The instrument range being talked about without VST here

And using VST options here

Enjoy

Bill

It sounds very good, Bill.

So, without the VST what does the Louvre cost?

And an Abacus like you have...what is the cost without VST?

Why do you think the interest in these instruments, at least here on SZ, is marginal at best?

Ian

All the OAS 7 range vary only in style, number of keyboards, and amount of physical controls on-board, the rest remains the same with all. (This is why discontinued OAS instruments can still have all the latest features)

The Abacus (Single manual version) has been discontinued some time; however I would guess cost about double that of a Tyros 4, (Being from the organ range it is made of wood & steel (Hand built) so is heavy, thus transportable rather than portable) as to the Louvre, then it is a showcase model, so if you need to ask the price you can’t afford it.

In the entire US & Canada there is only one supplier/dealer (Although you can order direct from Music Store) hence the low penetration, and as most members on SZ are from the US, most of them have never been able to see them, (Let alone play them) hence to low interest.

Bill

"I wish companies like Sequential, Moog, Emu Systems, Oberheim, and Arp still existed because they always pushed the envelope no matter what the cost. To move forward requires taking chances and believing in something that others don't necessarily agree with."

Ensnare, I'll be most of those companies now wish they HAD paid a little better attention to the cost and the bottom line!

But of course you are right, their contributions were invaluable.

Don,

I'd have to disagree. Companies back then were at the vanguard and making products they could be proud of won out over bean counting. Had people like Dave Smith, Tom Oberheim, Alan Pearlman, Dave Rossum, Scott Wedge, Peter Vogel, Kim Ryrie, and Bob Moog not taken chances, the arranger keyboard you play today would not exist in its current form.

While many of these companies closed up shop or sold out to the higher three, their designs and innovation live on today. Any Yamaha and Korg product made today owes itself to Sequential Circuits, Fairlight, and Emu's visionary ideas. The DX7 owed its success to John Chowning. While not the ultimate use of FM technology, the DX7 was the watered down keyboard marketed to the masses by Yamaha that brought new people to know what synthesis was even if they could never actually program a DX7.

I'm waiting for the day one of the big three steps up to the plate and turns the world upside down. Whether that happens in my lifetime is questionable.

Ian,

This has been hashed out ad nauseum. The Wersi does not require you to add anything to make new sounds, tweak to your delight, or get it to do what you want. OOTB it has nearly 1 GB of factory sounds. It just has the option of expanding using VST's for those who don't want to be limited in the way other manufacturers limit you. There are many free and/or inexpensive VST's to utilize. Nobody said you have to run out and by East West or Omnisphere. However, if you were so inclined, at least that option is available to Wersi users.

I suppose, Ensnareyou, but I fail to see the same perceived value in Wersi products that you do...but that's just one of the variables in human nature and one of the ways in which we differ.

It's not that it is a bad or poor product...it's just something I wouldn't invest my money in. Perhaps if they were made more accessible, I could see what you do, but unfortunately, I probably will never see one or play one.

The guys behind those synths you mentioned above were brilliant technicians/inventors/visionaries, but their marketing and financial management skills weren't to the same level.

Ian

Here lies the BIG problem with most of these companies,

That is a big problem, Donny, but at the very least, we have two Wersi owners on SZ that constantly tell us how advanced their instruments are, and how incredible they sound with all these superb flexible sonically wonderful VST's and other goodies.

Yet, neither has ever played and/or posted a demo of what this instrument can do in the hands of one of our fellow players. I seriously doubt if they are reluctant due to the quality of their Wersi instruments, so perhaps they are a little nervous posting to a forum consisting mostly of their peers.

I hope not, as I'm sure any recordings would be received with respect as they usually are here on SZ.

I know if I had an keyboard as incomparable as they make out theirs to be, I'd be posting tunes to, at least, share my joy and appreciation of how great the instrument sounds to me.

It might even make some a little envious, although I don't think we have anyone here like that.

Otherwise we will never really know why Wersi is so important to the lucky players who were able to afford them, or at least, able to try them out.

Ian

The Wersi is a great product that has been poorly marketed which limits its sales. Music Store has made great strides since taking over the Wersi brand but still their demos don't show the true potential of the instrument. Robert Bartha has helped bring younger audiences to Wersi though which is beneficial. Still the majority of the demos appeal mostly to the geriatric crowd because they have expendable income.

Sorry to hear you'll make no effort to see a Wersi in person and that's a shame. Had I been that myopic in my search I'd never have purchased most of the studio gear I own.

As for the visionaries I mentioned... not everyone who designs the next best product has the financial capability to bring it to the masses. Sadly most fail and the consumer suffers from that. Fortunately the ones I mentioned did produce products that found a niche and changed history. Companies like Yamaha and Korg stepped in to buy the technology and integrate it into their future products. Sadly Yamaha and Korg watered down the original concepts to the point they bore no resemblance to the original designs.