niacin
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Posts posted by niacin
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i think if you could stretch to an 88 your choices would open up, 73-76 with weighted or semi-weighted keys leaves few options and they’re not cheap and they don’t tick all your other boxes.
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And he provides a platform for Goldings and Scofield. He doesn’t need to play much with those guys on the bandstand. Just stay out of the way and in the pocket.
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true, i think it came up cause of the suggestion about using an iPad AND an iPhone.
But yeh a Roland MC-101 would do the job, though i found the interface a bit convoluted due to the small size and i hated the workflow, editing sounds was a total pita.
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11 minutes ago, J.F.N. said:
I will have to correct you here, XV-5080 is indeed a sample player into which you can load up to 128 mb (SIMM) of samples.
(Doubt beat me to Google it...)
thx, happy to be corrected 👍.
I might add Roland’s sample management system on their boards is very straight forward to use, much easier than e.g. Korg. The sampler in the Fantom Xr can be expanded to 512mb. I really wish they’d carried it over to the Integra.
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Jack is just the latest in a long line of players that includes Spooner Oldham and Booker T. I don’t know if he can shred like JR and tbh don’t care, his playing serves the song and the groove.
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1 hour ago, J.F.N. said:
Was it Roland XV-5080 that could load user samples as well?
no, it was the Fantom Xr. If you buy one s/h keep in mind the screen is notorious for dying and requiring a replacement.
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Live, a little plate reverb, or spring reverb for Hammond where it's part of that sound, but no room reverb. Yes it sounds a little odd in IEMs, but the sound is being projected via FOH into an actual room with it's own reflections, adding a simulated room to that might not be a good thing.
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4 hours ago, JoJoB3 said:
Artists like Larry Goldings are often pushing things forward (but I agree there aren't enough like this right now).
Which also raises a question in RE to today's organ clones. Are they really fostering organists? When a 25-note pedal board is made out of financial reach for most that isn't fostering organists (because there's truth in the saying: an organist plays the pedalboard, without pedals you're a keyboardist who owns an organ).Larry Goldings’ doesn’t kick pedals.
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The secret is out, Autotune must be fuming.
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send him tickets to a Chinese opera, throw in a Harry Partch album and a subscription to an Oud channel.
1 hour ago, Thethirdapple said:As if equal is the only available tonal reference point…
This. 12-tone equal tempered tuning is a cultural learnt thing, and it’s hardly a secret that musicians spend more time focused on learning it.
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7 hours ago, Mighty Motif Max said:
Thanks for the thoughts - first, I was an idiot and wrote that late at night. My model is a 10" (ELX200-10P). I am 100% sure I'm triggering the 16' pedal drawbar (the SK Pro display is helpful in confirming that) as I am reasonably familiar with using the 3-Part Organ mode plus Split to get the pedals to the lower octaves of the keyboard. On the speaker, there is a high-pass filter (for use with a sub), and that is turned off. EQ is set to flat, and there's also some DSP presets, noted on the frequency response chart below. I use it in Live mode which is pretty flat, but the other modes don't make much of a difference (Club mode adds some beef to the bottom end, but it isn't enough to fix the bass patches). There isn't much of a difference between pole mounting and using it on the floor in terms of low end, even though in theory there should be an improvement in the low end when used on the floor (there are also DSP presets for those locations, which I've experimented with, but again it hasn't made a huge difference).
On your note about the Yamaha - I will say, my little 8" Yamaha always pumped out more low end than the 10" EV. I was kind of surprised about that.
You’re welcome. The dsp chart indicates the hi-pass filter shouldn’t start rolling off anything until the last note or two of the 16’ pedal. Unfortunately that’s not what you’re hearing. I’m guessing both the organ and main EQ on the Hammond are set flat? Suggesting there’s a problem with your EV. If I were you I’d borrow another powered speaker and make some comparisons. Before I got the DHR-12 I used a DBR-10 and had no issues, a 10-inch should be fine, and EV’s dsp frequency chart supports that. Good luck
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2 hours ago, Mighty Motif Max said:
Following. This past year I formed a trio with acoustic drums, electric guitar, and me on keys (MODX7/SK PRo) and left-hand bass (mainly the Hammond SK Pro). My setup for gigs in the past few years has used an EV ELX-200P 12" speaker (and a Yamaha MSR100 but that bit the dust last year). I can't get much of anything in the lowest octave of a 16' bass pedal to be audible through the ELX - it drops off significantly, to the point that if I adjust so you can sort of hear it, I'll be halfway through a bass line and all of a sudden higher notes will be twice as loud and pop out, because the low-end roll off is so bad. And that's a 12" speaker. We don't play at super high volumes either. It just drops off to the point that it's not clearly audible if there's anything else playing except for the bass line itself, and even then, like I said, that bottom octave is much, much softer than it should be. I've tried boosting the lows on the onboard DSP and it just makes the next octave up overpowering.
ok, I use a Yamaha DHR 12" for Hammond trio gigs with an SKXpro and I can hear the bottom octave of the 16' pedal plenty. The bottom octave of the 16' pedal drawbar isn't really that low.
My guess:
Either there's a hi-pass filter in your speaker rolling off the bottom.
Or you're triggering the lower drawbars not the pedal registration - the 16' drawbar on the pedals goes all the way down but the 16' drawbar on the manuals folds back in the lowest octave.
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I’ve used a Yorkville sub for years on pop gigs where I’m playing LH bass - a Fender P-bass sample or various synth bass patches - but we just run the kick drum through it. 🤣😎
Unless you’re running Taurus pedals and really want to shake the room a subwoofer is not the hammer you need.
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Reminds me of GSI's Gemini: 2 timbres, do your editing on the software. With a keyboard attached, but no poly aftertouch is disappointing given it's become a thing again just lately, and I'm not a fan of wheels above the keyboard on a 61. I think you'd have to be already heavily invested in Arturia's software for it to be attractive.
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I have an SKXpro in a Gator carry bag with a fold up trolley. Whoever designed the handle in the middle of the rear of the dual manual SK series boards deserves a medal. It’s as easy to move as my Mojo-61. 16kg isn’t much more than a lightweight DP.
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i think only you can decide which you’re going to hate more:
1. the weight of a 2-manual board that is a bit of a pain to move, but once you’ve moved it it’s plug and play happy days,
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2. a rig that is easier to move but leaves you with two manuals that aren’t going to be quite as close together as you’d like, some sort of 2-tier stand, and the bother of hooking it all up to your sound source before you can play.
I’ve seen pros touring with a 2-manual clonewheel and I’ve seen others using 2 generic midi controller keyboards and a midi pedalboard hooked up to something running the latest greatest vst. I prefer to go slow with the heavier lug and then plug and play, but I can’t guess which will make you happier when you have it set up and play that first note at a gig.
I’ll add i didn’t like the SKpro out of the box, too bright, lacked warmth etc, but after lowering the crossover point for the drive, adding more key click, widening the angle of the leslie mikes etc. it purrs real nice, imo.
As mentioned there are alternatives to Hammond-Suzuki’s offerings and they’re rather less expensive: Crumar Mojo, Viscount Legend Soul, and MAG organs are the top contenders.
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Great gig in the sky
Set the controls for the heart of the sun
Astronomy Domine
Moon over Bourbon Street
Sunshine of your love
Walking on sunshine
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13 hours ago, Bobby Simons said:
I likewise did a Clapton tribute a dozen or so years ago. Clapton Chronicles . The band was solid, but seemed to appeal more to musicians than your average club goer. And we though Clapton would be a sure thing, lol. I think if you're doing tribute thing it still has to be Fleetwood Mac or the Eagles. I'm glad those days are far in my rear view.
yeh the thing with Clapton is there’s not much to work with on the entertainment front. ABBA you can dress up and go Swedish Chef on the accent, Pink Floyd you do a light show, Elvis you get your dance moves on, Santana hire some dancing girls, but Clapton? He sings and plays guitar, extremely well obviously, but that is the extent of it, so I can see why it would appeal more to musicians than the wider public.
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I play in a Clapton tribute. If I ask the BL what he wants me to play - cause I'm the only keys player and there's usually 2 on the record - his response is invariably "Whatever you want." There's little if anything in the keys parts that any song depends on. Signature licks are all on guitar. I do have to play the single note machine-gun piano at the beginning of Pretending, cover the choir on White Room, and play part 2 of Layla pretty much rote, but that's really about it.
However, I do go and listen to various live recordings, particularly if it's a song that he did with Dick Sims or Greg Philliganes, or on the tour with Dave Sancious and Billy Preston, cause there's always something I can learn from those cats.
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1 minute ago, AnotherScott said:
The original Vent had a guitar/keyboard switch... in the guitar position it eliminates the emulation of the Leslie cabinet sound (beneficial because guitarists are typically intentionally making use of the particular coloration of their own amp, whereas keyboard players usually aim for a neutral sounding amp/speaker).
Good to know, thank you 👍
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i had a Vent years ago that i bought to pair with an Emu B3 module. The Emu was samples. The samples had been recorded via a Leslie cabinet. So even if I used the samples ‘dry’ without the rotating speaker effect, they still had the Leslie cabinet sound baked in. So does the Vent, at least version 1 did. So I had a Hammond sampled though a Leslie cabinet into a simulated Leslie cabinet. Not good. Unless you can bypass the simulated Leslie cabinet in these pedals and just run the doppler effect you may have the same problem running a pedal with a Leslie cabinet sim into a real Leslie cabinet. Into a non-Leslie cabinet like a Polytone, sure.
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On 3/24/2024 at 4:50 AM, Chummy said:
Thanks for the answers Scott and Kpl
I never had a chance to play the CK61 yet although I plan on trying it out soon. Would you say the action is similar to a DX7II?
I used to own a DX7 and I remember it also had that initial resistance feel, the keybed felt premium even though it wasn't "pianistic".
The CK61 doesn't feel like a DX7. If Yamaha had just kept putting the DX7 keys in their boards we wouldn't be constantly complaining.
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2 hours ago, CHarrell said:
Believe it or not, a great source of any kind of sheet music is the website Scribd. It costs a subscription fee, but you can find some of the most obscure stuff on there...I've found rare Hermeto Pascoal scores, some Chucho Valdes, and even a Japanese transcription book of some Herbie Hancock solos.
On Scribd I've found back issues of a Hammond Organ mag with transcriptions, out of print Dollar Brand/Abdullah Ibrahim sheet music, not so sure about pop lead sheets though
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This is my lead sheet for Valerie, written with Musescore (freeware), no lyrics but has the string lines written out and the whole structure.
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What Discontinued Keyboard Bugs You the Most?
in The Keyboard Corner
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Ensoniq. Sounds that had a presence in a live mix without overwhelming it, unmatched by the big 3. And the quality of the effects in their 90s boards surpassed most current offerings. My first pro keyboard was a KS-32, then an MRrack.