Which is high praise, from a reviewer and synth aficionado, who is quite prepared to tell it how it is. His main con isIt looks and sounds gorgeous.
As Gordon points out, that could be a potential issue if you are playing several boards on stage and like your keys lined up and "trained pianists are at risk of playing ninths instead of octaves". That is something I will need to look closely at, as I want my EX5 replacement to complement my Kronos and I don't want playing issues as a result of different key sizes!The Montage 6 and Montage have slightly narrower Keybeds than standard.
And his final con is:
Like myself, Gordon makes the "half an FS1r" comment on FM-X, and in his summing up he draws the point that the Kronos is likely to be the direct competition, and on a "features per pound basis" this is where the Montage runs into difficulties. Montage: AWM and FM-X; Kronos 9 sound engines (HD-1 and MOD-7 closest to Montage engines), KARMA , digital IO, sampling and full audio/MIDI sequencing package - and the Kronos is cheaper.It's not cheap - and neither should it be - but it may be a bit too pricey.
Gordon then makes the point that for some the sound generating capabilities (and difference in engine count) will be irrelevant to some, but it matters to me as when you have heard (for example) modelled EPs and organs, you will not want to play a sampled one, and we of course lament the languishing Yamaha AN, VL and FDSP technology.
Price is then mentioned several times in the wrapping up, along with the keybed size issue which prevents this excellent synth from getting an unreserved thumbs up.
So, interesting that the first pro review I have seen is echoing the general points we have been discussing.