Korg FISA SUPREMA
- Thread starter kep
- Start date
When I do gigs, I don't even think sets/UPGs and on some odd songs I may just think "register changes" if needed. I use the iPad and with Songbook. When I change to the song I want to play, the accordion and BK-7m arranger are instantly programmed to the set/UPG and register for the song that I want to play. I tap on start and I am off to the races. If its a song that doesn't use the arranger, then I just start to play.
That way every song has a unique registration and there is nothing for me to think about other than the music.
That way every song has a unique registration and there is nothing for me to think about other than the music.
He’s a giant. And always seems like he’s smiling. Good for an accordionist.
Andy
Member
I havn't read all the 28 pages of this forum and currently own an FR1x (the baby of the bunch!)
I was considering moving up to an 8x, but i had heard that Proxima were developing an electronic accordion so i had been waiting for the release, however that seems to be a dream rather than a reality!
Having seen the Korg Fisa Supreme being demostrated on youtube, I presume it is now in production?
I was very surprised to see that there was no means to secure the bellows when not in use? Is this the case or is there a secret catch somewhere?
Has anyone in the UK purchased one yet? and if so where?
I was considering moving up to an 8x, but i had heard that Proxima were developing an electronic accordion so i had been waiting for the release, however that seems to be a dream rather than a reality!
Having seen the Korg Fisa Supreme being demostrated on youtube, I presume it is now in production?
I was very surprised to see that there was no means to secure the bellows when not in use? Is this the case or is there a secret catch somewhere?
Has anyone in the UK purchased one yet? and if so where?
Yes, the Korg Fisa is in production. It just came out in September of this year. It is high demand at this point. Dealers are getting them now and are taking orders. You have to go on a waiting list. If you order now, I think you can expect delivery in a month or two.
You can not secure the bellows, You can't secure the bellows on a Roland 8X either.
If you want more information on the Fisa, read through the 28 pages of this Forum thread. Also, you can download the Owner's Manual and the Quick Guide on the Korg Website.
Kind of absurd for an instrument that can be configured to play without the bellows.
Dale Mathis has put a lot of individual videos on the Korg Fisa. He has one that gives a summary of what he has created (18 songs, different scenes). I think it's pretty good.
They are not like Cory's videos. Cory's are excellent -- and different. I appreciate both. I am 82 now. I grew up with what Dale's songs/tones are. That's why I like them.
I saw movie clip, back in the '60's,, I think is still true today --> "What You Are Is Where You Were When"
If you are interested in Dale Mathis "Style" take a look at this link:
John
They are not like Cory's videos. Cory's are excellent -- and different. I appreciate both. I am 82 now. I grew up with what Dale's songs/tones are. That's why I like them.
I saw movie clip, back in the '60's,, I think is still true today --> "What You Are Is Where You Were When"
If you are interested in Dale Mathis "Style" take a look at this link:
John
Depending on how you read my above interpretation of how the Fisa is layed out, you might get the wrong “Picture”.
Here’s a little clarification:
In one Scene, you can program the 14 register switches like the 8X. However, they cannot be totally independent UPG’s as on the 8X.
Each Scene has a “Group” of 14 different register selections. The choice of 6 “Groups” is the 6 Treble choices on the Fisa panel:
● ORCH
● ORGAN-UPP
● ACCORDIO
● ORCH 2
● SOLOSIST
● SYNTH.
For example, within the ORGAN “Group”, you can have 14 different Hammond Organ Drawbar settings. Or, in the ACCORDION “Group”, 14 different accordion settings.
But you can’t have 9 Drawbar settings and 5 ACCORDION settings in the same “Group”. The ACCORDION and ORGAN settings have to be in their own “Group”.
WARNING: Take all of my info "with a grain of salt". It's how I think a Fisa will work. -- Wish I had a Fisa to try this "stuff" out -- maybe someday.
Last edited:
Alan Sharkis
Prolific poster
John,
Please do me a favor. Lisen to the original ABBA recording of Fernando and then tell me what you think of the Dale Mathis rendition.
The Dale Mathis rendition of "Fernando" is O.K., basic stuff. What I like about his videos is, he shows you a lot of detail on how this "new car" drives. I like to figure out the options there are and how "open" Korg has left the Fisa for configuration. I didn't like the "Synth" sound of Scene C. I would probably change the Accordion sound in Scene A. I would create my own Hammond Drawbar settings with some "Dry" non Vibrato sounds. Also, I would add some 3rd harmonic, fast decay, percussion for Scene B.
As I listen to Dale and other accordionists videos, I am impressed with the quality of the sound/tone of the Fisa.
I can configure it to the sounds I like, that will fit the songs/style I play.
Isn't that kind of pointless since ABBA is a predominantly vocal group?
Thomas N
Well-known member
I think it's great to have all of these various artists playing the new Korg and providing feedback. I take all of them into consideration and then eventually will play one myself to make my decision.
There's an incredible keyboardist named Jordan Rudess, from Dream Theatre among other bands. The guy can make anything sound incredible. It became the joke of the Keyboard forum whenever he would sponsor some new Workstation, Synth, keytar, etc. He'd pop into the forum or show up in some blurb or ad explaining why this new synth was the most incredible revolutionary thing to come out in decades. It became such a joke that when anything new was released forum members would comment "I'm not even considering it until I find out if Jordan Rudess recommends it" sarcastically.
I notice Dale sprinkling in a lot more Roland videos recently. Maybe to garner more customers for his Roland sets during the holidays. I haven't really heard him say anything one way or the other about the Korg vs Roland and his preference. He sells both. I consider him to be more of the grandfatherly non-technical basic accordionist and listen to his songs with that in mind. To his credit at least he's posting a video a day of the instrument and with little information out there it's nice to be able to at least listen to maybe a couple sounds you haven't heard before.
You can listen to a beginning jazz student play a Victoria Poeta and Frank Marocco play a Victoria Poeta and still form some opinions on what it sounds like. I think Frank stated the Giuletti, Petosa and Victoria were all the best accordions he's ever played, and hell, he sure sounded great on all of them!
There's an incredible keyboardist named Jordan Rudess, from Dream Theatre among other bands. The guy can make anything sound incredible. It became the joke of the Keyboard forum whenever he would sponsor some new Workstation, Synth, keytar, etc. He'd pop into the forum or show up in some blurb or ad explaining why this new synth was the most incredible revolutionary thing to come out in decades. It became such a joke that when anything new was released forum members would comment "I'm not even considering it until I find out if Jordan Rudess recommends it" sarcastically.
I notice Dale sprinkling in a lot more Roland videos recently. Maybe to garner more customers for his Roland sets during the holidays. I haven't really heard him say anything one way or the other about the Korg vs Roland and his preference. He sells both. I consider him to be more of the grandfatherly non-technical basic accordionist and listen to his songs with that in mind. To his credit at least he's posting a video a day of the instrument and with little information out there it's nice to be able to at least listen to maybe a couple sounds you haven't heard before.
You can listen to a beginning jazz student play a Victoria Poeta and Frank Marocco play a Victoria Poeta and still form some opinions on what it sounds like. I think Frank stated the Giuletti, Petosa and Victoria were all the best accordions he's ever played, and hell, he sure sounded great on all of them!
I guess I am not familiar with the original ABBA recording of "Fernando". I am just responding to Alan's question about Dale Mathis' "rendition" of "Fernando". My reply was solely on what I thought of Dale Mathis' Video and the sounds/tones of the Fisa. I think I went down the wrong "rabbit hole".
I need some help Alan. What did you really want from me in your original question?
Ventura
Been here for ages!
Probably that when we choose a well known song with
a specific performance to filter through our accordion
(korg or otherwise) for the purpose of demonstration
one should at least "do justice" to the original song
that's easy for me to say, i know, but if you can't really
pull a tune off, maybe it's better to do something generic
or muzak-like so as not to distract from the point
intended to be made in the demo
strong songs that are in the collective consciousness
need to be nailed, or only played in the privacy of
ones own bedroom for personal fun
a specific performance to filter through our accordion
(korg or otherwise) for the purpose of demonstration
one should at least "do justice" to the original song
that's easy for me to say, i know, but if you can't really
pull a tune off, maybe it's better to do something generic
or muzak-like so as not to distract from the point
intended to be made in the demo
strong songs that are in the collective consciousness
need to be nailed, or only played in the privacy of
ones own bedroom for personal fun
Alan Sharkis
Prolific poster
Ventura
Been here for ages!
for example, among the first element focused songs i chose
for the original FR7 demo was
ancing Queen"
this took advantage of and featured how an accordionist
can feature a touch sensitive keyboard in a way
only available through the accordion, which was to momentarily
stop motion of the bellows when playing for the PIANO notes,
(and set the sensitivity so i had to hit the keys hard to get it)
then hitting the keys SOFTLY while squeezing to get the sound
for the rest of the song
no switching of shifts to distract them, just changing your sound
dramatically and purely through your attack on the keys
think of the songs first 4 bars, where you have a soft sound,
then on the 4th beat of the 3rd bar, the Piano has a signature
riff that literally wakes your ears up and sets up the rest of the
performance
and then, chording vocal harmonies is pretty easy with
ABBA, and hitting THEIR note spacing with THEIR timing just
makes all those little Girls still hiding somewhere inside all
these grown Women in the audience smile instantly..
they grew up singing along with those gems and believing them..
next thing you know the room is dancing and singing along
you just have to analyze it, feel it, nail it..
Waterloo can be nailed on an accordion.. even an acoustic
with strong straight tuning.. it is a Rock Power Chorded attack
from the first melody note.. you start with a 5 finger spread chord and
hit it just right under full power then continue with the full
spread chording through the first 8 bars..
5 fingers on almost every melody note then transition to octave
doubled down to "most peculiar way"
and the Bass line is just driving the whole time.. piece of
cake for an accordionist
will the audience accept hearing it nailed on an Accordion?
you betcha
the other one i like to do is "Take a chance on Me"
because it is actually perhaps one of their best loved,
most internalized lyrics for their fans.. instantly takes
'them back to their youth and core feelings and memories
you just gotta play it so your arrangement doesn't get in
the way of their memories
this isn't like Besame Mucho, which can have a hundred
different arrangements and performances..
c'mon tell the truth, even with classic Christmas Music songs
bombarding you constantly, doesn't the glut of new
artists getting put up by their managment to release
a christmas song, but it is just changed enough to be modern,
enough to be different, but not for the better.. merely to BE different
makes you cringe when you hear one, doesn't it ?
and if all THAT isn't enough to make you smile.. i mentioned Bananarama
the other day? Yeah i did it.. i used "Venus" to demonstrate the
echo effect available handily on the FR7
(remember the 3 knobs, reverb chorus echo instantly changeable)
Goddess on a mountain.. TOP TOp Top top (fading echo)
and again a Bass line that an accordionist can love !
not all of us love to play Pop music, but nailing whatEVER kind
of music you play, especially if it already exists in their heads,
is a worthy goal
for the original FR7 demo was
ancing Queen"this took advantage of and featured how an accordionist
can feature a touch sensitive keyboard in a way
only available through the accordion, which was to momentarily
stop motion of the bellows when playing for the PIANO notes,
(and set the sensitivity so i had to hit the keys hard to get it)
then hitting the keys SOFTLY while squeezing to get the sound
for the rest of the song
no switching of shifts to distract them, just changing your sound
dramatically and purely through your attack on the keys
think of the songs first 4 bars, where you have a soft sound,
then on the 4th beat of the 3rd bar, the Piano has a signature
riff that literally wakes your ears up and sets up the rest of the
performance
and then, chording vocal harmonies is pretty easy with
ABBA, and hitting THEIR note spacing with THEIR timing just
makes all those little Girls still hiding somewhere inside all
these grown Women in the audience smile instantly..
they grew up singing along with those gems and believing them..
next thing you know the room is dancing and singing along
you just have to analyze it, feel it, nail it..
Waterloo can be nailed on an accordion.. even an acoustic
with strong straight tuning.. it is a Rock Power Chorded attack
from the first melody note.. you start with a 5 finger spread chord and
hit it just right under full power then continue with the full
spread chording through the first 8 bars..
5 fingers on almost every melody note then transition to octave
doubled down to "most peculiar way"
and the Bass line is just driving the whole time.. piece of
cake for an accordionist
will the audience accept hearing it nailed on an Accordion?
you betcha
the other one i like to do is "Take a chance on Me"
because it is actually perhaps one of their best loved,
most internalized lyrics for their fans.. instantly takes
'them back to their youth and core feelings and memories
you just gotta play it so your arrangement doesn't get in
the way of their memories
this isn't like Besame Mucho, which can have a hundred
different arrangements and performances..
c'mon tell the truth, even with classic Christmas Music songs
bombarding you constantly, doesn't the glut of new
artists getting put up by their managment to release
a christmas song, but it is just changed enough to be modern,
enough to be different, but not for the better.. merely to BE different
makes you cringe when you hear one, doesn't it ?
and if all THAT isn't enough to make you smile.. i mentioned Bananarama
the other day? Yeah i did it.. i used "Venus" to demonstrate the
echo effect available handily on the FR7
(remember the 3 knobs, reverb chorus echo instantly changeable)
Goddess on a mountain.. TOP TOp Top top (fading echo)
and again a Bass line that an accordionist can love !
not all of us love to play Pop music, but nailing whatEVER kind
of music you play, especially if it already exists in their heads,
is a worthy goal
As our friend Jerry says, if there’s no video or sound file, it hasn’t happened!for example, among the first element focused songs i chose
for the original FR7 demo was
this took advantage of and featured how an accordionist
can feature a touch sensitive keyboard in a way
only available through the accordion, which was to momentarily
stop motion of the bellows when playing for the PIANO notes,
(and set the sensitivity so i had to hit the keys hard to get it)
then hitting the keys SOFTLY while squeezing to get the sound
for the rest of the song
no switching of shifts to distract them, just changing your sound
dramatically and purely through your attack on the keys
think of the songs first 4 bars, where you have a soft sound,
then on the 4th beat of the 3rd bar, the Piano has a signature
riff that literally wakes your ears up and sets up the rest of the
performance
and then, chording vocal harmonies is pretty easy with
ABBA, and hitting THEIR note spacing with THEIR timing just
makes all those little Girls still hiding somewhere inside all
these grown Women in the audience smile instantly..
they grew up singing along with those gems and believing them..
next thing you know the room is dancing and singing along
you just have to analyze it, feel it, nail it..
Waterloo can be nailed on an accordion.. even an acoustic
with strong straight tuning.. it is a Rock Power Chorded attack
from the first melody note.. you start with a 5 finger spread chord and
hit it just right under full power then continue with the full
spread chording through the first 8 bars..
5 fingers on almost every melody note then transition to octave
doubled down to "most peculiar way"
and the Bass line is just driving the whole time.. piece of
cake for an accordionist
will the audience accept hearing it nailed on an Accordion?
you betcha
the other one i like to do is "Take a chance on Me"
because it is actually perhaps one of their best loved,
most internalized lyrics for their fans.. instantly takes
'them back to their youth and core feelings and memories
you just gotta play it so your arrangement doesn't get in
the way of their memories
this isn't like Besame Mucho, which can have a hundred
different arrangements and performances..
c'mon tell the truth, even with classic Christmas Music songs
bombarding you constantly, doesn't the glut of new
artists getting put up by their managment to release
a christmas song, but it is just changed enough to be modern,
enough to be different, but not for the better.. merely to BE different
makes you cringe when you hear one, doesn't it ?
and if all THAT isn't enough to make you smile.. i mentioned Bananarama
the other day? Yeah i did it.. i used "Venus" to demonstrate the
echo effect available handily on the FR7
(remember the 3 knobs, reverb chorus echo instantly changeable)
Goddess on a mountain.. TOP TOp Top top (fading echo)
and again a Bass line that an accordionist can love !
not all of us love to play Pop music, but nailing whatEVER kind
of music you play, especially if it already exists in their heads,
is a worthy goal
Alan Sharkis
Prolific poster
Take a look at my reply to Dak, but first listen to the ABBA version.
