I finally bought a Stage 4

[st2ex]

The Google sheet NS4 Issues/Bugs List has been updated with all entries on one page. I reshuffled the columns so that the link to the NUF discussion is next to the problem description. Some entries that don't quite fit the status of "Open" or "Fixed" have been updated with a third status, "Norm", that covers "issues" that after review are part of normal operation or might more appropriately be wish list items - suggestions welcome on the that one. Take care.

[Mattms]

The Google sheet NS4 Issues/Bugs List has been updated with all entries on one page. I reshuffled the columns so that the link to the NUF discussion is next to the problem description. Some entries that don't quite fit the status of "Open" or "Fixed" have been updated with a third status, "Norm", that covers "issues" that after review are part of normal operation or might more appropriately be wish list items - suggestions welcome on the that one. Take care.

Thank you, very usefull

[catosim]

So far I have been able to recreate some of my programs somewhat just mirroring the Stage 3 settings even for the synth. I have yet to find enough features to tell a NS3 user that it's worth the price to upgrade to a NS4, but I'm still learning. Some synth capability has been lost, such as LFO effect on both OSC and Filter modulation with one synth, but having a third synth to work with has added other flexibility I didn't have. Overall, I really like the new layout.

I'm having a hard time "accepting" the pre-fader implementation of the effects on the reverb and delay. I didn't follow the discussions on the Wave 2, but can't believe the problem has existed since that introduction. If the reverb and delay effects were implemented post-fader, I'd have that natural effect expected and could easily morph the individual Dry/Wet settings to "dry" along with the associated instrument fader if I ever had the need for an instrument to drop out along with any trailing effects; over my years of playing I haven't ever needed that, but some might.

While I would be fine with the capability to select pre or post-fader implementation of Reverb and Delay effects on a global basis for each instrument, I would not want that same selection to effect the Amp Sim / EQ. Optimally I would like to have the capability to select pre or post-fader implementation of Amp Sim / EQ on a preset basis with other effect settings for all instruments, but it's more important for the organ. Currently for the synth (and piano) with the fader before the effect, one can set up a gritty distortion on a guitar for example, and set the level with the fader without changing the sound of the guitar. Folks are finding that with the post-fader implementation on the organ, they can't set up a nice drive effect on the organ without the fader level changing it. True, the amp is distorting like a real one would with more or less input into it, but that isn't the desired effect all of the time. With the current implementation on the synth, I always have the option of morphing the fader level and the Drive if I want the distortion to increase with the synth level.

Regarding the Amp Sim, I noticed that the Twin is quite different than in the NS3. The Twin is initially louder and much brighter, and overall a little too striking for me. I immediately have to adjust the EQ. Plugging into a real Twin Reverb, I wouldn't hear as dramatic of a change; I would essentially find a warm low end with maybe midrange more dominant, and the high-end response dropping off at 5-7 kHz depending on the 12 inch speakers loaded. I'm not sure what settings were chosen for the "flat" starting point that was implemented, but it's harsh.

I'm sure I'll come up with more things that I really like about the NS4 besides the obvious (triple sensor, extra synth, effects per layer,...). I'm currently in the mode of recreating what I've been able to do with the NS3, but I'll soon be moving to new work where perhaps the design and features of the NS4 will stand out. More to come - take care.

[dansnord]

Regarding the triple sensor, I had an interesting experience transitioning from the Stage 3 88 to the 4. At first, I didn’t notice the 4’s triple sensor being any different or better. The 4 felt the same as the 3, and I loved the 3. Then, after a couple of months of exclusivity using the 4, I took my 3 out of the bag and set it up just before selling it. I was shocked at how much I didn’t like the feel! I can only attribute that to the triple sensor. The keybeds are the same. I guess the triple sensor—for me, anyway—changes the feel, in a very positive way. Despite it physically being the same, the added sensor changes how it is perceived. Interesting stuff!

[WannitBBBad]

I finally got around to doing something with the NS4 that the NS3 can't cover: the arpeggiator using pattern mode. After responding to a Facebook post, I put together a program for "Viva La Vida" by Coldplay (posted here) that makes use of the arpeggiator pattern. I'm still checking other string samples, but a couple from the spitfire collection work pretty well. Using the same pattern, the program has one synth in gated mode and another in poly mode.

• C VivaLaVida W NS4 Program Example.mp3

As much as I thought it would be really cool to finally have real drawbars for the B3, I'm finding it more limiting than what I was able to do with NS3 for my playing. On a single panel I could have two presets with drawbars morphed to get two more settings (4 settings per panel). I got quite used to "drawbar" changes with the buttons as well, and it was nice that they picked up the sound from where the "drawbars" were, not jumping as it does moving a drawbar on the NS4. I already have a couple songs where I need to set the drawbars up before the song to avoid the problem. It's something I'll have to get used to, and at times I'll be using both layers to get what I could do with one panel on my NS3.

For many of my NS3 programs I have been able to recreate settings on my NS4. For the more basic synth sounds and samples, the synth parameters are fairly easy to duplicate, but the more complex sounds what made use of OSC2 are a challenge. In some cases I need to use two synths to get what one synth could cover on the NS3, but having full independent control of the 2nd synth plus effects, allows much greater flexibility than I had with the OSC2 on the NS3. One setback is only being able to assign the LFO to OSC Pitch, OSC Ctrl, or Filter at one time, but I don't see a way of changing that without an actual panel change. Overall it's great having a third synth to work with, and in some cases I've sampled sounds to provide even more flexibility with the three.

I'm just now playing around with the Wah effect to recreate one of my rock guitar programs. The NS4 has a mode to directly link the CP to the wah instead of morphing, but I'm not getting the excellent harmonics out of the wah range that I could get by morphing on the NS3. More to come on that one. Cheers!

[WannitBBBad]

A couple of my rock guitar programs on the NS3 use OSC2 to add a high harmonic to the guitar with Aftertouch while taking out some of the OSC1 guitar. The programs are heavy on both Reverb and Delay effects. Well, on the NS4 I have to use a second synth to introduce the high harmonic with Aftertouch, however as the ambient effects are before the synth fader, the reverb and delay of the guitar is turned down with the guitar as I start to use Aftertouch, and the harmonic along with reverb/delay of the harmonic immediately go silent after releasing the Aftertouch. The whole character of the sound with the guitar and harmonic still carrying with the reverb and delay is lost.

[WannitBBBad]

An unexpected drawback to Nord moving to faders is that it's made it virtually impossible to smoothly adjust morphed levels a little higher when needed during performance. On the Stage 3, if a morphed range was preset from off to -12db for example and the Control Pedal was at max, a little turn of the dial during performance could bump it up a little higher. The process was essentially shifting the low setting to move the range to go to the higher value desired. On the Stage 4, a slight touch of the fader will immediately shift the initial setting of the range often resulting in the high setting jumping to 0 db and the user immediately having to drop the fader to "off" (or close) get back to a manageable low setting so the CP can function again. One essentially has to set all morphed faders to "off" prior to the song in order to have the possibility of a decent outcome if an adjustment might be needed in performance, or pray you don't bump one while playing. This is a case where the "catch" implementation is truly needed to address the issue.