I had a chance to spend a little time with a CP73. Some observations:
* Cool "hidden feature": A Live Set includes not just all the currently selected sounds and settings for each of the three sections (whether those sections are enabled or not), but also all the currently selected sounds for each inactive category within those sections. So, for example, if your Live Set #1 includes your favorite Rhodes sound (selected in the EP section), the memorized EP section settings can also include your favorite (unselected) Wurli, Clav, and DX sounds, each in their respective categories (albeit not with different fx settings). Extending this concept to all three sections, this means that your Live Set #1 can include 12 of your favorite sounds, all available almost instantaneously via dedicated, labeled front panel controls. You have nearly instant access to your favorite Grand, Upright, CP, Layered piano, Rhodes, Wurli, Clav, FM EP, Pad/String sound, Organ, Chromatic Percussion, and one Other.... and all largely splittable and layereable with each other (for up to one sound in each section). All from within a single Live Set, without any scrolling or menus, and if it's your first Live Set, without ever so much as having to hit a single "unlabeled" button. Just turn the keyboard on, and a few seconds later (it boots fast!), you'll always have those 12 sounds of your choice, instantly available from their clearly named controls.
* Thank you to Counterpoint and Chazkeys earlier in this thread for the tip about how to turn off sustain pedal on a split bass sound (or organ, whatever). And btw, the appropriate setting is savable per patch. Related... overall, the manual is pretty good, but boy, some valuable information like that is well hidden.
* Things that I'd like to see improved:
... DIRECT PATCH NAVIGATION: I'd like an alternate way to directly navigate to Live Set banks instead of only being able to scroll through them with the plus/minus buttons or wheel. For example, there could be a shortcut where some other button (like Transpose)--which currently disables the 8 Live Set selection buttons entirely--instead allows you to use those 8 Live Set buttons to directly navigate to any of the first 8 banks. (Ideally, you could even use another button to get to banks 9-16.) Then we could get from a sound in Bank 1 to a sound in Bank 8 without having to hit the plus key 7 times (or do a long wheel scroll). It's also good to have an "absolute" button combination to get to a particular sound every time, no matter what sound you're on, as opposed to the current method where the buttons you have to hit to get to a sound are relative, i.e. vary depending on the location of your current sound. Also, it would let you navigate to patches even if you could not easily read the display, which could be an issue for outdoor gigs, or if it's the bottom board of a stack where the board above may be impeding easy visual access to the screen, or if the player is visually impaired.
... MIDI ZONE VOLUME CONTROLS: While the 4-zone Master Keyboard function looks nice, there's no way to adjust the volumes of the zones on the fly, which is a nearly-essential function on a controller. I'd again suggest a re-purposing of a button to alter the operation of other controls (since we obviously have to work within the controls that already exist). So, for example, we could again use something like the Transpose button, and while that button has been invoked, the first four endless rotaries along the bottom (Piano Volume, Piano Tone, EP Volume, EP Tone) would function instead as volume controls for the 4 zones. Or instead of those knobs, another approach could be to use the square section of 4 endless rotaries in the EP Effects section (Depth, Rate, Depth, Speed). But if you're buying a board in part to make use of its external zones, you probably really want some quick way to adjust their volumes. (And maybe doubly so if the board also doesn't include ways to turn the zones on and off on the fly.)
... SEAMLESS TRANSITIONS BETWEEN SECTIONS: I was dissapointed that the seamless sound switching philosophy did not extend to switching sections off with the silver toggle switches. For example, within a single Live Set, if you want to switch from your Piano category sound to your Sub category sound, while you can turn on the Sub section in anticipation of what you're about to play there, your Piano sound will unfortunately cut off as soon as you turn that section off, instead of letting any existing held/decaying notes continue to fade naturally. (OTOH, a pleasant surprise was that seamless switching DID work within sections. So for example, you could be playing Rhodes, hold a chord, turn the knob to Wurli, and your Rhodes sound will not cut off. Excellent!)
... SOUNDS: In terms of sound updates, there are just a few sounds that I think are still missing in terms of covering most "common" sounds... I'd like to see trumpet, sax, banjo, and violin/fiddle. Those last two are near-essential "bread and butter" sounds if you ever get called on to do country. For a "cover most typical territory" board, I think these four are the common sounds that are most conspicuous by their absence. Other than that, the purist in me says that a top tier stage piano (and somthing competing to some extent with the equivalent Nords, Korgs, Crumar and Viscount) should at least have all 4 clav pickup positions (and preferably a mute bar and EQs and release samples), though in day-to-day gigging, I'm sure lots of folks would find the 2 clav sounds provided to be adequate.
... EDITING INACTIVE SECTIONS: Unfortunately, any section that is not active cannot be navigated/viewed. So for example, let's say you're playing piano, and on a whim, you decide you'd like to switch to organ at the next verse. Since you haven't set it up beforehand, you'd want to dial up the organ sound in the sub section. BUT... you cannot dial up the organ sound without activating that section, and thereby making it audible with whatever sound happened to have been last selected. What I'd like to see would be that hitting (for example) the big colored Voice Select switch in a disabled section would bring that section to life in a silent mode, where you wouldn't hear it, but would be able to select the sound/settings you want that section to have. (Perhaps the red light next to that section's On-Off toggle switch could flash to indicate that it was in a "pending" state.) Then you could, in this case, move the rotary knob to Organ, select the number of the organ sound you want, and then, when you're ready to play it, hit the toggle to fully (sonically) enable that section.
... TRANSPOSE: The Transpose function does not affect the MIDI Out. So if you transpose down a whole step to accommodate a singer, and you have an external device connected for additional sounds, the internal and external sounds will be playing a whole step off from each other. There is very little need to be able to transpose the internal sound without transposing the external sound, so this would appear to be a bizarre design choice, making me think that, somehow, the board's architecture must have forced them into it. And in fact, the manual specifically states, "NOTE: This setting does not affect the MIDI output data." So this isn't a bug/oversight, they are well aware of it, and of the fact that people could find it to be an issue, and it hasn't been addressed in the updates either, all of which leads me to believe that it could well be unfixable. So for anyone thinking of supplementing this board with VB3m or B-3X for organ sounds, remember not to use the Transpose function when your patch includes that organ sound...
... DATA ENTRY: Incrementing/decrementing something with the data entry knob to the left of the screen is a little irritating when there are perfectly good plus and minus buttons directly below that do absolutely nothing when on screens that could really benefit from quick plus-and-minus controls, like Transpose. Touch would benefit, too, along with various menu settings.( And actually, related to this, when bringing up a menu, instead of having to scroll through the items, it would be nice to also be able to hit a button, i.e. hit the "Live Set 3" button to choose the third item in the menu.) Wheels are good for navigating through large lists, but buttons are quicker and more comfortable to use compared to scrolling a wheel just a little at a time.
Overall, I really like the basic ergonomics and aesthetics. Operationally, it may be the most "fun" stage piano I've played. But like everything, it has its strong and weak points. Most notably, while lots of people seem to really like the action, it just didn't connect for me. I thought it felt kind of "dead." And oddly, even though it is by no means a heavy action, it sometimes felt like a bit of a struggle to play. I think maybe because the lack of FTEC was prompting me to try to compensate by playing harder (even with Touch set to Soft). In this type of board, I found the SV1/SV2 to be much nicer to play. I'm curious to check the feel of the 88 some time, though it would be too heavy for me to regularly cart around (as the SV1/SV2 is as well, even in its 73 key version). In comparably lightweight boards that could similarly serve as a nice "lower," I prefer the feel of the Kurzweil PC4, the Vox Continental, and some Casios. But actions are very subjective, and if this one works for you, there's a lot to like in this board.
Well I thought better of it because It is discontinued from fender along will all of the support, so I cancelled it. Tuesday a trip to Guitar Center to see what they have in the $500 price range for a grab and go amp with efx and channel switching.
O However, my original point stands - I think expensive workstations may be on the decline simply because music styles are changing, and the "producers" and "musicians" fueling what's left of the music industry don't need them, or at least they don't need the kitchen-sink of features. Actually, the goal in designing my laptop system way back then was to recreate the functionality of a workstation keyboard – only with a laptop I can throw into a backpack and a small controller that's easily carried with one hand.
lots of big truth there.
There are 20 million SoundCloud creators .
99% of them use loops, vocal, their laptops similar to what you say.
I might be the only one using a Kronos for my originals on Soundcloud.
1 in 20 Million.
Thanks for highlighting what I was eluding to. I do think that production changes, younger people’s habits will have an impact on where the workstation developers spend their resources.
It would beinteresting if Jack would be adopted, because of it's sample accuracy, preferably with Jack Midi as well, which would ha similar functionality when coupled with a network Audio/Midi interface with provisions for error checking and the option to trade some network latency for getting a proper Tcp connection instead of Udp. Time stamps with proper relative timing data with respect to one master clock being available and synthesizers Midi interfaces using sample accurate Midi timing would be great as well.
I know a guy here in Hungary that does Jerry Lee Lewis tributes. At outdoor gigs he gets a beatdown piano shell from somewhere, puts an almost as beatdown old DP in it, and at the end of the show he proceeds to pour lighter fuel on the shell, light it on fire and dance on top of the burning piano.
I'm with you Craig, I don't get it. I'm a "buy really nice stuff and try to keep it mint" guy. The musicians I know are all playing real vintage stuff that looks worn because it is, or are playing clean gear. Maybe people are buying them for decoration, wall displays, etc. Most pianos are "PSO's" (Piano Shaped Objects) meant to show visitors your good taste and fat wallet. Apparently a large percentage of Steinways go into homes to be "statement" furniture and not to be played daily. I suppose I really am the opposite of the "fake vintage" since I'm generally not even interested in real vintage stuff. I'm more curious about what is the best available today, and what sounds can be made with that vs. recreating something from the past. But it's just an aesthetic choice on my part. There are certainly producers and musicians who get hired because they can make some historically informed sound correctly. I'm not sure these relics actually help with that, though - they just look the part.
I came across another CTS1 demo, which I watched. Pardon me if I missed something. I'm thinking these portable lap keys would benefit from pairing with rechargeable Bluetooth speakers. I looked at the CTS-1 pdf manual and couldn't determine this. I'm just a piano player, not a MIDI/technical type.
Bluetooth out ? I'm thinking of something like a Bose S1 Pro. Small PA type speaker.
I have a small roadcase (19" wide) but half depth, that has the Behringer XR-16 in it. The NUC and the Presonus Studio 24c (if needed, as the audio out from the NUC is very good quality!) will be mounted on a tray above it. The box is just a ten unit rack so it is quite compact. I'll post some pics when I get it ready to go.
Display planned is an Eyoyo 13" Touchscreen. Still unsure if it will work 100% but from the info I have read it SHOULD! (hahaha famous last words!)
I'd get the Behringer p2 and have the mixer go into that. Works on AAA battery, can take 1/4 or XLR (iirc, I use a TRS cable) and you'll have a handy volume control at your belt. Very cheap too. Can be either stereo or mono, there's a little switch under the outside cover. I've used mine for something like 100 gigs.
Caveat, I'm not positive of the limiter quality, I only paid 39 bucks for the thing
I would suggest Mainstage for your first foray into this. Spend the $39. It comes with an excellent sound library and you really can dive very deep into editing. Also, the Autosampler is very good. I have sampled some of my hardware into it to use in Mainstage concerts.
Gig Performer is also wonderful, especially if you use a lot of intensive third party (non Apple) VST's
I'm not a fan of Camelot Pro .... yet.
I personally use both Mainstage and Gig Performer. Depends on my mood I think GP has better scripting for complex stuff, and it handles heavy duty VST's. Keyscape, Kontakt, PianoTeq etc.. all behave nicely together in Gig Performer. However, my new Mac Min M1 machine is handling all those and more without breaking a sweat. I'm still in testing pahse with it. My main gig machine is a 2018 MacMini running the latest MacOs and latest Mainstage and Logic Pro.
Black Lion Audio PG-X Power Conditioner/Power Supply for my rack. The Radial Power-1 unit I had pre-ordered on March 1st isn't expected to be shipping until the end of May now, so that's not an option for me. Cancelled that order, got one of these instead. Only 9 outlets instead of 11 though, so I'll have to supplement it with something else.
If you also do lap steel or other electric or semi-electric instruments, or even some lower-level bass, the '57 Bassman LTD from Fender is a light 4x10 that has a good full-range sound that is versatile for many instruments.
I'bve been using the Blues King 8 with the lap steel. Sounds pretty damn cool to me...but I can barely play the thing, so what do I know.
I just looked that amp up, it sounds like MY kind of tube amp. That is true Class A, no matter how loud you turn it. If you gigged it, you could just bring along a set of spares and be back up and running in no time should a tube fail. AND, I bet it gets louder than anybody thinks it will if you put a high quality cast frame 10" or 12" speaker to service.
You might dig the Fuchs Lucky 7; one single solitary EL34. I have a Lucky 7 head. I put a NOS late '60s Tesla EL34 in mine, along with a Sovtek 12AX7LPS 'Driver' in V2. (The amp uses all of three tubes, including the Output-Tube.)
I also keep a Russian-made Tung-Sol "Reissue" 12AX7 in V1 that seems to be "magic", in that it gives up the most BEAUTIFUL blooming harmonic-overtones and musical, harmonic feedback when the amp is cranked (I've tried a number of other excellent 12AX7's and ECC83's in V1- including a particularly low-noise, excellent and warm sounding Ruby 12AX7AC5 HG+ ("High Grade Plus")- and none quite do the same). That Tung-Sol RI is SWEET.
An EL34 in single ended Class A is going to put out a LOT more volume than a 12AU7. My friend's "Prank Champ" with the 10" speaker is WAY louder than I like to play - a 6V6 is more like an EL84 with the EL34 being closer to a 6L6 in output.. I just looked up the Fuchs Lucky 7, it is 7 watts. The Supro is 1 watt. Big difference in total volume, Fuchs will be around twice as loud.
That little Supro is using a preamp tube for an output tube - shades of the Hughes and Kettner Cream Machine. It should be loud enough when turned up a bit and get that authentic "amp up loud" tone. Really depends on the output transformer though, if they used a tiny one then it should scream.
I've made quite a change from the days of gigging with a Mesa Mk III head on top of a Vox 4-12 cab with 2 EV and 2 jBL speakers. I cannot risk further hearing damage at this point Fuchs makes great stuff though. Unfortunately, I don't have a budget for such goodies if I wanted them.
I've been happy going "tubeless" for several years now, it's time to test all my vacuum tube stash and flip out of those and the last 2 tube amps, which sit unused on a shelf in the closet. I won't miss them to be honest.
400k as a compressed JPEG? How many pixels x pixels are they? That's the true size, the "file size" is meaningless but pixels are pixels.
Photoshop has some excellent tools for enlarging photos using AI to add pixels. It the detail is not there, it still won't be there. Without the quality meeting standards you may be able to make the images larger but they won't have value in the commercial sense.
From a distance, images can be pretty low resolution and you won't see it. Billboards are often between 9 and 25 pixels per inch. They look just fine as you are driving by. Usual process is to select quality photos and downsize them for the billboards only. Then the photos can be used in the rest of the campaign - magazines, television, etc.
Running midi from and audio back to the same board causes some kind of ground loop.
This is what I really like about what Yamaha has done with their newer boards. I get midi and audio both over usb, sounds great and I have a volume control for it. As a bonus, I have a different volume control for the external ins, and I'm planning to run my other synth in there. Testing has gone well so far, I wish there was a bit better gain monitoring but I just need to be careful. So I'll have three sound sources (MODX, synth, ipad) and no need of a mixer, if all goes well!
It's quite literally the feature that has changed my mind (so far) about moving on from the MODX and getting a Nord Stage. While a Stage would surely be great and convenient, what I have right now is a fair bit cheaper as I already had the ipad.
Its cool they’re addressing this major pain in the butt - looks like a decent effort to tie all types of MIDI devices over Bluetooth.
The new device is designed for USB MIDI devices, thus the ‘U’ in WIDI U-Host. The original WIDI Master was designed for MIDI DIN devices, but it left USB MIDI devices out of the loop. Will be nice to have a solution for all MIDI devices over Bluetooth. We will probably need to get a U-Host for each USB MIDI device (e.g. computer, keyboard, controller), especially for the computer, to get the full low-latency benefits.
The big selling points for me (if true): 1. Can directly connect 2x or more USB MIDI instruments with 3ms latency. 2. Bypasses high-latency Bluetooth polling interval in computer OS. 3. MIDI Thru / Merge over Bluetooth
I don’t think I did, if you were referring to playing regular major7th and 9th chords. But I still don’t follow what you then meant when you said, “That takes care of the Bb when we slash it”.
If we play the root note of a Maj7 or Maj9 in RH, it tend to clash with the defining 7th note sonically. This practice used to be a taboo in Classical music and aren't often used in the Jazz Ballads I listen to either.
Short of the root note in RH, when we turn a maj7 or maj9 chord into a slashed chord like Bbmaj9/G, it "slash"s (hence the pun) the remaining occurrence of the root note from the voicing, thus avoiding the risk of sounding minor as you pointed out.
With that said, there's no law or theory prohibiting anyone from playing the root note of a maj7 or maj9 in RH. It's just my preference and the reason why I qualified my comments with "as far as I'm concerned." and "when it comes to maj7 and maj9".
It's all part of my habit of finding commonality among chords, which helps me a lot in analyzing harmony functions and practicing re-harmonization. Here's another one of my favorite: Im6 ~ II11b9 ~ bIII6b5 ~ IV9 ~ VIm7b5 ~ VII7#5(b9).