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For a lot of songs that might be all I need, but if not, I can quickly layer in or switch to Rhodes, pad, strings, brass, B3, and also bass.
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Then I would usually have only one sound enabled, so that when I selected the multi, I would have for example, just acoustic piano. I set them up so that the buttons next to the sliders controlled mute/enable, and the sliders volume, like a mixing board. And as long as a board can do these things, I can change to a new board if I want, without having to reprogram hundreds of songs again.My way of working, which I originally adopted with my Roland JV-90 back in the 90's, was to have several multi's that I used for everything, rather than having one per song. And I can do it on any of at least a half dozen boards (or board-pairs) I own, without having to re-program hundreds of songs if I have some reason to change boards. As long as I can grab those sounds when and where I want them, I'm all set, without any prep time. 90% of them are dfferent combinations of the same 20 or so sounds. I have no desire to program patches for all of them.
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My wedding band has a repertoire of literally hundreds of songs. Use a multi per songYou lost me at step 1! -) Copying from an old post in another thread that describes how I usually work: My question to you would be, what is the advantage of setting things up that way vs doing the following?ġ. I haven't explored using a second keyboard with my PC4 yet but I'm glad to have confirmation that's doable. So useful, and one of the things I strongly dislike about the Montage and MODX is that Yamaha chose to cripple them so they can't do that. That's what I've always done with my Motif. On the PC4 you add a zone to your multi, set the "input channel" to the channel the second keyboard transmits on, choose a program and key range and so on as normal, and repeat for as many zones as you'd like, and, voila, you get whatever arbitrary splits & layers you'd like on both keyboards. The second keyboard doesn't need zoning support, it can just transmit on a single MIDI channel. Do zoning on the PC4 for that external midi channel
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Within the PC4 multi, send a program change to the upper board that would either have it choose one of its own sounds or that silent patch if you were using it as a PC4 sound controllerĤ. Program an empty/silent patch on the upper board to change to when controlling PC4 soundsģ. Add in USB, flash xD card port, a newly designed keyboard action, and a new intuitive user interface, and you've got the next generation of Kurzweil instruments.
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Good news for synth enthusiasts - we've seamlessly integrated our legendary VA-1 Virtual Analog Synthesizer into the new system!įor good measure we include an unlimited-track sequencer with 960 PPQ resolution and more effects processing power than our acclaimed KSP8 processor, making the PC3 a full blown music production workstation. architecture is a huge step forward in synthesis, the fruit of several major strides we've made in improving processing power, flexibility and user-friendliness. In addition to our renowned Triple Strike Grand Piano, the PC3 features hundreds of new sounds basses, drums, guitars, and synths suited for every style and taste, along with a collection of flawless vintage keyboard emulations, KB3 Mode and over 250 orchestral and string section programs. The PC3 is Kurzweil's ultimate performance controller keyboard, with an enormous collection of stunning sounds combined with comprehensive real-time controller functions. With a sleek new look on the outside, and an arsenal of Kurzweil's latest cutting edge chip technology under its hood, the 76-note Kurzweil PC3 delivers 128 voices of incredible sound quality along with a host of powerful, easy to use features.