Sound module recommendation?

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Krakit said:
Not to be contrary, but what do you base this on? I've owned Roland gear for decades. It works as well today as ever. I only just recently purchased a used MKS-70 from eBay. This unit has an old IC chip that prevents the latest software editors from comunicating with it. Roland is providing a new IC chip to me for free. I'm not the original owner and this unit is about 20 years old and STILL Roland is giving me free chips for it. These chips aren't stock surplus either. They burn this chips to order when requested. They've been supporting the MKS-70 like this from the beginning. So I would say that when it comes to support, Roland is certainly going the extra mile.

As for the OS being "abysmal" that's a matter of opinion. I've got an Alesis QSR and a Yamaha AN200. Between them I've only created two patches and both of them were for the AN200. My Roland JX-8P without the luxery of a PG800 or software programmer sports over 200 of my own user created patches (mostly kept on M-16C cartridges).

I really like Roland for the most part. I hate those crappy pitch/mod padals and many of their boards have lousy action, but other than that they are top draw as far as I'm concerned.

Carl

I, too have owned Roland gear for decades. In fact, I remember as a teenager going to LA and visiting Roland's offices when they had just begun here in the US. My friend and I were actually allowed in (what were they thinking??) and I remember being surprised that they wanted to talk to us about what we were interested in and what kind of products we wanted to see. This was in the early '70s when small, manageable synths were just starting to come to market.

What I base my opinion on is that I have never owned even one piece of Roland gear that didn't come with a "gotcha". They advertise their products as being capable of doing things which, technically speaking, they can do, but the implementation of the features makes them all but useless. Case in point- The JV1010 module is advertised as being multitimbral and having editable sounds. Wellllll....kinda. They included a stand alone version of Sound Diver that few people were able to get working. So much for programming since it can't be done from the module itself. Of course, they neglect to tell you that. Multitimbral? I know it is, but almost no one can decipher the manual to get this working either. I gave up long ago. I know there have been articles written on how to do it, but that's my point. Why should a third party need to write an article to explain how a basic function of the product should work? I could list others as well, but you get my point. Without exception, every Roland I have owned was missing a feature, or that feature was useless, that would/should have been basic and obvious.

This is just one example of how Roland approaches marketing. They spend an immense amount of money on advertising, which, not surprisingly, NEVER contains any typographical or grammatical errors. However, their manuals are legendary for their horrific translations, mistakes and lack of clarity. I remember my TB303 manual warned against "idiotic operation" (a valid suggestion no doubt). Perhaps if they spent a little more money on the technical end of things and a little less on marketing I would have different feelings about the company.

As for support. To be honest, I have had little interaction with them personally. I have read of others travails though and I have had the frustration of attempting to locate a manual for some of their products which, until recently, they've made sure were not available online (embarrassment perhaps?).

My remarks are, of course, MY opinion and you are entitled to yours. I just have chosen not to enrich them with any more of my money until they make an effort to design their products better and give them decent documentation. Every time I'm at the music store and start playing a Roland board and think, "Hey! This thing's pretty cool!" I remind myself of past disappointments and walk away. (Of course if anyone wants to send me a Fantom XA gratis, I'm willing to make an exception ;) )

I've found both Korg and Yamaha to have clearly written manuals even if they're overly complicated.

Ted
 
I find myself in partial agreement with both Tedluk & Krakit.

I've owned several pieces of Roland Gear over the last 25 plus years, going back to the Juno 60 and TR606 (and I suspect some effects even before that, which I've forgotten about).

I have never had a piece of Roland gear crap out on me. My Juno 60 (sold to a friend) still works, as do my Juno 106 & D50. My XP30 is a great keyboard for the price and my XV5050 is a very good module. My V-Drum are truly amazing (I'm sure I could go on) Roland gear is very dependable!!!

That being said, Roland manuals are very hard to understand (a friend uses the phrase "They're written by Japanese engineers for American musicians"). Most certainly a pain!!! I also agree that often I have trouble getting certain functions to perform as advertised - although it is normally a rather deep edit function that 90% of players would likely never get to (the JV1010 multitimbral issue excluded).

However, I would never worry about a piece of Roland gear breaking down at a gig (and I've abuse some some Roland gear quite well).
 
TexasMusicForge said:
Albert: Strangely enough, there is an Austin-produced version of Aida opening next week. Offer's still open if you want to escape traffic in Dallas. Besides, we have better food...

I'll look at the map, but I'm pretty sure I'm not going to have time to get away for fajitas. Won't have a car either. I've heard nothing but great things about Austin over the years. Everyone says it is a very cool city to live in.

It wouldn't surprise me if ther eis a production of Aida there, as Disney is now cutting loose with the licensing for regional theaters. Everybody wants to put it on, so there will be a ton of "aida" productions around the country in the next few years.

As far as Roland gear, it is very solid. I've found it reliable.

As far as the manuals, they have gotten better. The early manuals were unreadable in parts, and just funny in others. The thing is, once you get the gear down, learn their logic of how they designed it, you can work fast. I know the XV-5080 extremely well because that is my main ax. So if I need to do something I can just basically dance across the interface and get right where I need to. But you really do need to put in the time learning, and get comfortable with where all the features are. Once you've gotten to that point it's fast.
 
I logged some time in the orchestra pit of a city theater group (Toronto) and I think my Roland JV-1080 and EMU Esi-4000 were lifesavers.

Although they are both albout 8 years old, they have stood the test of time "sonically." They still get continous use in my studio. They are also both readily and (relatively) cheaply found on Ebay.
 
EMU Proteus 2000 = $300 USD

or save up for a proper synth not a module....

KORG KARMA ?????
 
Excellent thread. :cool:

1. Sonic Albert, I have played a lot of shows (violin). Beauty/ Beast national touring company, Parade, etc. Parade was awesome, composer conducted.

2. Roland JV-1010: have one, like it. I didnt have a problem with multi-timbral,but I agree that it would be hard to use on its own without a computer. Sounds are good, the low output level drives me nuts. Good lil box.

3. Lived in Texas, was assoc. Concertmaster of Fort Worth Symphony 1992-96. Austin is indeed a nice town, didnt care for Foat Wuth.
 
The Korg Karma is not right for theatrical work, although it is a beautiful sounding synth in my opinion.

As far as saving up for a "proper" synth, often the modules are better for some gigs than keyboards. Modules often have more expansion options available, and since they are smaller, you can fit several into a small space, making them ideal for orchestra pits.

Speaking of orchestra pits: here I am with "Aida" in Richardson, Texas, just outside Dallas. It's cold and rainy. The theater is beautiful and the people are friendly, so that is very nice. The audience seems to really enjoy the show.

It's nice to see some other theater musicians on this board!
 
I have heard that the Richardson theatre is nice. I assume new, wasnt there in 96. Fort Worth has a nice new hall, and Dallas is building the mother of all Opera houses. I had a $1.7 million Strad in Fort Worth (loaned to me of course), lots of Arts happenings in the Metroplex.

Beauty and the Beast uses 4 synths, all Kurzweill 2500s. The pit orchestra is fairly small for such a mammoth production, only 2 violins and 1 cello for strings. One synth player exclusively doubles string parts.
 
Kid Downunder said:
EMU Proteus 2000 = $300 USD

or save up for a proper synth not a module....

KORG KARMA ?????

Um..... I have a rack full of modules, and in NO case would I consider the module a lesser version of the keyboard version. They are all synths or samplers, and in one or two cases are improvements over the keyboard model.

In fact, the only case where I felt that it might be nice to have the keyboard version is for my Kurzweil K2500R and K2600RS modules, which would benefit from the ribbon controller on the keyboard. All my other modules are as good or better than the keyboard version.
 
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