NS3 Velocity and General Sound vs NS2

[aureliopenna]

Hi there!
Is there someone that could kindly play, record and post the aureliopenna's 6103d_moonlight_sonata_27-2_3_(nc)smythe.mid with a Nord Stage 3 88?
I'd like listening any differences.
Thanks!!

I'd like too... As on NS3 76 too

[aureliopenna]

this piece goes from ppp to fff which means almost 0 to 127 and NS3 didn't react to that as NS2. That is my point.

Yes, that's what people in that other thread were complaining about, that the NS3 velocity curve is off on data received via MIDI (but not when played from its own action), such that the dynamics are messed up, and low MIDI velocities which should result in quieter notes/passages are ending up too loud.
I believe that this is not only related with velocity curve but with the way the sound goes through the engine.

I can also play something on NS3 and try to play the same no NS2. I'll do it next.

Cool, looking forward to it!

Soon!

[Anderson Gandin]

this piece goes from ppp to fff which means almost 0 to 127 and NS3 didn't react to that as NS2. That is my point.

Yes, that's what people in that other thread were complaining about, that the NS3 velocity curve is off on data received via MIDI (but not when played from its own action), such that the dynamics are messed up, and low MIDI velocities which should result in quieter notes/passages are ending up too loud.
I believe that this is not only related with velocity curve but with the way the sound goes through the engine.

I can also play something on NS3 and try to play the same no NS2. I'll do it next.

Cool, looking forward to it!

Soon!

looking forward to it here too!

[aureliopenna]

Hello again guys,
This time I played a couple of examples on both keyboard, trying to exaggerate dynamic on some points but NOT play exactly the same thing. So, it's just the same song as reference but not necessarily the same NOTES eighter.
Sorry but that's what I could do for now.
The only reason I keep using these Piano Models its because my NS2 USB has stopped so I can not change them on NS2.
I used the same settings as always, all acoustic turned on, triple pedal on both, +6db resonance and +6db pedal noise, no fx, no eq.

• WFDF - Grand Imperial Lrg NS3.mp3

• WFDF - Grand Imperial Lrg NS2.mp3

• Minor Roll - Bright Grandl Lrg NS3.mp3

• Minor Roll - Bright Grandl Lrg NS2.mp3

• MWS & Dyn - Bright Grandl Lrg NS3.mp3

• MWS & Dyn - Bright Grandl Lrg NS2.mp3

[analogika]

It seems obvious that you can play better on the Stage 2 compact.

That’s pretty much all we can conclude.

I like your playing a lot, btw.

[ciciss]

No doubt.

It seems NS2 plays better than NS3, both played directly and controlled via midi.

[analogika]

FOR HIM.

[ChillOnTheSun]

THIS STATEMENT I GET FROM THE GERMAN DISTRIBUTOR


Thank you for your message and sharing your idea. I am xxxxx from the Sound Service keyboards department, distributor for Nord. I can understand the idea about sharing software development details from the user side, however there are some important reasons why Nord would choose not to do this. Nord often gets questions about when update XYZ will be finished, and as a response, Nord has created a newsletter system so all Nord users can sign up for a notification when updates for their instruments are available.

Check it out here: https://nordkeyboards.us16.list-manage. ... 471789e71e

I have one of the first Stage 3 88 set up here in the keyboard department which I have been testing since its release, and so I am aware of the developments since its announcement. I also have access to models from the Stage 2 and 2 EX series and the original Nord Stage in addition to other keyboards I have experience with here at headquarters and personally.

Nord Stage 3 has a different internal architecture than the Stage 2 EX. It is basically a different instrument. To mimic programs from the Stage 2 EX in the Stage 3, it is necessary to manually create new programs and adjust by hand for a similar sound. The biggest difference of course is the 2x A1 synth system, which is totally different than the Stage 2, but also the Stage 3 organ and piano sections are different. They have a little different character and are simply not 1-to-1 with the Stage 2 models.

After recognizing the significant demand for some possibility to ease the transition from ns2 to ns3, Nord developed a software for transferring samples from ns2 to ns3. Nord has also altered the character of the organ section since release, which has been nudged towards a beefier sound. The FM synthesis in the Stage 3 has also been updated which provides better behavior as well as a greater ability to closely recreate certain FM sounds possible in the Stage 2.

Here is the Nord Sample converter: http://www.nordkeyboards.com/software-t ... -converter

A point which leads to some misinterpretation about the Nord Stage factory sounds and especially true with the latest Nord Stage 3 is that the factory sounds and Nord sample libraries are purposefully rather neutral in character and balance. The pianos and simulations are very pristine and honest to the original models. For power-users, in combination with the on-board EQ, compression, and effects this is a great advantage over other keyboards which mostly tend to have more processed base-samples as presets. This means that the “vanilla” sounds of some other brands might impress you more at first glance, but they are actually less suitable for professional live and studio use. Let me give you an example: a piano sound from another brand is based on samples which have been preprocessed, typically with compression and a smiley-face EQ printed on the source audio files. Now when this instrument appears in a boom-y stadium, a resonant hall for a wedding party, or in a music studio, there are going to be problems compared to the Nord. Of course with the built in EQ on that instrument or on the mixer you can reduce the bass, but even if you perfectly match the exact curve and frequency which was used on the original sound you will get an inferior sounding result compared to if you started with a more neutral and dynamic sound. Working backwards against preset EQ and compression combined is especially problematic, and in that case it is basically not possible to restore the dynamic balance. A very good and attentive mix engineer with an excellent multiband compressor can help in the case that for example more attack dynamics are needed at 300 Hz, but it is so much better to just avoid this problem altogether. Alone with the quality parametric mid-band EQ and the simple but musical compressor in the Stage 3, skillful and precise usage put the vintage-faithful Nord factory sounds a league ahead of other instruments in performance and studio situations. With some special attention to EQ technique, compression, and moderately also the other effects (chorus is useful for widening stereo, for example) you will be able to quickly make huge tones with the factory grand pianos and B3 organ, and even quickly tailored to the sound system and room every time. Another tip, the volume and position of the speakers also play a role in the perceived frequency balance and quality of your sound.

I will pass on the sentiment that some users would like more insight into the Nord update philosophy and procedure. As I said before however, it won’t be reasonable to expect a public timeline for specific updates.

If you have further questions feel free to contact us again

[analogika]

Wow. So much effort and thought put into, essentially, blowing you off.

And I find myself agreeing with every word.

[anotherscott]

It seems obvious that you can play better on the Stage 2 compact.

No doubt.

I disagree.

I haven't heard all the samples, but from what I heard I'd say:

* the difference between NS2 and NS3 is less when played directly than when triggered over MIDI

* both sound good, only the player knows which better reproduced his intent, though I'm guessing he wanted (for example) the quieter intro of the NS2 on the "Minor Roll"

* but again in the "Minor Roll" samples, the NS3 version is played cleanly, the NS2 version appears to have missed notes in quiet passages. This is consistent with my experience on the NS2 Compact, that I could not reliably play pianissimo, I'd get dropped notes, as there was too little leeway between the amount of force to trigger any sound whatsoever and the minimum amount of force that would trigger something louder than pianissimo. I could not reliably stay in that range. (The NE5D is much better in this respect, btw.)

This is why I disagree that he can play better on the NS2. He may be able to play with more pianissimo expressivity (again, assuming that was his intent), but that also yielded unfortunately inaudible notes. The NS3 version, then, was "better played" to my ears, because even if it didn't mirror his intent (which we don't know for sure), it sounds like a perfectly good performance, whereas the other sounds flawed due to the dropped notes.

So given the choice between somewhat less dynamic expressivity on the quiet end vs. having notes drop out altogether, I'd pick the former, if that's indeed what the choice is. I presume this difference would not apply to the hammer action versions, though.