Guys you are missing what I am saying here. It is a different sound live I play many. Different rooms and halls the T 5. Seem to not have as much warmth it has a great sound don't get me wrong here it is different. More direct and in you face it is taking a bit to get used to here .

I could use a bit more warmth over all I am running it direct for main out to K 8 and DSR 12 speakers at lower volume it feels a bit empty but maybe it has a more digital sound maybe I am missing mids range I can put my finger on it it does not have as much effect assigned in T5 then T 4. I think effect processer. Is different has a more in your face sound. I found this to be the case with the BK 9 as well I think in the audience it prob sounds great I guess it has a more pop type sound It took some time to get used to the T 4 sound when I made the switch from s910 G 70. Tonight I am doing a big Show at the Laguna Woods VIllage. With prob 400+ in audience I am going to run thru my mackie pro 8 mixer and send a feed to the house engineer. I will have a chance to set some EQ from the board I will see if that helps just it feel from my seat or playing position that I want a little more fullness Any thoughts. One last thing I am not questioning that is sounds I am looking to find that happy spot and haven't found it yet. It is much different playing live the playing in a home w Tyros speakers guys. Looking to find that happy spot and find a template I can use here. Ron

OK, chalk one for the Tyros 4...

But isn't that exactly what people wanted from a Tyros for all this time? It sounds like it's perfect for live performances.

Rosetree, much of this will depend upon your sound system. With conventional speakers, even those mounted on poles, the falloff is significant, therefore, the natural effects of the venue may not be as evident as they would with a vertical array system where the falloff is often less than 10 percent. If the falloff is less, then the natural effects will be significantly greater. When I worked with a band, the sound was always very loud, therefore, there was always a fair degree of natural effects generated. When I went to work as an OMB entertainer, I played at much lower volumes, therefore, I had to add more effects to obtain the desired level of overall sound quality I wanted to hear. A lot of the venues I performed had fully carpeted floors, full length draperies and suspended acoustical ceilings. That really sucked up a lot of sound and diminished any chance of natural effects. If you clapped your hand in one of those rooms and it was empty, you would not hear any echo, reverb, delay - nadda. Clap your hands in a gymnasium and wow!

Neat how all this stuff works, at least I think it's neat.

Gary

I totally agree what you say about the vertical array systems. We just made this experience with our band with a new PA (Nova i.nova 360) and asked ourselves why there is so much reverb even if we didn't use much digital reverb - the loudspeakers exploited every bit of the reverb the room had to offer.

This is the conundrum that live players face with most arrangers. As Ian so often points out, even the best of these (best from a pro player's perspective, anyway!) are set up for the home player, who's living room is VERY dead and small compared to most live venues.

I still think that the Master section, in addition to EQ and compression, should have a Global Reverb offset parameter.

It is impractical to adjust ALL your Performances and styles to sound their best in both environments (you usually create your setups at home, then go to the gig with them, and you often face various environments with more or less natural ambiance), but a global offset to the reverb amount parameter would allow you to do this simply, in one go.

Maybe it's time for something like this?

I agree with you Diki. I guess yamaha figures the you will use some hardware divide like a mixer ect to do a global type of sweeting. This is what I am facing. I am have some problems with my T 5. It going back. To yamaha for a fix my issues could be because of some of the problems I am having I use a live string patch on T 4 that is not on T 5 So I just cut and paste thie patch this will give the over all full ness a lift as well the string patches on T 5 are very harsh and lead to the problem I am having when I get it back I will get it dialed in

I did a show last night for around 500 people and many loved the sound in the house. So it is I that is having the problem getting used to the new direct sound.

It's definitely a two edged sword... set the instrument up so it sounds good to YOU, directly on top of the monitors, and those out in the room will suffer. Set it up for THEM, and you suffer!

There's no real way around this problem There's no way to add more reverb to the arranger at the mixer's monitor send on most boards, and even this will only muddy things up a hair, as the bass end gets reverb'd along with everything else.

But the bottom line is, are you playing to THEM, or to yourself? As a pro player, your goal should be to do whatever is best for them, and if that makes you less than comfortable, well, that's the price you pay!

You have probably heard me rail many times against user demos (and some factory stuff too, if the truth be told) that have the played part too loud, as players choose to listen to the part THEY are playing at more than it truly needs, and end up swamping the backing. To get a fully balanced mix out to your audience, there really is no way around getting used to things not being what WE want, but being what THEY want if you truly want to have your audience hear you at your very best.