Personally, I don't like the sound of dry, harsh-sounding style files, but that's just me.

Gary

Gar: Thankfully, with Tyros 5, we've now got the option to both add/remove Reverb to suit your personal taste.
With previous Tyros' & PSR keyboards many of voice samples have DSP effects embedded in the sample itself.
I haven't got my T5 yet, but I'm guessing that it's not merely the amount of reverb,
but the improved 'sound quality' of Tyros 5's new DSP's that's significantly contributing to Tyros 5's new impressive sound.

Its 2 parts Diki, baartmans explained it nicely in the demo.

A sound is build from several parts... One is the samples and the other is the effects... There is dsp, chorus, reverb EQ... Now with the effects overhaul, they dont have to cover up the weakness of the other effects with a lot of reverb, all the instruments stand out much more..

On top of that the reverb itselves got vastly improved, with the old reverb all the notes espescially when played fast created a kind of blanked to cover up the sound. With the new reverb every single note gets to stand out much clearer in the reverb. As an example he played a fast piece of piano music to indicate what he meant.

But its important for everyone to see that the effects are atleast as important for the overall sound as the samples.. And this allows the T5 to sound much more alive and sparkling and thus more like the PA3x then a T4...

Hmmmmm,
I like some of the sounds on the T4 better than T5.
But not all.
Lee

Using a T2 I have never found it to have excessive reverb, in fact I do at time have to add a little, so do I assume from was stated that the T4 was setup as default giving excessive reverb ?.

Actually, I didn't find my Tyros4 had excessive reverb, in fact, I actually had to increase it (or change the type) for many of the sounds and styles, as some were far too dry for my liking.

Of course, the amount (and type) of effects used is a matter of personal taste, much like a recipe for a particular dish.

It will also depend a lot on the playing environment. I don't have carpet in my music room, nor do I have heavy drapes, so that's why I find it strange that some consider the Tyros4 too wet.

As I said, mostly I didn't find it wet enough.

Ian

Many of us older players have trouble actually hearing WELL what is coming out, particularly in the upper range (where much of the reverb's color comes from).

Essentially, as far as I am concerned, you listen to a recording, then try to come to the same degree of overall 'wetness'. 9/10 times, on any arranger factory default, you have to back it off a bit.

Something that many of us playing out live have to remember is, we don't play in anechoic chambers! The room we play in is PART of the overall reverb picture. But we rarely get to hear it, well. Our monitors overpower us hearing the room, and it doesn't really develop until well into the room. But remember, a real drummer has NO reverb on at all! The room is his reverb. For us, playing in often fairly lively rooms, any reverb on the drum track merely seems to push the drums back in the mix (remember, reverb can really be thought of as a 'distance' parameter - the more reverb, the further away they sound), and who plays in a real band 30 feet or more in front of the drummer..? LOL

It's a different story in a dead living room, though. This is why factory defaults often seem too much for pros... they are optimized for dead living rooms and amateurs, who like their peccadilloes covered up a bit, and a big spacious sound to convince them they are playing in a big hall (to all their adoring fans!).

Where you play has a radical effect on what you need. I have always felt that a GLOBAL 'Reverb Depth Offset' would be a fantastic thing to have, so you can quickly bump the reverb up or down in one go, rather than having to do it to every bloody Performance you have!