Just happened to think, what about the load time issue that I had heard about. Any comments on that?

Thanx

Scott,
of course if you have the .wav files already you don't need any conversions.
The only place I can suggest you to look into for more info is actually the Tyros 2 user manual, where the whole procedure of loading samples is explained in detail.
Actually I think that this is a greatly overlooked feature in the Tyros 2. I have also tried commercial samples, like those from Pelmo, only to find out that their quality is definitely not on par with the T2 own internal samples. Anyway, since I have a lot of samples from my old Akai S2800, I am now in the process of converting and then loading them inside the Tyros (I have 512 Mb of RAM, which is more than adequate).
Speaking of loading time, even if the Tyros cannot compete with dedicated samplers hooked to an hard disk or the new Korg PA2X Pro (which has the fastest loading time among all the arrangers and maybe also the workstations, like the Motif ES), it depends of course on the sample size, so my advice would be: forget about loading a 50 Mb grand piano that you are not going to use much anyway and concentrate on small samples (like the jazz guitar, for example) that you can later process with the T2 internal effects and thus come up with a great sound.
A good example that comes to my mind are vocal samples, an area where the T2 is somehow lacking: they don't take up much memory (unless you are going to sample a whole choir ) and therefore can be loaded in a matter of 1-2 minutes.
If you could listen (like I did) to the raw waveforms of famous synthesizers of the past, like the Roland D-50 or the Korg M1, you would be surprised to find out how little memory they take: the secret of their overall sound lies in the power of the DSP section more than the samples themselves!

The player makes so much difference. The rough Don posted for me a while back had some jazz guitar in it, but no attempt was made to make the structure something that was actually possible on a real guitar, or to mix the sound to be like, say, a Polytone with specific effects, a Super Reverb, etc. . On the final, I used a real guitar and always do, so I have no need to try to use a keyboard to sound exactly like a jazz guitar on a recording.

If you want to see how not to do it, just take another listen to my rough. It just "ain't happening". At that stage, the focus was on structure, not sound.

What Scott found is excellent.

Russ

An instrument is not one note, nor even one chord. Sure, you get the best available jazz guitar samples, and play one note, or one well voiced chord, and you are in nirvana! But a performance is a vast series of these notes and chords, all needing to be played and voiced perfectly to fool the ears of the listener.

And they aren't fooled (especially those who play or listen to a lot of guitar) by a good sound. They are fooled by impeccable accuracy in voicing and technique. No doubt any of us could find a jazz guitar demo done on a DX7 or old Emulator by a REALLY skilled player that could fool us. But this sound-font, in the hands of any lesser player, would sound no more convincing than the same player on a DX7.

Scott, we DID try to answer your question (we all thought the sound-font was great), but we were just trying to inject a little reality... Without chops that ALREADY fool guitarists, this sound is going to be no better than what you have. It's a tough question to ask ourselves, but it should be asked; If the sound you already have doesn't satisfy, is it REALLY the fault of the sound, or is it more the fault of the player?

BTW, this is in NO WAY a criticism of you, Scott. I ask myself this every time I hear something not convincing coming from my own fingers, too! As much as we would LIKE to believe that the arranger is all-important, the truth is that the player is still 99% of the equation. OK, 95%!

As I said, if you are not already fooling guitarists with what you already have, this sound, even if it DOES inspire you, is not going to fool anyone (probably including yourself!) any better.

Maybe I missed it somewhere, even though I scoured the site. How do know that this mp3 wasn't done with a guitar controller? I didn't see anywhere where it said a keyboard controller was used to produce that mp3. A guitar controller would make one heck of a difference in the outcome, capturing, as it would, all the nuances of a real guitar performance.

This whole post is going to sound pretty stupid if I happened to have missed the part where it said it was done on keyboard.

Of course, there's one way to tell. Download the SF and see if you can reproduce that clip.

chas

Chas, a great point..In fact I am going to record exactly that using the G70 guitar patch.....when my guitar buddy brings his midi guitar over...

That’s what makes the Yamaha Mega Voices so good. They are Midi loops that have been recorded using a Midi controller suitable for the instrument, (Guitar Mega voice = Guitar controller) with additional effects controllable by velocity and out of range notes.
This is also why style conversion software cannot make a good conversion with a Mega voice style to any other keyboard.

Bill

I did want to thank those who gave very good, positive and constructive responses here and who's post's remain, (one in the same).

I guess I just thought that everyone here knew me well enough to know that I was totally aware of the players influence on this sound in the first place and so I was much more interested in the actual question I posed.

I will admit I was totally insulted primarily by the poster who's post was deleted, as my playing ability was being questioned and I felt like I was being talked to like I just fell off the turnip truck.

I usually won't respond directly to that type of thing believing those posts are always taken care of for the better, one way or the other with a little time. This is not an exception.

Sorry duplicate post
John

[This message has been edited by jwyvern (edited 01-22-2008).]