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burningbusch

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Everything posted by burningbusch

  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.
  16. Does the action have a heavier feel on the 88? I have the Montage 8 and wish it were heavier. Busch.
  17. Looks very nice. I like the CS80 colored tab switches! More detailed information can be found here: http://www.easysounds.eu/MusicProductionGuide_2019_01_EN.pdf?fbclid=IwAR0GMvmsuB9OVyUyBXNGPu7Cd4z8Qzq6VQCQvsCqkIulE4EwR4gwY2shci4 Busch.
  18. A few observations about the Montage/MODX after I've been programming for the last couple of months. Let me compare it with the Kronos, which I know well. Talking now about working within the Program structure. With the Kronos, everything is pretty much at max. The amp section, by default, is maxed. So too are the output(s) of the filter(s). If you use an EQ, there is an option to lower the output gain (in the case where you raise a band into distortion) but no way to raise it above 0db. In fact, the Kronos has so few options for raising gain that often your only recourse is to employ the compressor trick where you insert a compressor, set the ratio to 1:1 and then raise the output gain. It's relatively hard to drive the Kronos into distortion though it can be done with the amp sims, for example. In contrast, the Montage/MODX offers many opportunities to increase gain within the Performance. Within the Element (I'll leave out the obvious things like amp gain): - The output of the filter is 230 by default but can be increased to 255. - The output of the element (Element EQ) can be boosted by 6/12/18db. In the Common section for the Part: - The Output level (post-EQ) can be raised by as much as 12db. - Many FXs allow the boosting of gain. For example, the VCM EQ 501 allows +/-12db. You, of course, have the overall volume of the Performance and this could very well need to be lowered from 127 if the internal output stages of the Elements/Parts are boosted too much. In short, Yamaha provides many places where gain can be increased and it becomes much more of a balancing act than with keyboards like the Kronos. I personally welcome it, though it's a bit more work. Regarding the +6/12db boost at the Main Outputs, you can balance that with the setting at Utility-->Settings-->Sound-->Volume. So if you're getting distortion at +6db, try lowing that volume setting a bit. It can get you somewhere in between 0 and +6db. I agree that the APs are quite hot and kind of throw off the balance of the other instruments. Easier to pull them down a bit than to try to bring everything else up. Busch.
  19. Reminds me A LOT of Serum. The presets don't knock me out like Serum, but I do like some of what I've heard, in particular, the tails on the some of the pads. Nicely programmed. At $69 I'll probably do it. Actually glad it's not another vintage recreation. The UI is VERY good, IMO. The visuals look great and provide very useful real-time information. A modern, clean look from the king of skeuomorphism. Busch.
  20. Ran across this tidbit today. In each year that Pete Carroll coached the Seahawks, they had one game that ended in a score that's never occurred in NFL history. Yesterday it happened again. 2010Seahawks 36, Cardinals 18 2011Seahawks 36, Giants 25 2012Seahawks 58, Cardinals 0 2013Seahawks 43, Broncos 8 (Super Bowl XLVIII) 2014Seahawks 36, Packers 16 2015Seahawks 39, Steelers 30 2016Seahawks 37, 49ers 18 2017Seahawks 46, Colts 18 2018Seahawks 43, 49ers 16 https://www.seahawks.com/news/seahawks-continue-ridiculous-unique-score-streak-with-43-16-victory-over-49ers?fbclid=IwAR2tZkvHz0DJYbWCLujFn2VYk5VkcPRwbNzd2UUHp49MFvJqNYsM3WquN7w Busch.
  21. Man, that's nice. I wish they had that kind of stuff when I was growing up. Busch.
  22. A little under 20% of the $177 million cap goes to Rodgers. Busch.
  23. FYI, this issue has been fixed in the latest release of the Montage Waveform Editor. http://www.jmelas.gr/montage/wave.php Busch.
  24. Glad someone is making this option available for players doing solo or light combo gigs. Designed to work with the Sequenz stands but can be used standalone or placed on top a slab DP (6" depth). https://sequenzmusicgear.com/en/products/lineup5/#sonicbar Busch.
  25. That might be related to touch screen calibration - or not. See: https://www.yamahasynth.com/forum/montage-touch-screen-doubling-my-touch https://www.yamahasynth.com/forum/touchscreen-debouncing-problem-still-in-os-2-0 Thanks. I tried the suggestions and it seemed to help some, but did not completely alleviate the problem for me. Busch.
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