Chorus and vibrato useless for me, the distortion is just pathetic. Plenty of opportunity to customize the sound settings: type of stamp, percussion, key click, etc. Leslie effects with several simulation models and adjust speeds and accelerations, etc. It is for example a preset Leslie types and another types. From memory, I seem to remember that you can store up to 5 settings including a single rotor In short, everything is adjustable or almost controllable by noon sysex Possibility of desks XMC1 zippers.
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Reviews : Keyboard Offering classic Hammond sounds in a rackmount format, the XM1 module, together with the optional XMc1 drawbar controller, seems the ideal space-saving solution for those unwilling to rely on sample CDs for their organ sounds. The music industry is well known for its fleeting fashions -- certain sounds are all the rage one minute, then, before you know it, nobody would be found dead or at best maimed with that sample infesting their creations.
Just think of FM rather unjustly vilified Despite this fickle fact, there are sounds or, more specifically, instruments that remain timeless.
This is all super, smashing and lovely, and many of these samples are indeed excellent under the right conditions. In these times of MIDI master keyboards and home studios in a matchbox, another physical keyboard is likely to be the last thing you need. So intense was this need that Wix Wickens of the Paul McCartney band reputedly took a chainsaw to his XB2, removing the drawbar end so it could sit on top of his master keyboard while the remaining sound-generating gubbins was kept on the floor out of the way.
In the same way that lager is only notionally optional with curry, most interested parties are unlikely to want one unit without the other. On the contrary. It urges you to plug in and play even though the pasta is nearly done and The X-Files is on in five minutes.
Everything you need to make a noise is accessible from the module itself via a group of small cursor, menu and value buttons.
The only real-time controls are two rotary pots for volume and reverb amount, and this is where the XMc1 comes in -- more of which later. The rear has connections for the usual things: a 10V DC input from the external power supply, stereo outs, MIDI In, Out, and Thru, and a footswitch input which can be assigned several functions -- the Leslie speed, for example. The XMc1 provides all this, plus overdrive level and secondary volume control to boot.
Features such as percussion level are only accessible from the menu system on the main module, but at least the principal performance controls are all here. In a non-pre-programmed performance situation you would still have to keep the module close to hand. Was the XM1 going to tempt me to trade up and regain some valuable space?
Well, it was a swings and roundabouts verdict! The first test was to compare the basic sounds of the two without the benefit of any effects -- just naked and cruel An additional parameter to soften the attack would not have gone amiss. The XB2 fares much better in this department, having a smooth, marimba-like envelope much more akin to the real thing. There must have been a good reason for this design slip-up, but I doubt that it holds water.
Possibly Hammond felt that it would help the sound cut better -- but if any of you have ever encountered an actual Hammond organ with the percussion output separately to avoid the Leslie cabinet, I would be intrigued to hear about it.
The weakest aspect of the original XB2 was its own Leslie effect. Barely a token gesture, it could only appeal to emetic fans who relished a good bout of mal de mer in the comfort of their own studio. Hammond have certainly made an effort to improve this feature, which now has a full range of editing parameters.
There are 10 locations in which to store your cabinet simulations, and these are occupied by some variations previously set up at the factory. The factory settings tend to accelerate and decelerate rather lazily, but a quick tweak sorts things out.
However, some users may prefer to output to an external device, such as one of the Dynacord units or the excellent Roland SDX Or even a real Leslie if you have one knocking around. There are four choices of algorithm: Room, Live, Hall and Church.
Higher marks have to go to the XB2 here; its overdrive is much the warmer and growlier. If you play only fifths and octaves, the crackly artefacts are not too offensive, but add a third, and Hello Houston, are you receiving me? Quite why the percussion and vibrato controls are excluded from this luxury is not clear, but at least the most important needs are addressed. The other big improvement is a similar spec to the XB5 -- that is, the upper manual, lower manual and pedal board are all represented, and capable of receiving on separate MIDI channels.
To answer the original question -- is it worth trading up from the XB to the XM? The Crumar Organiser in and the Roland VK09 in were just two such keyboards to take a stab at the task, only to be usurped by the Korg CX3 and BX3 models in -- deservedly a great success in their day, these last produced a sound that was closer to a Hammond than any other ersatz offering had managed.
Indeed, to this day, CX3s can be seen lurking in the shadows at the back of the Top Of The Pops stage where all us wretched ivory-tinklers belong.
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