Nord User Forum

Fmc59 that answers it beautifully. I think that was an incredible explanation thanks for taking the time to do so for a clueless newb! Thanks again Bertotti

Now I need sleep I will finish with all of those links in the morning!

To put it another way - the sound shaping capabilities of the drawbars - weather they are digital or analogue are as much a part of the way you express as the notes you play.

There is also something about the physical drawbars where there is a direct link between you hand and your ears.
You pull or push until you ears and your musicality says - now it sounds good. With the digital buttons it is easy to miss the sweet spot when they count up/down past the reight spot.
i know of guys who are very proficient with the digital one.
If any of you read this - tell us how you work the buttons in the best way.

When i play with the physical drawbars this seams to work better - for me. I can only speak for myself here.

One more example from the Gospel world.

Try the drawbuttons on the "slow" movement setting. They are much easier to minipulate, and can be adjusted more accurately.
My only objection to the drawbuttons is their spacing. Just another centimeter or two and the drawbuttons would duplicate the exact spacing of the B-pedal-A# drawbar spacing on a Hammond.
I can't imagine that Clavia would develop a new organ engine and still call it the C-2.

Matrix synth has a pic and more info on their web site.

Will we get the improved 122 Leslie and percussion models for the C2???

Qtipcore wrote:Will we get the improved 122 Leslie and percussion models for the C2???

Looks the answer is yes

Darren