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RAPID is a modern polyphonic hybrid synthesizer designed to bring together fast workflow and powerful synthesis techniques. The unique layer engine that powers RAPID lets you shape and customize all aspects of your sounds, resulting in dynamic and fat patches, ready for production, performance or simply inspiration.
Instead of loading their stage pianos with a fixed set of sounds, many brands are now curating huge online libraries of tones that can be downloaded from the internet. These sounds can be swapped in and out of their stage pianos at will. Collections like these are constantly growing, so look out for this feature if you need a vast amount of sonic versatility.
The very best stage pianos have a deep feature set conveniently hidden behind a simple, logical top panel. You'll just want to be able to select patches quickly, recall favourites/scenes, work with zones, layers and splits and make some on-the-fly adjustments. The top panel should be working with you in this regard, not against you.
It's not all bad news for the gigging musician though, far from it. Those sounds may be few but they're rather good. The Grand Piano Concert patch is full, resonant, harmonically rich and detailed, thanks to Casio's 'multi-dimensional morphing technology'. Technobabble aside, Casio has worked hard to capture how the timbre of a note changes over time, depending on how hard the key is struck.
Despite all these features, and we've only touched the surface here, the SP6 is remarkably straightforward to use. It really is just a matter of selecting a patch via the sound bank buttons, which are to the right of the screen, and hitting the fully-weighted hammer action keyboard.
But how does it sound Dexibell uses its proprietary 'True 2 Life' technology (yes, another flowery descriptor) to produce patches which, it turns out, is a sampling/modelling hybrid approach. Lots of music brands use sampling, modelling or a combination of the two but Dexibell claims to do things a little differently to max out the quality.
Certainly, the acoustic piano patches sounded magnificent, the dynamics helped in no small part by the lovely triple contact keybed. Most stage pianos boast the ability to seamlessly transition from one patch to another, but this performance is sometimes compromised, especially if effects are involved. Regardless of how hard we tried we couldn't catch the VIVO S3 Pro out, it behaved faultlessly.
The control panel is very clearly laid out making it a doddle to find our way around. Selecting patches, making splits and layers or applying effects is all child's play. We just wish the rotary encoders had LED meters like Dexibell's pricier S7 and S9 models.
This is an impressive stage piano that plays as good as it looks and sounds as good as it plays. Our only criticism is that the sound library, at just 113 patches, is quite small but additional sets can be downloaded from Dexibell's website.
Plenty of professional quality MIDI-related software was released. The popular Windows and Macintosh applications Cubase and Logic Pro originated on the Atari ST (the latter as Creator, Notator, Notator-SL, and Notator Logic). Another popular and powerful ST music sequencer application, KCS, contains a \"Multi-Program Environment\" that allows ST users to run other applications, such as the synthesizer patch editing software XoR (now known as Unisyn on the Macintosh), from within the sequencer application.[49] 1e1e36bf2d