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Lenti Lenko

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  1. I'm a music teacher (I teach both Piano and Organ) and also own my own home studio. I have been playing for 20 years. I own alot of Korg and Roland stuff and the mega cool Yamaha O3D mixer. I love the imediacy and simplicity of the unit. I wish it had a couple of stereo delays and at least a couple of more parameters to adjust (but I suppose you can go up the next step and get something like an Alesis Microverb 4 for that). I don't like it's external power supply, but I won't complain too much (just this once!) because it really is such a small unit!!!! I was not initially planning on buying this unit but I got a great deal on both this and a Nanocompressor and bought both at the same time! It does inspire me with my music and I love it's ease of use. I hope Alesis release a few more 'nano' units like a Nanogate, NanoEq (just 2 suggestions!). I highly recommend this unit to anyone whether they are just looking for their 1st effects unit or for someone who needs a high quality effects processor that they can put easily in the gig bag.
  2. Lenti Lenko

    roland XV-3080

    If it were lost or stolen, I would replace it in a heartbeat!!!! I have been doing music for 20 years and run a midi based studio. I love most things about the XV3080 and really feel that Roland have fixed up most of the older JV's deficiencies (not that it had many-IMHO the JV1080 is a classic piece of gear!!!!). I wish that there were more expansion slots believe it or not- I would fill all of them up!!!! I compared it to getting a JV2080 at a very good price. The XV offers more polyphony, better sounds and the familiar JV1080 interface (with improved functions including the great soundsearch function). Yes the JV2080 is a great module but you can't use the new 64MB expansion boards, it's sounds lag behind that of the XV, it boasts only half the polyphony (64 notes) and I've heard too many bad stories of it suffering midi timing problems when playing from a sequencer. However, it offers up to 3 insert efx in performance mode as opposed to the XV3080's 1 insert efx. It has a larger LCD display and the ability to add up to 8 SRJV80 expansion boards as opposed to the XV3080's 4 SRJV80 expansion boards. However, I'm glad I decided to get the XV3080 as it is a decent step forward from the older (and still excellent!) JV1080 and JV2080.
  3. I run a midi based home studio doing small time demo work and backing tracks. I've been playing for 20 years and am a private music teacher teaching piano and organ. I traded my unit in when I bought my fantastic Yamaha O3D mixer. If I did get it stolen, I would not have gotten another one and would instead have gotten something like an Ensoniq DP2 (which I'd like to buy one day!). I liked it's ease of use and it's clean sound. It also looked good in the rack. I disliked the fact that it's backlight was unreliable, the rubber (crap!) buttons and I HATE EXTERNAL POWER SUPPLIES!!!!!!!!!! I compared it to the Yamaha REV100 and Zoom 1202 (both it's main competition at the time) but this was a much more flexible unit. I wish it looked, sounded and behaved like a rack of Lexicon, TC and Eventide outboard! (only joking). If the Midiverb was released 12 months earlier, it would have been a big hit but when it came out, there was much competition and I bought it because I got a good price on it at the time. I wouldn't say that this effects unit will go down in history as an all time classic but it got the job done for me. I think it would make a fine live processor (even though I never used it in that way) but I must say that I wouldn't use it as my one and only effects unit.
  4. Lenti Lenko

    Sony HR-MP5

    I don't like the fact that it is only a half rack space unit but I will probably end up setting it up side by side with whichever mic pre I end up buying (Joemeek VC3 mark 11 or ART Tubepack). I have been playing keyboards since 1980 and work in a midi based home studio enviroment. I do like this unit and mainly bought it because I got it new for such a bargain price (a friend of mine works for Sony and he got me one of the last ones still on sale). However, I would probably use the insurance money to put towards a part of my dream Mac based music computer system or buy something newer like a Lexicon MPX500 or TC Electronic M One (or both!). I do love it's sound but I hate the fact it's not a full rack unit (and it has an external power supply). I compared it to some newer Alesis and Digitech products and found that it stood up really well to them- it's reverbs really have their own induvidual character (like all effects units do!). It certainly helps me make music and I only wish Sony would continue to bring out more budget units such as this (in a full rack space of course!). I like this unit alot!!!!!
  5. Lenti Lenko

    Korg Poly-61

    I didn't even buy one as I was using the one that was at my secondary school (which I attended between 1985-1990). I would not buy one today unless someone gave me one for free as I don't think it is a very competitive synthe (and it certainly wasn't back in the 80's either!). No I'm not bagging this synthe because it WAS MY FIRST FORAY INTO SYNTHES AND MUSIC TECHNOLOGY AND I MUST SAY I PROGRAMMED THE {censored} OUT OF IT!!!!!!!!!!!! I saw this synthe as an extension of my electronic organ playing during that time. This synthe was not (and will not) become a classic like the Korg Poly 6, Mono/Poly and MS20 have. I think people weren't sure what to make of this synthe- one one hand it looked like a new digital synthe but it had an 'analogue' sound which was definetly not the in thing during this time of DX7 tinkly digital sounds. None the less, I managed to teach myself to program some very nice patches into this thing. It's main competition at the time was the Roland Juno 6/60/106- the 106 has become the classic synthe (but I don't know why?) Mabey if Korg used knobs/sliders instead of the digital access system perhaps it could be a classic in the same way as the Juno is as both these 2 synthes a limited in terms of synthesis power. It could be argued that Korgs newer DW series (particularly the DW8000 which I own and LOVE!) developed on this synthes weaknesses but I disagree as the DW contains a totally different technology (DWGS with 16 digital waveforms per oscillator). It certainly helped me make music at the time because I had nothing else but I surely would have been dumped very quickly if I was able to afford what I wanted at the time (I couldn't decide between an Ensoniq ESQ1, Yamaha DX7s, Roland D50 or Korg DW8000- these were all the top synthes at that time 1986-87)- and yes- I nearly spat on the thing after the 1st time I played a Korg M1 (refer to my Korg T3 review as to what I though I was experiencing the 1st time I played a Korg M1!!!!!!!). I think the Poly 61 is the synthe that has given me the special 'affection!' that I have had for Korg synthes because it was the board that I learn't all my first synthe playing/programming chops on. PS- I don't think Korg will re-release this synthe in physical modelling fashion like they have done with the new MS2000 (year 2000 version of the old MS20!).
  6. Lenti Lenko

    Korg Triton

    I really like this instrument! Let me say that loud and clear. I would definetly get another one if it were lost or stolen. I have gone back to using it as my only sound source on a few projects. However Korg must upgrade the operating system in a number of important areas- a). SAMPLER- Allow us to use all 64MB at once instead of chopping it up into 4, 16MB chunks. b). ADD INTERNAL RESAMPLING- THIS IS ESSENTIAL!!!!!!! c). ADD TIMESTRETCHING. d). ADD CROSSFADE LOOPING. e). ALLOW US TO FILTER/ENVELOPE INDIVIDUAL SAMPLES instead of having to convert multi-samples to programs. f). Vastly improve the disk operating system for storing samples. g). Allow us to use flash RAM in the Triton. SEQUENCER- a). ADD MORE QUANTIZING FUNCTIONS- Groove and Swing quantising at least. We are in the year 2000 not 1984 Korg!!!! b). CUE LISTS- Don't let sounds cut off when going from one song to another. Allow user to set up at which bar or bars songs with start playing. This would allow us to automatically shorten songs when we need to do this. Also Korg, look at C-Lab's old Notator Sequencer and it's pattern mode. c). Allow the sequencer to record system exclusive information. d). Allow 'multi track' as well as single track patterns such as in Rolands XP series sequencer. SYNTHESIS- a). Upgrade the filters to those of what the Trinity had. Why Korg skimped here is beyond me! b). Allow more than 2 expansion boards to be used- perhaps those not fully expanding the sample Ram to 64MB could use that space to add 1 or 2 more boards. c). Allow more synthesis parameters to be applied to individual drum sounds. d). Release CD ROM versions of PCM expansion boards for those who already have the 2 PCM slots filled up and own a CD ROM drive. e). Whilst a hardware upgrade, give us the option to add something like an internal hard drive or Zip drive for mass storage. Anyway, I hope Korg is listening to all it's users. Particularly with regards to sampling, Korg need to remember that they are competing with EMU, AKAI and YAMAHA who have some wicked samplers out there with features that the Triton must have added as mentioned above. LETS HOPE THAT KORG CONTINUE TO UPGRADE THE TRITON'S OPERATING SYSTEM BY LISTENING TO USER FEEDBACK!!!! If some of the above (most notably, sampler and sequencer features) are added, I would give it an 11 out of 10!!!!
  7. I bought this off a good friend of mine who had no use for it. He has owned it since 1991 and one night during a particularly heavy night- I OFFERED TO BUY IT OFF HIM- It took me 2 years to finally get it into my posession but IT IS MINE NOW! Not only does this thing sound {censored}ing hot but it looks great too! My final opinions are pretty much the same as for the Wavestation SR other than this unit is much easier to use from the front panel and the analogue inputs are SOMETHING VERY SPECIAL!!!! I would definetly kill (by slowly torturing them to death) anyone who stole this module from me and if I couldn't find the culprit (or the instrument) I would look high & low for another! They are rare because it seems as though everyone is holding on to them- their high 2nd price gives true testament to this! I LURVE the Wavestation AD and will keep it even after the day my remains have finally rotted into oblivien!!!!
  8. If it were lost or stolen, I would use the insurance money to buy another one (mabey even 2!). I have been playing since 1980 and also teach piano and organ as well as co-running a Midi based studio running various Korg and Roland Bits. I LOVE THE UNIQUE VECTOR AND WAVESEQUENCED SOUNDS OF THIS MODULE! I don't care much about most of the acoustic emulations but it must be remembered that Korg released these units right in the midst of when everything had to sound clean, pristine and realistic!!!! I believe that the Wavestation series cannot be compared to other synthes (in a similar vain to the Kawai K5000 series can't either) because they have their unique sound and synthesis methods. If you wan't an easier to use intterface and don't care about all the extra patches, then GET A WAVESTATION AD! This is much easier to use and quite well laid out for such a complex instrument- it also has the 2 analogue inputs at the back- THIS SOLD ME ON THAT UNIT! as well as a large LCD and much easier navigation. If you don't care about programming or editing, then simply get the Wavestation SR and be 'wrapped to the eyeballs'. I use mine as a preset box (I know this is very unacceptable but that is why I also own a Wavestation AD!). The Wavestation's inspire me to be creative and they must be the best things around (along with the Kawai K5000S) for writing new age and film score stuff. I wish it was easier to use but this can't be helped much considering it's size and it should have much better filters! I only wish that Korg didn't give up on the Wavestation series. Why they did is absolutely beyond me!
  9. Lenti Lenko

    Korg Z1

    If it were lost or stolen, I would definetly get another Z1 (or whatever Korg have planned to supercede it Z1pro perhaps?). I initially had no intention of buying one (not that I didn't want one, I just couldn't afford it!) but TECHNOLUST got the better of me and I got a great deal for one at a music shope sale. However even before this I compared the Z1 to the JP8000, AN1X and EX5 (all of which use physical modelling of some sort). They all make some nice sounds no doubt- but the Z1 is just so much more flexible (the EX5 VL and AN voices are only 1 and 2 note polyphonic respectively!). The Roland has 8 voice and the Yamaha 10 voice polyphony. The Roland and Yamaha only have one type of synthesis model (analogue) whilst the Z1 has 13 types!! In addition, it has a nice action 61 note keyboard verses the Roland 49 note (non aftertouch) and the Yamaha's 61 note (with plasticky action!). The Z1 sounds different to everything else I own (Except the MOSS board in my Triton!) It can sound warm and analogue or bright and digital with everything else in between. I feel that it's weakest link is in the way the effects are set up. ALSO WHY ONLY 2 OUTPUTS AT THE BACK????? At least 4 should have been there (it is multi-timbral afterall!). It would be great if Korg allowed you to expand on the oscillator types via software (mabey to add a drum emulation like the Roland V Drums!). However this board certainly inspires me to make music. I forget to mention the flexible multi patches (like combi's in other Korg instruments). I have been playing since 1980 and as well as co-owing a MIDI based studio I also teach piano and organ privately. The ZI is not a synthe that you would buy as you 'one and only' keyboard. It makes a fantastic 2nd (or 3rd.....) instrument and compliments my Triton, JV1080's and Wavestation's beautifully!!!! I rate this board very highly- And it looks great as well!!!!!
  10. If I got my JV1080's stolen, I would get the Orchestral, bass and drums, hip hop and session boards again. I wouldn't bother with the techno, keyboards of the 60s and 70s and vintage synthe boards. Can I just say that NONE OF THESE BOARDS ARE BAD! I am simply going by which board has inspired me musically or not. I like the vocal board although the scat sounds are all too gimmicky for me! The choirs are great! I will give a rating out of 10 for each board that I currently own- ORCHESTRAL- 8. BASS % DRUMS- 10. VINTAGE SYNTHE- 7. KEYBOARDS OF THE 60s % 70s- 5. TECHNO- 5. HIP HOP- 9. SESSION- 8. Of course, this is all very subjective! It all depends on what your taste is and what inspires you. I must add that each board (except the orchestral and vintage synthe) come with extra drum kits and these are on the whole excellent- THEY ADD MUCH TO THE GENERALLY WEAK DRUM SOUNDS IN THE JV AND XP SYNTHES. A word of advise- when buying these boards, think about what kind of music you are going to make as they are very genre orientated (except perhaps the session, pop and super sound set boards). I tried the piano board also (I don't own it) but I found those sounds very average (3 out of 10). I also tried the new sound effects board (2 out of 10 as far as I am concerned- I would rather sample such sounds instead of spending at least $500.00 Australian on sound effects! This is just my opinion- Try it- it might be just what the doctor ordered for you!!!! The super sound set board didn't do much for me either- it didn't inspire me. Roland are about to release a 17th board- COUNTRY MUSIC. I will check this out when I can. HERE IS SOME ADVICE ROLAND- Lower the prices as many people are simply borrowing their friends boards and sampling the sounds they want- (MANY WHOME I KNOW DO THIS). It wouldn't happen if these boards were half the price- THEY ARE OVERPRICED AT RETAIL $695.00 AUSTRALIAN. Look at producing another session board to compliment the first one. What about a dedicated DRUMS board. How about a dedicated BRASS board. How about a dedicated GUITAR board and also a board which has only 2 or 3 VERY WELL SAMPLED ACOUSTIC PIANO SAMPLES. Anyway- enough of my rambling on. I give a rating based on what I do and don't like above.
  11. Lenti Lenko

    Korg Triton

    Of course I would buy it again!!!!! I have been playing since 1980 and also teach piano and organ privately. I co-own a MIDI based studio in Melbourne using LOGIC platimum 4 on PC, a Yamaha O3D mixer (GREAT BOARD) plus assorted Korg and Roland bits. I can see the Triton becoming the centre of the studio. It is basically everything I wanted my old Trinity to be (and I loved that keyboard to death before I sold it!) plus more. A WORD OF ADVICE- if you already own a Trinity and don't need the extra features the Triton offers than hold on to it as they both sound the same- THE TRITON DOES NOT SOUND BETTER OR WORSE! If however you have bought neither, than definetly go for the Triton- the extra features are well worth it! I will repeat this again- I COULD DO ALL MY WORK JUST USING THIS BOARD (and the soon to be released Korg D16 hard disk recorder!!!!). PERHAPS KORG SHOULD TRY TO SELL THE TRITON AND THE D16 AS A SELF CONTAINED HARDWARE RECORDING SOLUTION! (Just add mics, monitors and musical creativety and ideas!) Me being me, I would also use a Roland JV2080 because I love both Roland and Korg sounds. If Korg iron out a few of the issues listed above and bring out heaps of PCM boards, I would rate this synthe an 11 out of 10!!!!!!!! THIS KEYBOARD IS HOT. GO BUY IT!
  12. Lenti Lenko

    roland JV-1080

    If these units were lost or stolen, I would raplace them with JV2080's or whatever Roland brings out next which would still be compatible with my expansion boards. I have been playing since 1980 and I also teach piano and organ privately. I co-own a MIDI based production studio using a PC with Logic Platinum 4, Yamaha 03D Mixer (LOVE IT!), 2 Roland JV-1080's with 7 expansion boards (orchestral, bass%drums, vintage synthes, keyboards of the 60's % 70's, techno, hiphop and session)- soon to get orchestral 11. Roland MDC 1 dance module, Korg Triton, TR Rack, Z1, DW8000, T3, Wavestation AD and SR plus a fair bit of outboard stuff. I love the overall sound of the JV1080 and it is just such a great 'all round' module for those working using a small set up. They compliment my Korg sounds really nicely and I like running the JV's through the Triton's effects for extra character! i wish that the effects were expanded (I will sell one of the JV1080's next year to get a JV2080 for this reason and the fact that I am running out of expansion board room). I can't say I really hate anything about the JV1080- IT IS A CLASSIC SOUND MODULE as far as I am concerned and that is why that have sold (and continue to sell) by the truckload! (I think the JV2080 is overpriced at the moment and that is why I am waiting for it's price to drop when Roland bring out something new-JV3080 perhaps????) I b ought an Alesis S4 plus before I got my 1st JV1080 simply because it was cheaper and offered rougly similar features but overall, the JV leaves it standing in the overall sound quality rating. This is not to say that the Alesis sounded bad at all- it just didn't appeal to me as much as the JV did. The biggest competitors come from the Korg Trinity/Triton instruments which to me sound slightly bigger and cleaner (the JV's no doubt use older DA convertors and lower (44.1k) sampling rates as opposed to the Korgs 48k sampling rates. The JV definetly needs more oscillators to 'fatten' up the sound as opposed to the Korg dual oscillator progams- (this was one of Korg's arguments for keeping the Trinity's polyphony at 32 voices). In the end, nearly everything I wished it had has been remidied in the JV2080- more effects at once, more expansion slots, bigger LCD display and patch search facility). I would love 128 notes of polyphony (wouldn't everyone!!!!). It has not only helped me make music, it has inspired me too many times to mention!!!!!! THAT IS WHY I OWN 2 OF THEM! When they bring out the JV3080 or JV4080 I hope Roland allow us to do sampling (as in the Korg Triton). But none the less, now that JV1080's are very reasonably priced (around $1,500.00 Australian on the street!) get 1 (or more) whilst they are hot. Add a couple of choice expansion boards (my first recommendation is the session board which fixes up most of the JV's weaker stock waveforms) and you have a music production tool that will keep you making great music for years to come! (NO I DON"T WORK FOR ROLAND AND MOST OF MY GEAR IS KORG STUFF) I really mean what I say. GO BUY IT!!!!!!!
  13. Lenti Lenko

    Alesis S4 Plus

    When I brought this unit, I did not have much gear (just a Korg T3 and Boss DR660). I had used a friends JV1080 for a few months and fell in love with it but it just cost too much for me to afford it at the time. The S4PLUS is a very different sounding beast to the Korgs and Rolands out there. It complemented my T3 very nicely when layered together in a sequence. I would not use the S4PLUS as the only source of sounds in my studio if I could afford just one unit- not that it sounds bad, it simply lacks balls in some important areas- bass, drums, organs, strings, solo brass- and the effects system is hard to grasp. I sold mine, not because I didn't like it but because it was not being used enough anymore to justify keeping it- I have brought much more gear since then. I found the S4PLUS to be a fantastic instrument to layer up with the Korg and Roland gear in my studio- the Japanese instruments sound clean and polished and the Alesis sounded dirtier- A GREAT COMBINATION!! The 4 real time knobs were one of the main reasons why I brought it over the JV1080 (besides the fact that I couldn't afford the latter!) It also has an ADAT didgital output but I never used this. SOME THING I LIKE ABOUT THE S4PLUS- overall gritty sound. 4 outputs, large LCD, 4 control knobs, overall ease of use. THINGS I HATE- external power supply, non resonant lowpass filters, very course pan positions (only 7 positions), confusing effects setup, overall lack of punch in the sounds (bass). Don't let my criticisms and the fact I sold the unit put anyone off the S4PLUS (or Quadrasynthe keyboards). They are very unique sounding. When used in conjunction with other gear from different manufacturers, they really hold their own!
  14. If I had money to burn, I would not have sold my Trinity to buy the Triton but would have used both boards. Whilst the Triton is the 'new and improved' version of the Trinity, there are some waveforms inside the Trinity that do not reside in the Triton which I miss. If I held on to the Trinity and it got lost or stolen, I would buy it again. In comparing Trinity and Triton, the Triton does fix up a number of (Very Small) operating system annoyances that I experienced with the Trinity such as the slower screen redraws and the output implementation. The Tritons 62 note polyphony and slightly improved effects system is welcome as is the decent sampling capabilities, dual arpeggiators and slightly improved sequencer. If you are a Trinity owner who is thinking of upgrading to the Triton 'just for the sake of staying up to date', my advise is to hold on to your Trinity unless you really need the extra features of the Triton. Sonically, they both sound very similar (if not the same). The Triton has the edge in the variety of drum samples but I actually prefer to play the Trinity's acoustic piano sound. If you have not brought either of these boards, then by all means go for the Triton. The main point I am stressing here is not to upgrade your gear just for the sake of it if what you are presently using is working fine and most importanly 'SOUNDING GREAT!' I loved the Trinity and actually regret having to sell it (to buy the Triton). It is the first keyboard since the M1 and T series which actually made me stand up and take notice that there indeed was something released that sounded better than anything else.
  15. Lenti Lenko

    Kawai K5000S

    I sold mine, not because I didn't like it (I LOVED IT!) but because I need some extra cash and it was not being used to it's full potential in our studio to justify keeping it. Obviously, you wouldn't buy this as your only workhorse synthe (unless you only wanted those sounds). Those who already have the 'meat and potatoes' sounds (JV1080,Trinity,EX5,Protesu2000 etc)should really take a look at something like the K5000S. It really has it's own character. When these origionally were released, they cost around $3,000.00 Australian- very expensive! I played one of the earlier versions and concluded that it sounded {censored}house. However the newer operating system really improved many of the features and this, combined with the fact that they are now so cheap (AND THE FACT THAT I SUFFER FROM A TERRIBLE DISEASE CALLED TECHNOLUST!) prompted me to buy one. I have heard that Kawai did not market these synthes very well and that is why they have been so heavily discounted- I only hope Kawai do not give up building synthes- WE NEED ADDITIVE SYNTHESIS FOR SOMETHING DIFFERENT! When considering a K5000S, just remember that it is an extremely powerful synthe not a workstation or S+S synthe. I might buy another K5000S one day as I have a very strong feeling that they will become collectors items one day!!
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