DaveMcM

How cool is that!!! I had a CS60 way back when. A guy in town modified it so I could layer and detune four oscillators against the remaining four. Fattened the sound up a lot. I also got to touch (it wasn't turned on at the time) Keith Emerson's GX-1 when a coworker and I delivered a new Ensoniq keyboard to him during a concert in Philadelphia, PA.

While going through some boxes I came across a few pictures I thought I would share.

Just a thought- have you considered using a CV pedal into the Filter EXT Control Input? Instant wah wah pedal for free, sort of. Years ago I had a pedal that had a braided steel cable inside a sheath (kind of like a bicycle brake cable) coming out of the pedal and on the other end of the cable was a knob that could replace any knob on any synth, in my case a Minimoog. As you moved the pedal, the cable would turn and control whatever knob you replaced, in my case the filter cutoff. The PolyD makes this far easier.

While looking for something else, I came across the following website. Some very interesting instruments. https://120years.net/tag/vacuum-tube/

After watching the video, I get it. It's always nice to see someone come up with a new idea. If the mechanical bar was replaced with a ribbon strip (think CS-80) mounted on the keyslip then you could apply pitch bend by moving your thumb left/pitch down and right/pitch up as well as add natural vibrato. A lot of keyboards have channel pressure which could be assigned to modulation. The old Hammond Concorde home organ had a similar pressure strip that could be assigned to various functions. The even older Thomas Organ Co. had several models where the actual keyboard could be wiggled back and forth to create vibrato. Even older than that was a keyboard that had a string that stretched across the keyboard that you could pull on and it would do something. Can't remember the name of the keyboard or exactly what the string did but I know the info is in a book that I have. To the OP, sorry to go off on a tangent.

Even on the floor, it's an issue because the cables get in the way of sustain and CV pedals.

I have the Lester K and the Ventilator II and prefer the Lester K except for one thing, the placement of the input/output jacks. Whether placed on the floor or in my case on the left of my top keyboard, the cables coming out the left and right side of the pedal get in the way. I use right angle jacks but the left in and out jacks have to be angled up to clear the right in and out jacks (I run in stereo). Very messy looking. Does anyone have a solution for this? I've though about mounting the circuit board in another case to be able to mount the jacks at the back of the unit and also add a footswitch input but don't really have the time to get it done.

Where is the 'head scratch' emoji?

Brilliant idea! Wish I'd thought of it. But seriously that does seem like the way to go.

As for 'one post per new product' it would be helpful to be allowed to announce O/S updates for current products. Also turn off the ability to submit a reply to keep the clutter of opinions, questions, etc. down. Folks can always start a new thread regarding a specific product in the general forum if they desire.

No problem. As long as the balance to FOH matches what is coming out of the MS, you should be good. Keep in mind that the soundman may have to adjust the input gain for the keys channels on the mixer to compensate for wherever you set the master volume level.

Post channel, pre master

Hi Phil, I have used iGigBook for years originally on an iPad2 and currently on an iPad Air2 and it has never let me down. Thanks for continuing to support iGigBook.

When I lived in Philadelphia, PA working for Ensoniq, I would frequent a jazz club named The Balligomingo Inn. The house band included Joey's dad, Poppa John DeFrancesco. I have been looking for info about the place for a long time and finally came across the linked article. Hope it triggers good memories for others.

Thanks for the link. I should have just done that from the start but was trying to take the easy way out by asking someone. Got the answer. Thanks to everyone who responded. According to the manual, it is OK to run the PowerHead with no speaker load.

I am a keyboardist, and asking this for my son. Is it OK to use the Profiler PowerHead with no speaker connected to the speaker jack? Thanks in advance, Dave

Damn! I’ve been out of cell coverage for the past two weeks. I certainly didn’t think I would come back to civilization to hear this. Terribly sad right now. Joey was a great player and a very nice person. God rest his soul.

Any reason you are using the stand backwards? P.S. I have a stash of parts for when I used the USS A-Frames. The tiers I have are the 'newer' black anodized tubes but they may not be long enough. How long are the tiers in the picture? I am going out of town for a couple of weeks but if I hear back from you by tomorrow night I can measure what I have and let you know. BTW, I'm in Cincinnati.

Actually I think that would be the Mellotron. Then again, the music store I worked for years ago sold a Mellotron to the Cincinnati Pops Orchestra so go figure.

Hmm. To each his own I guess. I have been using iGigBook for years with no problems and have been very happy. What kinds of [i]simple things[/i] are you having trouble with? I do agree that iRealPro is a good app as well. Although I do wish that folks would adhere to posting individual songs to the iRealPro forum instead of complete song lists. It would be great if the iRealPro app could scan its data file and remove exact copies. In a pinch when I need a chart quickly and it is only mixed in with a bunch of other songs, the app doesn't scan to see if a particular chart already exists.

Unless I misunderstood, it seems all band members are on IEM's except the singer. Someone above mentioned side-fill speakers. What about just adding another wedge or two strategically placed so the singer will be covered no matter where he moves on stage? Since you are on IEM's you could leave your amp at home and save the car space for more keyboards .

It sounds like you already have a SpaceStation. If that's true, I would consider simply adding a powered subwoofer. When I use my SS v3 and want a little more punch/volume, I add a Behringer B1200D-PRO which makes a big difference. I also own the SS XL, Motion Sound KP-600s, Leslie 3300 and a pair of QSC K10's. For strictly organ, a real Leslie is obviously the way to go. But with a good rotary simulator, the SS with the B1200D sub does a very good job of moving sound around the room and it much easier to cart around. Speaking of rotary sims, I have the Vent II and the Lester K. Both are good, but I actually prefer the tonality and overdrive of the Lester K. Incidentally, I find that the SS XL creates less of the 'surround-sound/stereo' effect than the v3 but better than the KP-610s. A note about the placement of the SS (not XL); if I'm in a situation where the amp has to be very close behind me, I bring a guitar amp stand and place the SS on its side with the side-fill speaker facing down at an angle to the ground. It still creates the stereo effect but doesn't kill the ears of whomever the side-fill is pointed at, normally the drummer.

Very cool. Back in high school I ticked off a guitarist by playing a better guitar solo than he did. I had a Moog Liberation that I ran through an analog delay->overdrive->flanger and into a Sound City 50 watt head with a 4x12 SMF cabinet. I simulated unison bends (think Santana) by starting with both oscilators in unison, and before playing a note pulling osc 2 pitch down slightly, striking the note and bringing osc 2 into pitch. Later while working for Ensoniq and using a VFX-SD, I used the two momentary patch select buttons above the pitch/mod wheels to accomplish the same thing. Pressing button 1 would produce a unison bend, button 2 produced muted strings and both buttons down produced feedback. BTW, Sorry to MathOfInsects for swaying away from the original topic.

I agree that a keyboardist can add more to the mix than other instruments. And I love throwing in horn lines in our 4 piece group when playing funky dance tunes or strings in ballads, etc. But when it comes to trying to cover a brass or woodwind solo, I draw the line. Years ago the band I was in played Shaker Song by Spyro Gyra and I covered the lead and solo with the sax patch on a DX-7 and breath controller. Sounded great, people loved it, but no one hearing the song on our demo believed it to be a sax. I much prefer to choose a sound that maybe has similar qualities to the original solo instrument but is still obvious that it is coming from the keyboardist. It's one of those 'just because you can, doesn't mean you should' type of things. But to each his own, if you dig replicating the exact sound/notes of a particular solo, more power to you.

I must admit that I’ve never heard of Evanescence. But then my guess is I’m a bit older than the thread creator. Not to old to rock mind you, but still. At any rate and at the risk of being scorned by those who have commented, I liked the song and the singer.