Kurzweil K2600R

im using software version 3.01. The presets are fucking crazy. There are presets on here (patches 33-49) that make me second guess my Studio electronics Omega 8 (no bullshit). Im new to music... and I have a hard time editing the patches on here. Alot of parameters to access. Kurzweil comes with two beefy manuals. They look very well documented. I havent read them yet. Without reading the manual, I was able to get around the OS with no problem.. however, theres alot to be tapped.

48 voices. I personally believe that us hip hop producers shouldnt need more than 20 voices. Its not like we do piano solos. 48 is good enough for me. You tritons and yamahas can have 7000 voices for all I care.... but like Mc Hammer, YOU CANT TOUCH THIS.

THe effects on here are good. I havent really dove into the KDFX stuff yet, but from the presets alone, im scared of what I might find. As i said above, this baby has samples from oberheim Matrix 12 and moog, which come very close to sounding like my Omega 8. Im giving it a 9 for the simple fact that the presets sounds like something from a big studio....

SOUNDs are out of this world. Tell korg, yamaha, and roland to kiss my ass. This is as real as it gets and then some... The only thing close to the Kurzweil in terms of sound quality is the motif... but the motif will be played out by the time u finish reading this review. Did I mention kurzweil sounds are backward compatible??? Kurzweil never gets played out, they keep playing....

Built like a tank. It feels like something made from the mackie or the Pentagon... oh wait.. doesnt the US govt use Kurzweil?. This really looks good next to my silver face omega 8.

never dealt with them. although I will try to call them to see how they are....

Lost or stolen? Id buy another one, with all the expansions installed. I got my Kurzweil at a steal. I purchased it within 5 mins of it being posted on ebay. I love the fact that this baby has so much potential that I have yet to tap into. I love the fact that the screen is a decent size compared to alot of modules out there. For me personally, the layout is pretty intuitive, however, there are alot of parameters you can access thru various menus. You will def get lost if you dont know what your doing. However the sounds are so clean and very encouraging. most modules I would have sent back already, but this thing is in a league of its own.

I wish all modules had knobs like the proteus 2500, so that you can easily get down in programming. If your a newbie like myself, then you better read the manual to get the most of this thing.

If your doing hiphop, you wont need nething else but a kurzweil and a sequencer. Im seriously thinkinga bout selling my omega so that I can get a cheap mono synth and use the rest of the money for outboard gear. This sexxy bitch can do it all man..... It can do pianos, organs, brass, and even analog synths... very well. I currently own a MV8000, Proteus 2500, Omega 8 synthesizer and of course this kurzweil....

Version 3.00
The Kurzweil 2600 is an instrument for those already familiar with using synths and similar hardware/software. The architecture is not user freindly (as compared to other workstations i.e. Triton, Fantom). But, an exprienced programmer will understand the complexities and open doors to sounds never tought of. The use of soft keys and working with a small screen contribute to a time consuming process. Not that it takes hours more to edit than Korg and Roland, it just adds 55 to 90 seconds for each process. The manual is absolutely fantastic. The text is well thought out and can assist the novice and more advanced users. Other manufacturers (Yamaha) should look to Kurzweil's manual as a standard

I seen several postings "bashing" polyphony of this instrument. While 48 polyphony is nothing too brag about (by todays standards), it is much more the use that is important. I mainly do live performance in theater and use the Kurz with my Triton. I have not run out of poly with 7 layers playing at one time. But, that is a product programming. The Kurz will drop the layer least important (usually determined by volume). In a sequencing situation, and this is the only sound source, poly disappears very quickly. I do not recommend the Kurz as a sole instrument in a sequencing/midi playback situation. Live perforamce, their is only some much one can play @ a time, and that is where is does its best work. The Kurz has full midi capabilites.
Expansion (omitting samples) is limited and expensive. The new K2661 comes with all expansion options (orchestra & contemporary boards), and memory upgrade. The expansions will most likely be a neccesity because the sounds are great and musicians would want to include them in their arsenal. The P-Ram expansion itself is over $375 (to have a total of 1.5 ram!!!!) but allow the user to store many more sounds (not samples, but data). The sequencer is archaic and difficult to use. It was used it sparingly and I would use other options.
Using the sampler, features grow exponentially. The library is huge, and the sounds are great. Kurzweil's website has links to soundware and any type of genre should be able to find exceptional sounds. The VAST architecture allows for a vast number of sound manipulation features, more so than switches, knobs and other frills. In short, it is a high preformance vehicle (engine, powertrain) but lacks luxuries (power windows and power looks). I'm not into comfort.

This is where, even after a decade, this machine excels. The instruments are very realistic (without tweaking). Granted, edited is need to meet one's taste and sense of realism but having a great base sample makes that job easier. I use the Kurz for live musical theater, so my main palette is acoutic instruments.

Strings: (with orch exp installed) Ensembles I find usable. Not the best straight out the box. I usually combine korg strings with kurz rosin textured strings to add realism and depth. I don't care for the attacks on the ensemble strings. Need major editing. The solo strings are much better than anything on the market. I've heard raves regarding Yamaha's acoustic istruments and any musician will tell you the vibratos in the samples are over done. The violin and cello vibratos sound like they spent too much time in the bar. I can't stand a sample that quickly goes into vibrato. This doesn't exist with the Kurz. The violin is nice (attack needs work), I use it often. The cello is above average. The key is cutomizing the base sounds to your genre -- to take an above average sample into superior. The small string quartets are great. (I highly recommend sweetwater's callo samples. AMAZING!)

Brass: Again, much better than the standard. The pop ensembles I use rarely (too piercing) but they have a great punchiness. The low brass patches (ensembles) are very well done. Above all, the French Horn is my favorite. Beautiful tonal quality and resonance. The solo trumpets are not too far behind. I like Yamaha's "Romantic Trumpet" tone more, the again the vibrato rears it's ugly head.

Saxes: The tenor sax it great. Don't use it too much so I have very little to say about it. I usually use it as a third sax (behind our 2 live sax players.)

Orch woodwinds: Outstanding!! The flute has a great vibrato and tone. Very smooth. The english horn also is great (there are 3 of each wind - orch [no vib]; solo [vibrato]; and 2nd player). The oboe isn't as good as E.horn, but still well done. The clarinet is the weakest, but better than any other synth. I've tweaked it slightly and it is great!.

Guitar: Acoustic is slightly bright. Missing some of the depth and texture of Yamaha (like the sliding of the hand on the strings with added pressure. Don't use guitar much so it is no concern to me.

Organ: Best B-3!! Great for Jazz gigs. Limited selection without contempary exp.

Piano: Not the best (better than korg, slightly under par with Yamaha, lagging behing Roland's new fantom). I highly suggest the piano upgrade block.

The ability to adjust these sounds to your personal flavor is what makes this instrument shine. Everyone has a different opinion on the realistic sound and is open architecture allows you to find it. I have judged the sounds very harshly and overall I find it to be an out of the box. With minor (and I mean minor!) it becomes prestine. I will include overall sound of other keyboard workstaions I tried as a comparison: Yamaha Motif 7ES: 7 Roland Fantom-S: 6.5 Korg Triton Studio: 6
The sounds react very well to the touch (except the saxes). The patches adjust nicely the changes in velocity. Nice programming touch.

The onboard effects-------unbeatable. The reverbs are great and unlimited edit capablilites. The effects alone take the sounds from and 8 to a 10.

I've used it for 2 years and have yet to have a problem. I have no back-up Kurz

I have not dealt with Kurz (which I consider a good thing). If I know they have good customer service, I've had to call them one too many times.

I would definately buy this a Kurz product (I would actually buy the 2661) I have been playing professional theater for 9 years and I have listened to countless synths, and I always turn back to my Kurz. It bought as a complement to my Korg, but time has suggested the Korg supports the Kurz. The comparsion between my Triton and 2600 left me noticing the Triton is missing a "sparkle" quality. The Triton sounds like it is playing in a tunnel. Same with the yamaha (motif rack. The interface and user friendliness is many years behind the other 3 major manuf. Kurz has lost major ground with developers and distrubitors, but not due to a maringal product, but bad business decisions. Hopefully, more people will take the time to try out such a fine instrument instead of eating what is served at chains like Guitar Center and such.

The Kurz has inspired me to work more at my craft, and what more can one say about an instrument?