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Cubase and Logic: a personal journey

Disclaimer: I’m merely sharing my personal experience and thoughts, none of the below infers any kind of scientific fact or data.

I’ve been a Cubase user for a looong time, starting out with a crack copy of 2.0 on an Atari ST (yes I’m aging myself), pretty much sticking with it all the way up to my current 9.5 on a Mac.

Cubase has mostly been good to me. For a few years I dropped it in favor of an Akai MPC, but then I started working for a company where Nuendo was the main DAW and became fluent with it. So it didn’t make sense to learn another DAW when the time came for my own setup. I got back in with Cubase 4, loved the new features 5.5, hated the update price gouging but what are you gonna do.

Over the years I have occasionally worked on other DAW’s, of course. Worked a little with Logic, some more with ProTools, but I kept coming back to Cubase (and Nuendo) because I just knew it so well.

One thing that always did bug me about it, though, was that it seemed like it took a lot of work to get stuff to groove right. On the MPC or the internal sequencer on my Roland keyboards, beats felt tighter and more spunky. Cubase always felt a little sluggish.

As a workaround, I’d sometimes start to compose on my keyboard’s sequencer, and export the MIDI file to the DAW further down in the process. But this became a less viable option as I started to rely more on VI’s over time.

But switching DAW’s seemed like such a daunting task, I knew Cubase so well, and who has time for that anyway.
So I kept plodding on. Always mucking about with the timing in the editor, noodling with plugins to get more “punch” etc. And never really 100% satisfied that it felt right.

Until this project. There was more involved, and a greater incentive to go the extra mile to make it successful. And again, I kept mucking about in the editor, endlessly fiddled with track (pre) delay, but even after several remixes none of it felt right. But it had to BE right, a lot of people had invested time and money in this project, and the song deserved it.

I finally bit the bullet. I imported the vocal stems into Logic and started from scratch. By the end of the day, the beat was right, I got it to groove with little effort. It was an eye opener.

I started doing the same with some other things I was working on, and again: less effort, better results. I’m convinced now, I should have done this years ago.

For now, I have adopted a hybrid approach, as there is so much I don’t yet know in Logic, and Cubase does have its strengths. Audio editing is intuitive, and tuning vocals with VariAudio is super quick. Also, the routing is familiar, setting up buses, groups and sends/returns etc.

There’s other things I miss (or haven’t yet found) in Logic; Cubase’s MIDI track modifier is a very handy tool that I use a lot (to limit velocities going in, for example), and it’ll be months before I have unlearned all the key shortcuts.

I know there’s lots of folks being successful with Cubase, and mine is just one story.

But I don’t see myself going back. Rhythm is the most fundamental thing in music to me, and it just feels more “right” in Logic.



I have owned the KRK RP5G2’s for many years now, and they have done their job. When I first bought them, I figured I can’t ask for much more for the money.

But recently I found a used set of Equator D5’s online, and since it wasn’t a lot of money, I decided to go for it ad I had read good things about them.

At the time of writing, it is not clear whether or not Equator Audio is still in business; their website has been down for a long time, with only a brief message:

Thank you for visiting! We are currently performing scheduled maintenance and updates on the website.

Thank you for your patience!

But what sort of scheduled maintenance takes 3+ months? Just to recap: Equator Audio was founded by Ted Keffalo, an engineer/designer with a long pedigree, whom I had the pleasure of meeting a few years ago at the AES here in LA. The aim of the D5 (and, later, the D8) was to make high-quality monitoring affordable by selling directly to the consumer online. Initially, the D5 received unanimously rave reviews, but then came reports of questionable build quality and durability, and as things stand, it seems the company is in trouble.

Nonetheless, when I found a pair of used D5’s on, I purchased them on a hunch, and I have been putting them through the paces for about three weeks now. Because I still have my RP5’s, I am able to do some meaningful AB’ing and I want to share my observations here:

  • The RP5’s have a lot of treble emphasis. This makes them sound much crispier at first, but it is fatiguing over longer periods of listening
  • The D5’s have a wider stereo image, and more bass extension. At first, they sounded muffled compared to the RP5’s, but after a while, it felt more like the RP5’s were overly bright. I’m still undecided, though.
  • The RP5’s sound good, but the bottom end is hard to judge on them. It’s like you hear the speaker more than the source material, down low.
  • The alleged questionable build quality of the D5’s soon became apparent; at higher volumes (not crazy loud, still nearfield level), bass-heavy material causes some kind of vibration in the enclosure. It’s not loud or particularly distracting, but it’s there.

To be fair, these are used speakers, and who knows what the previous owner did with them? I took a chance, and I may not have gotten what I needed. But the D5’s have really exposed the RP5’s for what they are: decent entry-level speakers, nothing more than that. What’s more, even though the D5’s may not be solution I need them to be (because of the noise), they have made it clear that I can’t go back, so it looks like I’m gonna need to invest in better monitors soon.

I’ll probably keep the D5’s, though. I appreciate what they offer, and I suspect that they will work well with a sub. With a highpass filter before their inputs, I reckon the LF noise problem will be taken care of.

In conclusion, this comparison over the last three weeks has reminded me just how different speakers can be, and it really gives a whole new meaning to the phrase “Alternative Facts”. Which speaker tells the truth? I feel like they both give a different view of what’s going on, but I’m not sure that one is necessarily closer to the truth than the other.

On my shortlist of upgrades are the Genelec M030, Dynaudio LYD5, Neumann KH120, Pioneer RM-05, and HEDD Type 05. Interesting times ahead!

NAMM 2017: part II

As it turned out, I had some time last Saturday and decided to stop by NAMM again on my way to a gig. I was there for less than two hours, but that was enough time to check out a few more things.

One of the things I really wanted to check out, was Brazilian manufacturer Stay Music Stands. I found out about these guys two years ago, loved their keyboard stand designs, and wanted to get one. At the time they didn’t have US distribution, but the rep told me I could buy one of their floor models if I came back on Sunday right before closing time. I couldn’t make it and was bummed. So this time I made my way over there and was happy to learn that they have secured US distribution and will be available on Amazon soon. I was less happy about the fact that prices have gone up as a result, but that was -of course- inevitable.

Behringer had a large number of their DeepMind 12 analog synth set up, and that is a fun little synth at a competitive price. Direct competitors are the DSI Mopho, which is the same price but has only 4-voice polyphony, and the Moog Sub Phatty, which is a little cheaper but monophonic. DeepMind offers 12-voice polyphony, an excellent-feeling 4-octave keyboard, and aftertouch. I hope someone swill do a head-to-head shootout with these three synths. DSI and Moog are the analog gold standard, and it will be interesting to see if Behringer can take the fight to them, sonically.

By chance I walked into a demo by Shaun Martin at the Waves booth, which turned out to be for a new virtual instrument, Grand Rhapsody. It is a sampled acoustic grand piano, and sounded pretty good in Shaun’s capable hands, although the demonstration was occasionally marred by audible CPU spikes. Rep says it will be available in February for an introductory price of $69.

I also went upstairs to check out the Kawai booth. I’ve never had a bad experience with Kawai’s acoustic pianos, but I can’t say I have loved their digitals as much. This time I went to try out the MP-7, and I was not disappointed. I love the way it feels and the acoustic piano sounds are competitive, but while the rest of the sounds are good enough, I’m not sure the instrument’s over-all sonic footprint would compel me to deal with the considerable weight and bulk.
I also tried out the new ES-110, which is decent enough for the price, but it doesn’t really stand out. Still, it is a viable alternative to Yamaha’s and Casio’s offerings in that price range, and probably the one I would pick if I was shopping for something like that.

On the way out, I was surprised to see Neumann with a new active studio monitor, the KH-80. Surprised, as I tend to follow industry news, and this one somehow totally passed me by. It is a 4″ woofer version of their popular KH120.

That was all I had time for, although I do want to mention I nearly bumped into Stevie Wonder. I would have actually bumped into him, but for his security detail.

A few things I missed in my previous post:
Touch Innovations had two excellent multi-touch displays in their booth, one ‘regular’ and a very ‘Tony Stark’-y see-through model. They offer bespoke software that tightly integrates it with MacOS, but comes as a subscription only. The day I can ditch point-and-click for a true multitouch desktop experience can’t come soon enough, but it is really just waiting for the DAW developers to recode their applications for this new input method. Until then, products like these are a nice interim solution.

Austrian company Alpha Piano was there with two products. Their haute-couture (Porsche-designed) Alpha Piano, which is powered by VSL’s Imperial Bösendorfer sample library. It features an actual hammer-action, and comes at a price far north of $30,000 for the studio model.  Expect to pay about ten grand less for the “portable” touring model.
They also had their M-Piano on display, but something was wrong with the computer, and a demonstration wasn’t possible at the time. It looks like a really great idea, like the Roli, but better. And again, astronomically priced (~$12,000).

I did see a couple of other interesting things on the way out, like Thonet & Vander, a German speaker company making Bluetooth products that do not look like props from a Star Trek set.
All in all, this NAMM wasn’t as packed with new and exciting stuff as some of the previous ones, but it remains a great way to try out things you don’t usually see in the store, learn about new products you would otherwise never hear of, and it serves as a barometer for where the industry in general is headed.
As always, I’m glad I got to go!


NAMM 2017: Day One

The NAMM Show in Anaheim is a pretty big deal for manufacturers, dealers and artists alike. I believe only the Frankfurt Musik Messe can rival it in terms of size and scoops. But I doubt the Messe boasts as many A-list musicians. NAMM is where you can literally bump into Stevie Wonder or another legendary musician of your choosing. Oh, and I say day one, but I’m not even sure I’ll be able to go back tomorrow or over the weekend, as I’ll be pretty busy.

I’m covering NAMM from my own perspective, which is as a keyboardist and computer music producer. I won’t be talking about guitars, drums, or kazoos.

With major new products already having been announced the day before, my first stop was the Roland booth, where I got my hands on the new RD-2000. It looks great and seems thoughtfully designed, but I’m not sure just how new it is under the hood. It sounds good, but it all felt very familiar. Not to say that’s bad, though. What is new is deeper computer integration, which is an area where Roland had some catching up to do. At $2499, this keyboard seems like excellent value. I finished my Roland visit with a demo by Omar Hakim, Scott Tibbs, Jerry Brooks and Mike Phillips. It was a great mini-concert, despite some technical difficulties.

I veered off to the 88 lounge, where the acoustic piano manufacturers reside. My parents are both proud Bechstein owners and I was hit by a wave of nostalgia as the first thing I saw when I walked in was a pristine looking pair of their grands. But when I sat down and played one, I was disappointed. The sound, the action, this is not how I remember them.

Next stop was Korg, where I hoped to get my hands on the mysterious GrandStage, but all they had was a non-playable prototype. But it is amazingly compact, with the right features, and if it has the acoustic and electric piano sounds from the Kronos or even Krome, at a price close to the SV-1, this would be a total no-brainer. I could see this replacing my aging Nord Piano. I took a look at the Odyssey with full-size keys, and was surprised at how big it was. People were crowding around it so I didn’t get to play it. I’m not much of an analog guy, but this is the synth that is all over ‘Headhunters’, and for that alone I want it.

I really looked forward to getting my hands on Kurzweil’s Artis SE and Forte SE, as they are impossible to find in the LA area. I wanted to love it, but came away a little dissatisfied. At the same booth (AM&S), I got hands-on with the Studiologic SL88 controllers, both the Grand and the Studio version. They are identical except for the action, and I had my eye on the Studio as it is temptingly cheap at $499. Alas, I didn’t get on with the action, but the Grand felt really good. It costs more, but I’d say it’s worth it.

Right next door was Nord, where I got to noodle on the Nord Piano 3. It feels different from my first-gen NP, the action is a little lighter but with more snap at the bottom. I like my NP, but somehow I don’t see a 3 in my future.

Then I got to see some studio stuff, like the next-gen Aurora converters from Lynx Studio Technologies. The old ones have a stellar reputation, but the new ones are going to cost a lot more. An Aurora 8 USB retails for $1995, with the new one coming in at $2599. With Thunderbolt, it is $2195 and $2999 respectively. Ouch.

Apparently they have been around for a while now, but I hadn’t heard of HEDD, a German speaker company headed by ADAM Audio founder Klaus Heinz. I spoke with his son, who told me they have two guys at the factory in Berlin who do nothing but fold ribbon tweeters all day. When I commented that must be boring work, he shrugged and said they used to be watchmakers. Love that story.

I dug into a Silvertop at the Vintage Vibe booth, which really is as good as any Rhodes I have ever played (except maybe the short-lived and ill-fated Mk7). I would love to have one of these in my home studio, but I’d call this a luxury purchase.

I wanted to try Dave Smith’s Rev.2 but it was impossible to get near one. DSI seems to be very popular these days. But I was really touched by the Moog booth. Rather than having all their products set up, it was a sort of memorial/tribute to all the synth pioneers and legends who passed away in 2016. It seemed out of place and appropriate in equal measure.
Then I visited the Yamaha hall in the hotel next to the Convention Center, where Robert Glasper was having a little fun with the Montage. But in terms of products there was nothing new there, so I didn’t stay long.

After a long line and a short lunch, I descended into the basement where I found a couple of interesting things. First I found the booth of Schertler, a Swiss company making combo amps with gorgeous wooden cabinets. They specialize in amplification for acoustic instruments. Unfortunately, I missed the demo, just for that I may have to go back today or tomorrow. They have no US distribution at this time, but they will ship from Switzerland, with shipping and import duties on their dime, AND a 30-day money back guarantee. I fell in love with the cabinets and can’t wait to hear them.

Next I found Isovox, a Swedish company with an unusual product that almost completely encapsulates your head and microphone, giving you an actual vocal booth just about wherever you go. Interesting product, retails in Europe for 799 Euro. They await US distribution.

Another clever idea is the BomeBox. A small MIDI hub that connects to DIN, USB, Ethernet and WiFi, and allows configuration via a web app.

The Valente is a 61-key electro-mechanical keyboard (like the Rhodes and Wurlitzer) weighing just 50 pounds. It is made in Brazil and looks absolutely superb.

My perennial quest for the right keyboard amp led me to stop by the booth of Elite Acoustics, which had an ultra-compact combo amp with nifty features. First, it runs off an internal rechargeable battery, it has a USB charging port, and plays back bluetooth audio. It’s not really powerful enough fot the type of band situations I deal with, but I can think of scenarios where this would come in really handy.
Last stop in the basement was Shi Tuo, Taiwan-based manufacturers of studio furniture. Unfortunately, the rep spoke no English, but indicated someone who did would be there tomorrow.

Back on the main floor, I was surprised to learn about this keyboard manufacturer I had never heard of, Dexibell. Their Vivo S7 and S3 stage pianos felt like mature products. Hard to tell just how good they were from a brief encounter on a noisy exhibition floor, but I would like to try them out in a more appropriate setting.

I once again marveled at the sheer number of Chinese manufacturers with clone products, and next thing you know it was 6PM. There’s a bunch of other stuff I still want to check out, so I may have to come back tomorrow. If I do, I’ll post a follow-up report.

Plush Toy Zombie remix

I did this remix of “Plush Toy Zombie” by Cyan D’Anjou. I haven’t done this kind of music in a while, and it was refreshing and a lot of fun! I think I got too deep into the whole Smooth Jazz thing, and there’s nothing wrong with that, but in a way this was liberating!

Finished the whole thing really quick, too. Spend practically zero time on mixing it, just nudging the levels up or down a little, and some Alloy2 on the beat. That was it.

I’m definitely looking to do more of this stuff, so if you’re a rapper/singer, hit me up!



test systems: MacPro W3520 (12GB RAM) | OSX 10.9.5 | Cubase 6.5.5 (64-bit) | MacBookAir i5-4250U (4GB RAM) | OSX 10.10.5 | Mainstage 2 | VSTLord

Disclaimer: I am definitely biased when it comes to Spectrasonics, as its founder Eric Persing was the man responsible for some of Roland’s best sounds in the 1990’s. His sounds just work for me, and Atmosphere and Trilogy were my favorite software synths for the longest time.

I have already reviewed Trilogy’s successor Trillian, and now I’ll tell you what I think of Omnisphere, Spectrasonics’ flagship.

This does not aim to be an in-depth and thorough review, there are quite a few of them readily available elsewhere, so I’ll simply share what works for me and what doesn’t.

For the most part, it sounds bloody great, it covers a wide variety of synth sounds and the only thing I could wish for is Spectrasonics’ take on more conventional sounds like run-of-the-mill piano/rhodes/organ/brass etc.

All the good stuff from Atmosphere is included, and I find myself still reaching for them because I already know how they will work in an arrangement and they generally load quicker, as some of Omnisphere’s patches are positively gargantuan in size.

Other than sheer volume, the biggest difference between Atmosphere and Omnisphere is the engine. Atmopshere was powered by the venerable UVI engine, whereas Omnisphere is built around Spectrasonics’s own STEAM engine. While the UVI was very reliable and efficient, it was essentially a sample-player, and Spectrasonics needed more if Omnisphere was to be a proper synthesizer.

Inside my DAW, Omnisphere is great. You get Spectra’s signature sounds in an 8-part multi-timbral package, with insert and send FX on every channel, great stuff. STEAM needs more cycles than UVI, but on a reasonably modern computer it shouldn’t tax your system too much.

So all praise so far, which is boring and what you really want to hear is about the cons, right?

Well, there is one thing: there is no standalone version of Omnisphere. I think this is a regrettable omission, as it makes Omnisphere less ideal for live use. In my particular situation, hosting Omnisphere in Mainstage on my humble 2013 MacBookAir is not really a viable scenario. Thankfully, Spectrasonics support pointed me to the excellent VSTLord freeware host app, and it works really great with that (hardly ever taxing the CPU over 30%).

Also, cheap it ain’t. And Spectrasonics doesn’t do price drops like some of its competitors do, but the upside of that is that you’ll never have to feel duped when you buy it at full price only to see it on sale at half price one week later.

But that’s it. Everything else is great. I have a free upgrade to Omnisphere 2, and plan to install that sometime this year. It’s hard to imagine how it could be better than the original, but I’ll be happy with just as good!



sE Electronics Reflexion Filter


I bought this around three or four years ago, when I had my home studio set up in a tiny room with tiled floors, wall-to-wall mirror closet doors on one side and french patio doors on the other.

This thing does what they say it does, so you can’t complain, but it is NOT a one-stop solution for vocal recordings. It will eliminate much (not all) of the room sound, but only with moderate levels. It is defeated as soon as a vocalist belts out.

I spent $299 on it, and in the end I feel it hasn’t quite been worth it. I moved house and now have a decent amount of acoustic treatment in my home studio; in this situation the Reflexion Filter adds little value.

Another gripe I have is its weight: my boom stand got bent at the hinge because of it. In addition, the weight requires you to really screw the clamp on tight, which damaged the rubber grip:


In conclusion, I’d say that if you have no alternative, this thing can help take quite a bit of room out of your signal. But it is no silver bullet, and I question the wisdom of forking out $299 for this. Perhaps that money is better spent on room treatment.





Keyboards through the ages

I am probably dating myself, but I just realized I am looking back on more than 20 years of electronic keyboard ownership!

I decided not to include non-keyboard/sampling gear as I had a studio back in the day and that list would run pretty long. Also not included are VI’s.

My list in chronological order:


It was great because had an internal 9-track sequencer (8 tracks + 1 rhythm track) and a floppy disk drive, which meant you could create songs and arrangements and save them. I was in heaven. Of course, polyphony restrictions meant you could realistically never use more than four or five tracks simultaneously, but who cared? The sounds varied from cheesy (EP’s) to unusable (pianos) to passable (guitar/strings/drums) to really phat (bass/synths). The only thing missing was a sampler, which I needed for my Hiphop aspirations.


akai s01

A friend of mine bought this, and let me keep it. You could sample/playback 8 different sounds and editing was limited to trim and pitch, IIRC. You had like 10 seconds of sampling time (mono), but it was great in combination with my D-20 and a newly acquired Atari ST520!
Beatz, baby!


Roland sc-55-1

The same friend dropped this little box off at my digs, which meant I could make full arrangements with just an Atari ST and Cubase. The sounds were small but believable, and they worked well together. The only thing that sucked were the drums, but that’s because I was doing Hiphop/R&B. It was really great for its time, and I cut my first record with just this and the Akai S01.



Doing gigs on the Roland D-20 sucked. Bad. So I had to get something with better piano and EP sounds, and the SQ 2 happened to be the most affordable step up at my neighborhood music store. I use the term step up lightly, though. Sure, the sounds were better than the D-20’s, but not nearly as realistic as the JV80/JV90’s that started popping up in every cover band around that time. I think the Ensoniq would probably sound better today than its Roland contemporaries, but at the time I regretted the purchase. I later sold it for the XP-80. One thing I do credit this keyboard for is my lasting appreciation for 76‘ers. They just feel right to me.


akai s900

I obtained this unit from a studio owner as payment (sort of) for a remix I did for him. He had an S 1100 and it was just sitting in his rack, collecting dust. The S01 was a more modern machine, had better sound quality and more(!) sampling time, but the S900 trumped it with more flexible programming and filters! Wow, filters were cool!



I was starting to work in bigger studios and did work for one of the 2Unlimited producers. He told me about this new keyboard he had seen and heard at a trade show and he had ordered one on the spot. He said it was something unique and as easy to program as an old-school analog synth.
As soon as they hit my town, I got the first one of the truck. It was bulls-eye. This thing really raised my game as a budding producer. I was one of the few who could now emulate the sounds on Snoop’s records etc. Loved it to bits; it only had 4-voice polyphony, but in spite of that limitation it was surprisingly flexible. Polyphony was not restricted, so I could play back four mono-timbral sounds simultaneously, which was often all you’d need in Hiphop anyway. Oh, and I loved the pitch stick. And the Swedish-design cut-off corners. The Nord Lead 1 was also the first piece of gear I bought new.


roland jv-880

This was sold to me by an acquaintance way below market value. In many ways it served as a replacement for the Sound Canvas, albeit with fewer parts (8 instead of 16) and slightly higher polyphony (28 vs. 24). It sounded a little classier, too, and you just had to have some of that Roland goodness in the mid-90’s. It served me well for some time, but I never loved it, and once I got the XP-80 I never looked back.


akai mpc 2000

I had been working in a studio centered around the original MPC60, and I loved the concept, sound and groove of that thing. The MPC2000 was a somewhat affordable alternative, and I got it expanded to a whopping 16MB of RAM (16 times more than what was in my S900), 8 extra individual outputs, and a ZIP drive! I was the man. For the next couple of years, the MPC and Nord Lead were the backbone of all my productions, dressed up with duffs of Ensoniq and dollops of Roland. But while it was light years better than Cubase on an Atari in terms of MIDI timing and groove, it was a step back as a composition/arrangement tool, and it showed in my work sometimes.



Why get a Nord Lead 2 when you already have the original one? Because you left yours on the train to Paris. Twice. The first time it was found -miraculously- sitting on the platform in Rotterdam. The second time my luck ran out and it was gone. So a Nord Lead 2 had to replace it. Not much of a loss, better polyphony (16-voice) meant I could now actually play chords on it, but I always regretted the absence of those “Swedish-design cut corners” of the original one! Otherwise it served just as well as the original one, perhaps better, as I could now use it live, too.



Our neighborhood music store had a used one for an agreeable price, and I wanted one because Teddy Riley talked it up in Keyboard Magazine, and thinking I could replace the Ensoniq SQ2 with it for live use. Turns out it was pretty meh, it was less of a schlep and the piano sounded a little better, but over all it was a disappointment.



Given to me by a friend, it was the rack version of the SQ-2. Came in handy once in a while when I didn’t feel like unpacking the SQ-2 between gigs, but redundant for the most part. However, owning it made it easy to trade in the SQ2 for the Roland XP-80.


roland xp80.l

One of my fav keyboards of all time. It does just about everything well, and excels at pad and bell-like stuff. Some of it remains unsurpassed to this day. The layout of the board is logical and intuitive, with all the controls in the right place, and switching sounds/performances is near-instantaneous. The sequencer is super-easy to use, everything sounds credible, although the drums are its weakest point. Still, it was the only thing I took with me when I moved to Kenya, and a true friend.


roland fantom x7

When the XP80 succumbed to the rigors of African life, replacing it with the Fantom X7 seemed like a logical choice. I couldn’t try it out beforehand, but I figured what could go wrong? As it turned out, it was a mixed blessing. The Fantom X7 generally sounds good, but its menu-driven UI makes it cumbersome to use live, and the piano and organ sounds feel insubstantial. As a workstation, though, it is great. Clearly, the UI was designed with that in mind.
Since I got the NordPiano, I use it primarily as a top-tier board and I like it much better in that capacity. It does mostly synth stuff, and it really is pretty excellent for that. You can’t get those lush pads anywhere else.


yamaha p85

Needed something with a weighted action and this was about the cheapest thing on the market. Not bad value for the money, but a forgettable instrument all around. Sold it less than a year after I bought it.



Even more forgettable than the P-85 to which it is closely related. At least the P-85 had sounds onboard. I guess the KX-8 didn’t suck, and at least it was cheap. But my off-the-cuff low-budget purchases have invariably turned out to be poor choices.


roland a70

Got it for $150 as a controller for my VI’s. At that price it is pretty great, but I don’t like the action as much as the Fantom’s or even the XP80’s. It has amazing controls and functionality, none of which I have ever really used. But I am thinking of having it shipped here and learn to work it as a live controller for VI’s.



Sometimes something just works, and the NP88 is one of those things for me. The action isn’t really great, but my only real problem is its limited functionality. I guess the NP2 addresses many of those limitations, so perhaps at some point I could trade up if a good deal comes along.