timwat

August 21

To the original poster:

88 weighted keys is very helpful, that provides a starting direction for recommendations.

Some other questions that will help narrow things further:

1) desired price range - including maximum price you want to pay

2) does it need to have built-in speakers, or does your dad prefer to plug into an amp or similar for sound

3) any other mention of features, selection of sounds, built-in drum rhythms, or anything else you can tell us about product elements

4) does he intend to move it around, and is there a maximum weight that would be ideal

5) what kind of music does he play, and do you know the make and model of the keyboard that just broke

I realize there's a time element to making his birthday, any info you can provide will help us point you to possible options.

I don't personally hang around on this forum that much these days, but certainly regular members here can use your responses to the questions above to offer up suggestions and advice.

Best of luck to you in your search, and big ups to you for going through the effort to make your dad's birthday special, doing research, and finding your way to this forum. I wish every son was as thoughtful.

Tim

June 29

It may be time to replace my 1st gen iPad Pro 12". I dropped it, glass is cracked, but the screen protector is keeping it functional for now.

Before I dive into what the various generations provide (speed, headphone jack or not, etc.), I'm curious if some here have already done the comparison shopping.

I need a large screen for vision, but don't necessarily need to stick with 12". While i use it for charts and sheet music, if the CPU is fast enough would be interested in hosting Korg Module or similar as a sound source as well.

Any guidance on the different generations...which are viable music devices, which should be avoided, and such?

Tim

May 30

In no particular order:

protect your hearing. All the practicing and chops in the world won't help if you can't hear. Unless you're Beethoven. And chances are you're not and neither am I.
drink less. The presence of one thing in a man's life predicts unhappiness better than any other factor: alcohol
be curious about music you don't like. don't give in to the peers who suggest certain music sucks. keep your personal ears open and curious and be humble to grant there may be something to learn in that strange awful noise. or, it might be crap. but give it a fair shake first.
become proficient in styles and genres you aren't...yet.
stay reasonably fit and put on a decent amount of full-body muscle. Another very large predictor of overall health in old age.
practice regularly. a professional appreciates the privilege of practicing their instrument for hours at a time. an amateur sees it as a duty, not a privilege.
take lessons from a competent teacher that you connect with (for some of the things you've mentioned, and some of the things on this list).
learn good fingering fundamentals (or relearn them). Some of this only comes from classical piano repertoire (in my experience).
get good at relating to, connecting interpersonally, and having friendships with younger musicians...as human beings.

Might be a redundant or stupid list.

But my 0.02

May 26

For whatever it's worth, I think a versatile working keyboard player should build this into their toolbox of things you can do. There's a list, I suppose, which might include:

1) Learning most of the common wedding dance songs as autopilot

2) Being able to play LH bass without making it a train wreck

3) Copping a competent string line and brass part

4) Being able to accompany a singer

Lots of good advice already. I'll add a different comment - what the journey may look like for anyone starting out. I think many go through phases or seasons.

You start out terrified at how naked and exposed it feels. You will be anchored to a single approach to the tune that you labor over, and will feel handcuffed to it and cling like a safety blanket. You will end every song feeling like the least capable piano player in the world, and everyone is either laughing at your playing silently or pitying you. You feel bad for the singer having to end up tolerating your playing.

But eventually after many gigs, you begin to realize everyone isn't paying attention to your shortcomings (and you being handcuffed to an arrangement). You notice that when you accidentally play less, it actually is a positive thing for the song. The singer occasionally complements you on a song here or there. You start to enjoy playing three or four of the songs, and you start to look forward to seeing them on the hit list. And you start to feel ownership of your role.

Along the way, you happen to hear some recordings of what the pros play behind great singers. It's humbling, yet inspiring to hear how differently they approach intros, verses, choruses, their 16 bar solo, and how they land the plane. You're not able to do what they play...but it opens your eyes and ears to what is possible.

After a while, you start building a larger and wider vocabulary. Not just of licks and devices...of perspective and approaches and big picture stuff. You start taking more chances, introduce more reharms, try to leave your mark on tunes.

Anyway, I think that's how the journey has gone for some of us, and the way it might go for you too.

But you have to take the first step and start walking down the path.

My 0.02

May 22

Consider that some of us of a certain age are not familiar with some of these artists. Then consider that whomever Apple had compile their list may be of a certain age to not be familiar with the Rolling Stones, Steely Dan, David Bowie, Pink Floyd, George Strait, or...well, many artists prior to a certain decade.

One can only render an opinion on music one has actually heard. Apple's is an obvious case of recency bias.

May 22

While the strategy for convincing a decision maker will depend a bit on the type of venue, IMHO these days it would be a huge advantage to have a small loyal following (or at least the perception of one).

What I mean by that is try to put yourself in the shoes of the booking decision maker. What does he/she care about most? Bars? probably selling drinks. But other venues? Depends on the venue. Here in my neck we have genre-focused clubs, theaters that also host live music, wineries, tasting rooms (not specifically beholden to one winery), community centers, etc. Each will have their own focus, concerns, etc.

When I say "perception of a following" means evidence (photos? videos?) of what looks like a large loyal appreciative audience that you can show them. Yes, it may be all family and friends and you had to pay 3 uncles to show up. But they sure look enthused in the iPhone video. that goes a long way toward building hope that you'll pull a decent draw at their house. We used to think that was the venue's shared responsibility - they have the marquee don't they? But more and more decision makers don't see it that way, and they're the ones you're trying to convince.

So actually building a following (not just the perception) - that's the full time job of the originals project, isn't it? If you're not enthusiastically selling it, why would anyone else care about it? Just a related thought and maybe that's stupid on my part.

I'm also in favor of professionally produced materials - handbills, photos, tunes you can provide links to, thought out marketing reach - not because everyone is impressed by that stuff (some are, some not so much). More so because it shows deliberate effort and some level of commit and willingness to spend resources, which implies you're serious. That's not everything, but it can separate you from the sea of not-really-serious-lacksadaiscal-effort types.

Finally, I found with my originals project that lots of decision makers listen with their eyes. Visuals matter, a lot. And more than a musician would like them to. It's only about the music to us...to everyone else, visuals matter.

Anyway, my little 0.2 for whatever it's worth.

May 16

I want to pay tribute to another side of the man.

A good friend of mine from the Cal State jazz program I was part of is Alex, a young, very talented sax player (almost 40 years younger than me) here in the Bay Area. After finishing his bachelors in music, he was full of bebop, full of chops, full of theory. And truth be told, he was sort of wondering about direction, how to fit into non-bop (in other words, money earning) bands and situations. And he was a little confused and depressed about the whole thing.

He went to see Sanborn at Yoshi's, and after the first night hung out by the greeting table (where the band signs stuff and presses the flesh). Ends up the band takes a shine to young Alex, and Sanborn invites him back to the green room to hang with the band. And invites him to the next night's show comp'd, and to hang with the band backstage the next night too.

That weekend changed Alex's life. Sanborn and his band helped him understand how to navigate a full-time career in music as a sax player, how to approach life, other types of music besides straight jazz, and a lot of other stuff. After that weekend, Alex's whole demeanor changed - he was more confident, smiled a lot more - and his playing simply soared.

Sanborn didn't need to do that. It was a real kindness, and it really touched a young man's life at a really crucial stage of his development. I don't know if he ever knew how much an impact he made.

It should be known that's the kind of man David Sanborn was.

April 10

...

March 10

I have customs with an attenuator filter that work quite well. I purchased them from 1964 Ears (now known as 64 Audio) when I had custom IEMs made. The attenuator filter thing really does a good job of keeping overall frequency response natural and clear, and the "throat" of the earplug (or whatever you call the part you stick in your ear hole) is nicely snug since they are sized based on the audiologist mold thing. But 64 Audio is now super expensive for everything they do, and only you can decide if you want to spend $299 (after spending whatever to get molds done at your local hearing aid shop). But I can personal vouch for these:

https://www.64audio.com/collections/earplugs/products/high-fidelity-earplug

For $199, Etymotic does a similar kind of thing. I've never owned or used an Etymotic product, but they seem to be widely liked and recommended:

https://www.etymotic.com/product/custom-musicians-earplugs-with-attenuator/

Having used a lot of things out there, but never an active solution (like AirPods Pro 2 as noted in the Reezekeys thread that Mills Dude cites), I can confirm that using my ear plugs has saved me a ton of damage. I already have some from the years of young and foolish, but I've often found myself on postage-stamp stages right next to the enthusiastic drummer's crash cymbal. And these things were lifesavers.

Now, I don't go to the gig without them. Always better to have and not need, than...

February 10

Pick a movie you know well. Find a 3-5 minute scene you either adore, or something surprising you'd glossed over before. Consider how that scene resonates or affects you. Compose a new 3-5 minute bed or soundtrack for that scene within two days.
Select three songs of any genre that have a girl's name in the title. Learn each in original key. Then transpose each up a minor third, and reimagine in an entirely different genre than the original. 24 hours for each song.
The Brian Eno challenge. Write and record a 3-4 minute pop song using only one synth in one day. Bonus points if it's a mono synth. Eno-level points if it's partially broken.

February 10

Apparently Ryan Gosling is actually playing what is purported to be 'jazz piano' in La La Land.

On the other hand, a favorite movie of mine, The Legend of 1900, prominently features Tim Roth as the titular pianist; sadly, Roth is not actually a player. Neither, apparently is Clarence Williams III (most famous role of Lync in The Mod Squad), who was the son of a jazz and blues musician; he portrays Jelly Roll Morton in the film's piano duel sequence.

February 9

A wise "renaissance" friend of mine (he is a musician, sculptor, poet, painter, metallurgist, and more), once gave me advice when I was complaining to him about my version of writer's block. He told me, "Amateurs wait for inspiration. Professionals go to work every day".

He went on to remind me the only compose was to regularly compose, knowing that 70% of it will be utter crap, but you have to go through that in order to arrive at the 30% that is at least worthy of a second look and further editing / polishing / revision. The hard part is showing up with focus when I just seem to be rolling out utter crap.

You're no newbie at this, Dave. Maybe taking a blank piece of paper and writing out a goal and a deadline would help. "Write an etude with three meaningful sections by the end of the day." "Reimagine one Tears for Fears song using only two hardware synths and one plug in by 3pm." I don't know, wonder if that would begin to lay the groundwork that occasionally leads to good results?

Just my 0.02. Oh, and the magic of writing the objective out with paper and pen cannot be underestimated either. Dunno if that's helpful.

January 31

Here's a PDF from Yamaha that provides basics, and includes helpful diagrams to help visually explain things.

January 27

5 hours ago, Geoff Grace said:

The expression “Ok, boomer” is a symptom of a mindset that says it’s okay to lump people into a group and dismiss them. I don’t think it belongs in this forum, which has a tradition of civility. I hope you’ll reconsider your post.

Thank you,

Geoff

Well, Geoff...I stand corrected.

As a generational boomer, who happens to hear this comment on a semi-regular comment - lovingly in jest, typically - directed at me from my students, my intent was simply to provide an analog with the topic at hand (changing generational attitudes in professional athletes, and therefore commensurate challenges in coaching and managing them effectively).

I might suggest that my history here on the forum has typically not demonstrated "a mindset that says it's okay to lump people into a group and dismiss them", and additionally the summary attribution of the expression to one specific mindset is a bit heavy-handed. But you know what, in the grand scheme that's not really a conversation I'm going to invest in.

Yes, I'll not post it again.

C ya.

January 26

Good to know, and two independent commends of Supermassive is telling.

Gene, I think I'm just a sucker for riding that pony, at least to see how she fits with some of my ideas - I just didn't want to spend $500 for that ride LOL

January 26

I'm sure you know far more about this than I do, but Kerr has always struck me as a "player's coach" much more than the other.

I'm ignorant about Harbaugh's overall style, despite him being our Niners dude during the Kaepernick era.

January 26

I've been tempted to jump into the shimmer reverb pool since hearing the various Strymon pedals on YouTube (Big Sky, etc.)

I hear it's a big thing in some genres I don't currently play (contemporary worship, for example), but I wanted to experiment with it at home before I try to fit it into a live setting.

In several of the shimmer pedal YouTubes, I see consistent comments to use Valhalla Shimmer instead, and it appears to be only $50 for the plug.

Anyone here have any experience with it?

https://valhalladsp.com/shop/reverb/valhalla-shimmer/

January 26

Yes, professional sports has changed now that the power equation has shifted with the times. Free agency and NIL, I think, have changed not only football but basketball and, I'd guess, a number of other sports as players can now take control of their own career and long-term earnings. Was Lebron the most high profile of recent memory to significantly leverage control of their brand? Jordan and Tiger had been driving that bus as well.

But the whole idea of the player's coach vs. the not-so-benevolent dictator? Ok, boomer.

January 24

Wait...didn't Jeff Berlin tell us the metronome killed music?

Or was it bass tab?

I always get those two mixed up.

January 16

3 hours ago, Paul Woodward said:

It’s £399 in the UK, what would you consider the competition for this?

I'm not their target market, but first thing I thought when I saw this was Teenage Engineering:

https://teenage.engineering/products/ep-133

https://teenage.engineering/store/op-z/

January 16

I just listened to a short intro that Neal Giraldo gave to that song in a live duo show. He describes how he set up the song with "a keyboard and a Lexicon Super PrimeTime" - presumably for the multi-tap delay. But he (mistakenly?) says it was all in 1985, which suggests to me DX7 with a lot of treatments and effects is a likely suspect.

To my old ears, that little "lead" sound reminds me of one of the 32 original DX7 presets we all had back in the 80's. Maybe with judicious pitch bend and ambience it gets you close?

January 10

I have a Baby Spider Pro with 2nd tier and have been gigging it for 7 or 8 years, average 3-4 gigs a month with rehearsals scattered in there as well.

I don't have pictures at present but will try to take some later this week and post them up here.

Essentially, I slide the bottom tier all the way to the bottom of the track. Then slide the top tier down to the point that just 1" or so of the top tier's arms are above the top of the column.

The bad: This means you have to keep the track facing up or the legs will fold down on their own. Obviously, neither pair of arms (top or bottom) retract entirely into the column like when you're only using one set of arms.

The good: The whole thing fits into the Studio Slips gig bag I custom ordered years ago. I find it no more inconvenient in normal gig schlep.

For your use, I'm not really sure where you would cut to make the overall arms shorter. maybe pull the "expanding" end of the arm off entirely, since you only need the length for a DJ controller? Not sure how much depth you need.

As you may already know the K&M bag they sell for the Baby Spider Pro is worse than useless. It's poorly made, the material is cr*p, and the carrying handles are way too long and very cheap. When I first purchased the stand I ordered the bag, and it shredded on me in a few months. That's when I ordered the Studio Slips bag and it's been aces ever since...and that's several years ago.

January 9

Oh wow, Dave. That looks like a beauty.

Orinda is just 15 minutes down the freeway from me, and the back story is very touching.

I'm not sure if she's in a position to sponsor a part-time musician (in the spirit of this thread), however.

January 8

If Steinway isn't an option, I suppose I'd go with Yamaha, and make one of my picks a CF6.

January 1

Not since getting married 5 years ago.

I'd done many - and every one seemed like an abject waste of time the next day.

Nowadays, spending the evening with my wife (even if it's a quiet one cause she's got a bad cold this year) is much better time spent than doing the NYE thing and not getting home until 3am.

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