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burningbusch

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About burningbusch

  • Birthday 11/30/1999

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  1. Rhodes and Wurlies are inherently mono. They all sound perfect in mono and gain nothing from being run in stereo. Only the Rhodes "stereo vibrato", which alternates the signal to two outputs, can be considered stereo. The tremolo effect on the Wurlitzer is mono. Most of the traditional pedal FXs used on these EPs were mono (phasers, chorus, wah). You can gain some slight sonic excitement with a stereo chorus vs mono, but it's hardly necessary. I have no idea how un-effected stereo Rhodes should sound. ALL Rhodes/Wurly emulations should sound absolutely fine in mono though some heavily effected programs might require re-programming of the FXs. The Hammond output too is mono. Many older recordings of Leslies were done in mono and sound completely acceptable. Leslie emulations are hit and miss as to how good they sound in mono. The acoustic piano is a completely different animal with greater sonic complexity which shouldn't be placed in the same discussion as these electro-mechanical instruments. Busch.
  2. https://reverb.com/item/18874564-dominicus-pisaurensis-1543-reissue-custom-clavichord-from-kit-table-top-harpsichord-sounds-great Busch
  3. The partying hasn't stopped for the Patriots. https://deadspin.com/patriots-owner-bob-kraft-charged-with-soliciting-prosti-1832807440 Busch.
  4. Jerry for the win! "Jason Miles is listed as "programming" which presumes synth but only Marcus Miller is listed as keyboards." Busch.
  5. Also, this came out in 1992. The M1 had a pretty so-so vox pad as I recall but there was nothing on the level of what we have today. Busch.
  6. Sounds like synth choir patch to me. Despite Rickys purported recollection, I hear a synth/voice pad at boldface 4:08. So, Im down with OP...and I really like this record. I assume we're talking about the C-A-G, Ab-Gb-F line. Here's a listing of all involved in the album. Chris Albert Assistant Engineer, Engineer Chris Alberts Vocals Don Alias Congas, Percussion, Vocals Becky Anderson Vocals Dave Bargeron Trombone, Tuba Art Baron Trombone Randy Brecker Guest Artist, Trumpet Susan Brown-Silag Vocals Chris Bruce Guitar Hiram Bullock Guest Artist, Guitar Steve Byram Artwork, Design Barry Campbell Vocals Shannon Carr Assistant Engineer, Engineer Manny Castillo Vocals Crispin Cioe Sax (Baritone) Eric Clapton Guest Artist, Guitar, Soloist Ornette Coleman Composer Joe Cuba Composer Luther Dixon Composer Cornell Dupree Guest Artist, Guitar Joe Ferla Engineer, Mixing Steve Ferrone Vocals Laurie Frink Trumpet Bob Funk Trombone Ava Gardner Vocals Earl Gardner Trumpet Lynn Goldsmith Portraits Bibi Green Production Coordination, Vocals Stan Harrison Sax (Alto) Steve Harrison Sax (Alto) Arno Hecht Sax (Tenor) Steve Jordan Drums, Timbales, Vocals Steven "Steven J." Jordan Composer King Curtis Composer Robert Lewis Photography Tommy LiPuma Vocals Paul Litterall Trumpet Bob Ludwig Mastering Jason Miles Programming Marcus Miller Arranger, Bass, Clarinet (Bass), Composer, Guitar, Guitar (Acoustic), Guitar (Bass), Horn Arrangements, Keyboards, Producer, Vocals William Patterson Guitar (Rhythm), Vocals, Wah Wah Guitar Ricky Peterson Composer, Organ (Hammond), Piano Lenny Pickett Arranger, Horn Arrangements, Sax (Tenor) John Purcell Flute (Alto), Sax (Tenor), Saxello, Saxophone Herb Robertson Trumpet Jimmy Sabater Composer David Sanborn Composer, Primary Artist, Sax (Alto), Sax (Soprano), Sopranino, Vocals Art Smith Drum Technician Richard Tee Organ (Hammond) Uptown Horns Arranger, Horn Arrangements Naná Vasconcelos Percussion Michael White Assistant Engineer There are a number of vocalists so it certainly could be that. Jason Miles is listed as "programming" which presumes synth but only Marcus Miller is listed as keyboards. From a review at All Music: "Directly following his adventurous Another Hand, some listeners were disappointed with the fact that David Sanborn did not permanently switch from R&B/crossover to creative jazz. However, Upfront is generally quite appealing and takes some chances within its genre. Although bassist Marcus Miller is once again an important collaborator, the emphasis is on "real" instruments, most notably the organ of Ricky Peterson." Busch.
  7. Reasonable price. Listed as mint. Seller seems OK. https://reverb.com/item/18769638-roland-rd-64-black Busch.
  8. Oh, i thought the EPs are new samples...? And from what i hear in the demos, they sound different... (?) I didn't do an in-depth side-by-side comparison, but they sounded and felt very similar to my MODX. Since the CP-1, Yamaha has been using, for the most part, a naming of the Rhodes using dates. For example, the CP-1 included: 71Rd I 73Rd I 75Rd I 78Rd II Dyno AFAIK, these are all present in the CP-5 and CP-4 The Montage/MODX has all the original "small" sampled Rhodes from the Motif/S90 series PLUS two named RD Soft (five velocities) and RD Hard (four velocities) respectively. In addition, there are two sampled versions, apparently, of the CP-1/4/5 SCM Rhodes named Rd73 and Rd78. My ear tells me Rd73 and Rd78 are possibly re-samples of a CP-1 as you can hear some of the SCM elements in the lowest velocities that don't sound like an actual Rhodes but more like a re-sampling. I certainly could be wrong. Regardless, they sound very familiar to the CP-1/4/5. The new CP88/CP73 only list three: Rd78, Rd75, Rd73. As these are purportedly sampled, I think they might be close to those sampled versions on the Montage/MODX. Busch.
  9. Thanks for the kind words above. I'm really anxious to get back into working with the Forte especially given this update. What a great instrument. Busch.
  10. Wake me up when the Montage has a VA, B3 clone, twice its current user flash, a 16-part sequencer, and a programming environment 1/4 as powerful as VAST. Busch.
  11. Don't know if everyone can get to this link, but here's the video from Facebook. https://www.facebook.com/kurzweilmusicsystems/videos/2180426728645066/ Busch.
  12. Neither the Rhodes nor Wurly 200A utilize key weights (I'm positive on the Rhodes and nearly positive on the Wurly but mine isn't set up at the moment). The keys are just wood, so they will have uniform weight throughout. The hammers of the Rhodes (neoprene, not Sparkletop felt) are virtually all the same and there's no appreciable mass difference. The 200a does use somewhat more massive felt in the bass vs. treble but I don't think it makes much of a difference in the weighted feel of the keys. The dampers on both pianos are uniform across all keys, as I recall. So, there's a big difference between these actions and an acoustic piano. They are much more balanced and I believe the CP73 is going to incorporate the balanced action as found in the Montage 8. Also, the bounce you find with the Rhodes is the result of the lack of back check, an important part of an acoustic piano action. Busch.
  13. In related news, I've decided to postpone my upgrade to Komplete 12 due to needing more time. Does look nice. Busch.
  14. My god, what kind of miracles do you expect from these companies? Busch.
  15. The EPs on the Montage/MODX sound VERY similar to the CP1/5/4 to me (and are named similarly), and those are sampled. My thought is they sampled a CP-1 or derived the samples from the original sampling/recordings which became the SCM EPs. Busch.
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