The current generation of musicians plays the technology as much as
the keyboard (programming, etc.). And even myself with the older
synths, I'm not a trained keyboardist so my creativity is on the
control panel more than on the keyboard.
The CS-80 is perhaps the one synth more than any other designed for
trained keyboardists, which most were back in that era I reckon.
This is with the weighted keyboard, poly velocity & aftertouch, all
the performance controls. Not to imply I'm telling you something you
don't already know here.
But as a non trained keyboardist, the weighted keys don't do all that
much for me personally. Actually, the CS-50's key action to me is
superior to any other Pratt/Read type synth. Something about it,
it's a wonderful feel.
--- In yamahacs80@yahoogroups.com, "JH." <jhaible@...> wrote:
>
> I still love my CS-50. It's a totally different intrument, compared
to the
> CS-80.
> You're spot-on about the keyboard action and aftertouch.
> An "ideal" instrument would have polyphonic AT, but as sensitive as
the
> '50's,
> and a keyboard action like a Wurlitzer (The '80 is more like a
Rhodes).
>
> The 50's limited polyphoni makes it more of o solo instrument.
>
> If the CS-80 is my piano, then the CS-50 is my violin.
>
> JH.
>
> >The real situation is a worse indignity - CS-50 lives on the floor
in
> >a closet in my parent's basement. I don't have room for it. I
play
> >it a couple times a year when I'm there. A good way to experiment
> >with the CS audio architecture, without relying on the 80's voice
> >layering. Faster keyboard action and mono aftertouch can also be
fun
> >to play with - on balance poly aftertouch is superior of course.
> >
> >Biggest downfall to me is only four note polyphony - I hate that.
> >I'd rather have an 8 voice CS-50 than a 4 voice CS-80.
>