this post isnt about the audya. Its about how the T3 can be edited and used creatively to make astonishingly beautiful music. If Telmo was into hard hitting RnB or blues or rock,jazz , salsa, House or whatever he could edit the machine to make it sound authentic in those styles if he had the skills (not technical skill because those are aparent) but music skills for those genre's.

Once again Telmo thanks for some beautiful work, i have listened to all your arrangements (some of which never used a single style in the traditional sense which should be noted). Its this kind of creativity that you have demonstrated with an arranger that i am talking about. Some of the compositions you have done if not most are comparable with anything i have heard from any workstation for this style of music.

DonM mentioned sliders on the Audya for quick volume control of drums, etc. (same on my Pa1XPro). So what do the sliders on a T3 do?

They do exactly the same thing.

Cheers,

Gary

I've long said that simply turning UP the drums in just about ANY style or performance I've heard on the Yamaha's would be a step in the right direction (Yamaha market these things primarily to home players - people that think, for some misguided reason, that the keyboard part is the most important sound in the mix!), and this tune has definitely got them turned up enough...

But, I'm sad to say, firstly, no fault to the player - that's what this kind of music sounds like, but it is SO eighties! Drenched in reverb, huge, simple parts whacking away with little 'inside' stuff going on, this is hardly a challenge for the drum section. And hardly any indicator of whether Yamaha's drums are mistakenly maligned. More contemporary acoustic drum using music nowadays relies on a LOT of 'ghosting', subtle hi-hat and snare work, and generally is VERY much drier, but with a lot of 'room' around the samples. In a big bombastic production like this (once again, no fault of the player, that's just how the music is) little of this is exposed. And THAT, IMO is where the Yamaha's have so far not shown their capability (if they even have it).

IMO, any modern TOTL arranger's drum kits should ALL be at least four-way vel-switched samples (and preferably a LOT more) so that dynamics and timbral nuance come back into a sound that cries out for it. Perhaps Yamaha's drums can sound good in specific situations, but a drum kit that doesn't NEED extensive work to sound realistic, and especially for those arrangers that allow velocity scaling of sounds based on how hard you are playing the keyboard (so the band follows YOU rather than the other way round), realism and detail doesn't depend on it always being hit the same way.

BFD, EZDrummer, many software drum libraries are showing that incredibly life-like performances can be got from very basic kits... no gobs of reverb, no one velocity snares, none of that. Just DETAIL, from the quietest hit to the loudest. THAT is what we should be shooting for. If I want to perform Vangelis or Kitaro (guys that used some pretty basic drum machines in their day!), I wouldn't have an issue. But I'd maybe like to do some Jason Mraz, or Dave Mathews from time to time... and THAT kit isn't going to cut it at all.

That WAS a nice performance, no doubt about it. But, for me at least, hardly shows Yamaha as having the best drums in an arranger. You can take just about ANY Yamaha style, turn up the drums a bit, and get that. And it still really doesn't give a G70 or a PA2X a run for their money, let alone the REAL recorded drums in an Audya.

JMO... as always!