adjusts the volume of the noise produced by the
sustain pedal"
"This is a simulation of the Wurlitzer 200A electric piano. This particular model also included a built-in amplifier and a couple of oval
speakers, however the Seven only simulates the dry piano sound as found at the output jack. To obtain a sound similar to that
produced by the piano's internal speakers, the AMP simulator must be turned on.
The parameters you find in the EDIT PIANO page are:
ATTACK LEVEL: Level of the attack wood noises.
RELEASE LEVEL: Level of the noises produced by the dampers.
RELEASE TIME: Slightly adjusts the release time. If dampers are worn out, the release time tends to be a bit longer.
HAMMER HARDNESS: Adjust the hardness of the hammer tips. A higher value produces a snappier attack, a lower value produces
a softer attack. This parameter affects the whole aggressiveness of the sound.
PEDAL NOISE LEVEL: Adjusts the level of the pedal noise.
RESONANCES: Adjusts the level of the sympathetic resonances. As seen on the Tine EP, when the sustain pedal is held down, all
reeds are free to resonate as soon as a key is played.
A Wurlitzer 200A piano also has a built-in tremolo effect. This can be accomplished by turning on FX1, set the Mono Tremolo effect and
set the rate at about 6,5 Hz. Factory preset number 2 uses both the amp and the tremolo effect."
@@marcoballa Thanks for that! I was going to buy an SV-2, but talked myself into considering a Seven again! GSI has been a great company, so I'm really leaning this way! Thanks again, boss!
banjo pariah good choice. I just did the same. After trying both SV2 and Crumar my choice was easy to make. The Crumar really feels alive!
@@cemdasou Yeah, I've been using GSI (the company behind the Crumar sound) plug-ins for over a decade and yes, they are very organic!
great demo! but there’s something artificial in the lower keys of the clav (with heavier „strings“), don‘t you think? you almost can hear the strings vibrating too much imho🤔
also it’s waay more brilliant/sparkly and aggressive sounding than my own original clav...but maybe that’s because i have the c model, not the d6...?
thanks for comment!
this simulation is very close to my D6.
I think it depends on lot of variables (my previous CLAV, the Pianet Duo, was more brilliant, due to new strings, etc.).
also, everything is editable on the Seven, so you can get almost the exact sound you like :-))))
marcoballa wow marco, thank you for replying! that’s interesting, seems like i’m gonna have to play the mojo61/seven at a store to really dive deep into the editing software, since my nord stage is pretty nice for acoustic pianos and synths but kinda lacks the electromechanical instruments, especially clav sounds...but that’s complaining at a very high niveau hahaha...cheers my friend!
how do you like the keyboard action? some have mentioned loud keybed.
the keybed is the "usual" Fatar TP100 (same of Dexibell, Nord, Studiologic, etc.). yes, it's a bit noisy, yes it's somehow "slow".
but it's simply perfect for THIS instrument.
the Seven has unbeliavable dynamics thanks to the virtual modeling engine, recreating the REAL behavior of a vintage Fender Rhodes, or Wurlitzer, or Clavinet (etc.) - noone of the other sampled stage pianos can produce this FEELING at the moment, if you are used to the real vintage instruments - and if you know the old keybed of a 1972 Fender Rhodes... this TP100 is even too performing :-)))))
This or the Yamaha CP73? How is the action of the Crumar compared to an acoustic piano/a Rhodes?
Ciao!
I tested the CP73, good overall instrument. I liked the upright sample. The other acoustic pianos are not my favorite (I prefer dexibell). Electric pianos... same samples (or derived from) of montage, good as many other sampled ones (I prefer Kurzweil). The sampled CP80 sounds poor or "strange" (the Dexibell is definitely better on that).
The electric pianos on the Seven are REAL, there is the correct feeling and huge dynamics (if you are used to the real vintage instruments you can easily understand). This is possible thanks to the virtual modeling (no samples). The acoustic piano (virtual modeling) on the Seven is still in development, but there is a good sampled piano and a new one is coming.
With the virtual modeling you have a HUGE dynamics (not comparable with any sampled stage piano), you "feel" a real instrument under your finger.
If you just need acoustic pianos... Kurzweil, Dexibell or (my favorite) the CP1.
If you need electric pianos with the right feeling, the Seven in on another planet.
Seven has the same Fatar TP100 you can find on Nord... this is not as good as the TP40 for acoustic piano but, if you know the action of a Rhodes or of a Wurlitzer... yes, the TP100 is more of what you need :-)))))
11:38 are you playing naked...? 😂
Aaaahhhh no :-))))
"Glove" light effect :-))))
marcoballa hahaha thank you anyway for the trilogy experiencing the Crumar. You’ve supported me in the right decision buying one of those. A fantastic bunch of instruments!
thanks to you!