obxa

I agree, and good to be reminded. I totally get the way things have progressed. i opened this topic that I wasn't ranting, mainly asking if this is the new norm. At least for certain gigs it appears it is. As others have mentioned, you find ways to adapt if you need a certain workflow. I don't see it changing for pit-show stuff, that's still a byzantine world of copyright and performance use. BTW- any Spotify to Mp3 ripping I'm doing is with Artist blessing. Not using it for covers.

Going off my own topic. Sorry to hear that. I see that all too often. Tell him/her to contact me, happy to show how it fully works, no charge. Forgive my partiality: also MD at my Church, and do a fair amount of consulting for other churches on how to fully use Planning Center. Beta testing on the apps. Most just use it as a service order set list with email and never go any further. I often wish there was something like it in the secular world. The integration of it's music stand app (similar to Forscore and Paperless music) ability to store/segregate arrangements, Pro Presenter, Song Select lyrics, all kinds of housekeeping with tracks, video, band/tech/clergy scheduling, CCLI reporting and polling, and more .. is pretty amazing.

Now that I'm doing more freelance bar/club stuff, plus my regular things, kind of amazed how badly some band leaders, music directors and artist management are about getting material properly out there. But yeah they probably just don't realize it. I think Scott & Jerrythek hit it on the head that our needs are just different from vocalist or bass player's. To paraphrase Mr. Spock: "The needs of the many outweigh the needs of the keyboard few" I use the YT speed and cue point thing a bunch, but still find the player a bit wonky. Plus if you don't have web access- ugh. +1 on Transcribe, also highly reccomend Capo (free). ForScore's player also has transpose, speed and tune.

I’m a free agent. Disclaimer: also boomer. Most folks I work with don’t send Mp3s (or links to them) anymore- it’s Spotify/Apple playlists. Originals and cover bands. Pit /Show and Oldies circuit are still doing Dropbox/G-Drive live show files of audio & charts. Churches: Planning Center, but now getting streaming playlists from a few. I use Forsore. Like to have Mp3s with the charts to learn the show. Until I got a Spotify to Mp3 convertor, was taking longer to collect material than rehearse it. Great for car listening, but learning not so much. Asked some younger cats in few of the bands: they say they just learn the gig on the streaming app player. I find those players clunky. Especially if needing to transcribe and make charts. Like being able to tune/transpose or slow down the track. I do welcome progress. Old enough to remember when we were given CDs....and Cassettes! Are you seeing this too?? Like using the streaming apps, or old-school? Not a rant, just genuinely curious.

Lots of good advice here and in other posts. I would say don't beat yourself up over it. Putting together a rig that works often entails taking an empirical approach. Reading about other's rigs can only go so far. What works for someone else may not for you and vice versa. I went all in bleeding edge on Ipad and didn't work for me. Did the same with Laptop, but did end up going hybrid with hardware. I do love using Ipads for rehearsals and such. For me, using a Laptop is cleaner & easier in the long run. But I have nothing to preach. Many here have had great success on Ipad. Sounds like you're in PC world, something like Gig Performer would be the place to start, rather than Reaper. If you do Mac, Mainstage is $30.00 and highly recommended. Again you've got to do a couple of gigs to see what works best.

Definitely worth the time. I just did a deep dive on both Leslie and other parameters for some upcoming gigs. Was initially happy with Classic out of the box, but much happier now. Now using a couple of Mitch's organ models. I also found using some of the brighter A100's that I'm most used to, allowed me to be subtractive and just back off the treble on the gig as needed; rather than trying to jack up something that was too dull. Was going to experiment adding my Vent mini, but just a few tweaks on the internal sim really made a difference. E.G. the Leslie mic distance always felt a bit off to me. I prefer no room with the mic sounding like it's inches away - and add verb as desired on the gig. Adding just a minuscule of belt noise also got it close to what i'm used to. Just picked up a 145, and was also thinking of pulling my old MotionSound Pro3T out of mothballs. If stage space and schelp tolerance will allow, I feel like those would be more significant than the extra 5-8% the Vent adds.

Sorry brain fart. Yes YC. Sitting couple feet from a CP reface and it must of invaded my consciousness. 😛

Late to topic. Rig depends on gig. Crumar Classic , YC73, and Nord(s) here. I have 4 basic setups. Obviously an investment to do it like this, but was created out of necessity because I do many different kinds of gigs. I think that's how you best determine what tools you need. For corporate, wedding, oldies-artist/pit band needing "some organ": Nord Electro 6 or Stage Compact on top, Yamaha YC73 on bottom. Plus Mainstage for some pit shows. Used the over-under configuration since Carter was in office. However, starting to now HATE the stacked thing for both interaction and comfort. For Roots rock, Artist, Gospel, Deadhead rig, L-shape with YC73 on LH and Crumar RH. (pic below) Using Mitch's great models. The wheeled case for the Crumar Classic is very easy to deal with. If I'm 2nd keyboardist only doing organ, absolutely need the lower manual. But on some gigs with tight stages; occasionally a tiny bit of regret that I could of just used the Electro. Like knowing YC can also do organ as backup. Sometimes bring or backine a 145 (and occasionally B3) on bigger shows. This is my favorite rig to play. Besides overall piano sound and solo/trio cocktail gigs, one reason I got the YC was for an ongoing jazz concert series I do with a smooth jazz guitar artist. His gig is 90% Rhodes with a bit of organ. Previously did Electro on top. (posted video while back in the share your music thread...) Loved flexibility, but hated being cut off from the audience (and band) in small venues, plus the extra setup. We're usually headliner, but this year also going to be out with some bigger name artists. Needed something super easy to get in and out with if not sharing rigs. Also for one-off bar or church gigs, I like the challenge and comfort of using just one keyboard. Plus being able to easily layer piano and organ. Not embarrassed by the YC organ at all. I may add a bit of Mainstage synth layers. I'll let you know how it works out. Cheers, C EDITED: YC not CP

If I don't have a proper case, or it's fresh out of the box on trial- I use black t-shirts. Having gotten so many give aways at gigs, it's a great way to put them to use. Obviously not great protection, but better than nothing, and keeps them from getting scratched up.

Wanted to say thanks to everyone for the link to Gaudio! I've dabbled with LALAL, which my drummer uses it all the time to remove drums for his students. I'm knee deep finishing Easter music- had our opening Video's audio soundtrack where needed just some of the track. Needed to create a performance track with stems , clicks & cues for band and small orchestra to play along with. Didn't need the piano, bass and drums. Plus needed to transpose the key to segue into our opening song for the service. The track was fairly simple, but didn't have time to create one from scratch. Gaudio did an amazing job. Most importantly, all stems were time correct and lined up perfectly. If I wanted, could of used the drums and guitar. Bass track had artifacts but wasn't using that either. Piano track was clean enough to leave on to create a rehearsal mix. I transposed, assembled and edited everything in Logic, then imported to Abelton.- saved me a ton of time. Original track (transposed), and final Abelton performance track w/clicks & cues (piano won't be used live) Easter Video Key-A.mp3 PERF TRAK VIDEO 2024 .mp3

Weird. I'm very curious- some kind of plastic degradation or possibly (constant) exposure to sunlight? I have a ridiculous amount of reading glasses with plastic arms. Constantly see several pairs- brand new or old where one or both those arms get krinkled or mottled- no rhyme or reason unless my hair contains high PH acid.. Mystifies me.

May I also suggest: this: Campfire, beach friendly. Easy to throw in a bag. Great fit for intimate acoustic jams and fun.

I think if you're reading Brown Eyed Girl, probably. . But originals, or more complex stuff I'll take my chances. Not to sound uppity, I think what we do as keyboard players is a bit more involved than say, the bass player. I come across several great players who also do one-offs and do a lots of other stuff. Happens in ministry, many people assume all you do is Church stuff. One- offs can sometimes be a great way to network. But as mentioned, can also suck. There are some people and bands I know better to never accept, no matter the pay. You live and learn, or you find out from others who to avoid. Being down here I encounter a fair amount of Nashville players and artists, and they of course love number charts. I'm ok with those for doing a session, but hate them for gigs. Charts don't have to be published quality, whatever works. When in a crunch and doing super simple stuff, sometimes use this free custom emoji font on my ipad/iphone: https://apps.apple.com/us/app/song-memo/id1459218009. Works in it's own app, or as alternative emoji/font , providing chord, measure symbols perfect for shorthand.

Also gun for hire- I too make Finale charts for everything, more often than not If I get asked back, I'm covered for next time. As other mentioned, charting the song helps me learn it better. I 've also sold a couple to a few artists (especially Christmas shows). Though if I like them, usually just give it to them if they ask-which has scored some points for future gigs. RE Weddings: When I had my little big band and variety band I set a limit to Couples that we'd only learn 1 special, and not do anything that was out of our genre or instrumentation. (E.G. Hip hop, Metal, Josh Grobin, Taylor Swift 🙃 etc......). For those instances we'd play the Mp3. In the "never say never department" : Just finished doing a string of shows with a Jerry Garcia Tribute band (!). 38 songs charted in 7 days. Pay was great, Organ & Piano, Beer, no formal attire. So I took the gig.. I thought I'd smugly hate it, but was almost like a long jazz gig. Charts were helpful, but they definitely went off the page. Crowds (Dead/Garcia heads) were some of the most enthusiastic and appreciative I've ever seen, and actually enjoyed it. Don't often say that on Wedding gigs. Like blues, definitely lot more fun to play than listen to , but glad I got over myself. Was only supposed to be a couple, but signed on for the next leg.

I'll be the crabby boomer... he had these guys on a similar Wurli shootout, to which I wasn't impressed. Got the feeling neither of them has every spent any real time with actual Ob's, Wurlis or older gear. Jack on the other hand always gets my full respect. Regardless, liked the Arturia (which I own) better too. The patches were indeed bit brighter- which I guess could fool you the same way if something is louder. They also had a tad more release on the envelopes in some patches.. Blindfolded I'd be fooled too except for bass patches. For virtual , I think the Gforce OBX is worth a serious look. For what it's worth, also has Tom Oberheim and Marcus Ryle's blessing. Gforce just did the OB -EZ which is absolutely superb. Before you plunk down on the Arturia, try the OBEZ demo. Or just buy it. Though based on the 8 voice SEM's, it's got the OB mojo. Simple interface, but enough to do plenty. The price is a no-brainer. Been considering downsizing the studio, and Gforce's synths have made me feel I could live without hardware. This coming from owner of Obxa, OB1k, and a Matrix 6.

Nowadays maybe not. I guess depends on what you do, where you do it, and your comfort level of everything being on one drive. Hope I don't come off as a blowhard. I'll default to those who know more and can better put it in tech terms. I do it for two reasons. It was considered "best practice" when you have a bunch of sample/loop libraries, VI synths, plus Audio all trying to access/write data at same time. I learned from a couple of heavyweight composer friends who typically split things like "brass drive" "string drive" "audio" etc. The idea being computer would better handle multiple throughput rather than it all coming down one pipe. I'm not doing any heavy orchestral templates anymore, but still use pretty large libraries- SonoKinetic, Spitfire, EastWest stuff etc. easily fill a 1tb drive. Multiple computers is my second reason. Currently older intel Mac Mini and MacPro in studio (both about to be replaced) and new Macbook for remote. For live/church gigs, in-person session stuff, plus my other job (VO), I feel better dragging smaller gig-specific library/audio drives in the wild. Particularly with audio, it's easier to segregate multiple client and personal projects and pop them in and out as needed. Now that larger SSDs are getting cheaper, I'd consider consolidating wherever I can. BTW- larger USB hub is not so much for drives, but other USB hungry stuff: wired keyboard, trackball, streamdeck, ilok, controllers, cameras,synths, etc.)

Actually Logic should handle all the pointing to it's external content without you needing to create the aliases - once you tell it which drive they live on.. For user loop libraries, you may have to occasionally create aliases, or it may ask where to locate them. Be sure the external isn't set to sleep. I split external drives into smaller (and cheaper) SSD drives One for loops, one for Kontakt/Spitfire, and one as audio drive. It's easier to back up the smaller drives. Also more portable. I was tempted by those Mini enclosures, but instead do a 12 port powered hub. Plus a "Poor- man's Raid " using one of these Sabrent Drive docks. It's one of the few enclosures that doesn't cause conflicts with USB audio. Can easily hot swap drives as needed, with a spot for older magnetic drives you may have lying around. You can also just start with a naked SSD or two, and cheap Sata to USB cable. No hard drive enclosure needed. You can never be too thin, too rich ...or have too much ram Had the same situation. Often hear "8gb is the new 16gb" with M-processors. New macs indeed handle stuff better. But looking at real-time memory use with Mainstage, Abelton. Kontakt, and resource hungry plug-ins, I think the system is less prone to hiccups and just runs better. I think it helps future proof it a little longer too. At least that's how I justify overpaying for ram. As we know, Apple has you hostage with no way to upgrade later.

I find the retro and the simpler Logic synths extremely useful. They won't win any beauty contests, but when needing to create a white noise or sine wave patch for layering, they are quick & easy on CPU. Versus booting up something more elaborate.

Might be a good search at the Logic Pro help forum. You may have already done this, but have you moved and enabled all the logic content (loops,drum patterns, samples, EXS and Alchemy content etc.) to an external drive? I also do this for any softsynths with bigger library footprints. (eg. Omnisphere) You can also thin out the content that Logic downloads, and remove anything you don't need. I have ton o space on my studio mac, but have similar problem as you with my Macbook w paltry 256 gb drive. Anytime you do an update, there tends to be a bunch of stuff that gets put on there.

I've used post-it tape for years. Wonderful stuff. Just strong enough to hold, but not too permanent. I use the thinner widths to paste over dropped sections, or write in corrections/edits on paper charts. I also use varying widths all over my keyboards for show patch changes. https://www.amazon.com/Post-Removable-Cover-Up-Non-Refillable-Packs/dp/B002ZZ0DLO/ref=asc_df_B002ZZ0DLO/?tag=hyprod-20&linkCode=df0&hvadid=642100484307&hvpos=&hvnetw=g&hvrand=15832121136525468006&hvpone=&hvptwo=&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=9010869&hvtargid=pla-1083985979495&psc=1&mcid=81531827e90339a59dbecbd4a1c6feb1 These days I mostly get pdfs, but still do several pit shows where they ask for the "book" back. I learned the hard way not to mark those up or use any tape that might damage. 🤪 That said, if it's not digital already,whenever possible I'll scan it myself and use forscore.

Probably because it was also new(er). I'll defer to the experts, going by my faulty memory... Owned an older Pianet for about a month in the 80s, and used to rehearse at a place that had one of the newer Clav/duos. For anyone who had gotten their Pianet other than new, (like the road battered one I had ...) I think the hammer pads were prone to degradation as they got older or abused, and didn't have as much bite. Can't remember if the problem was called "sticky pads" or if that's what the pads were actually called. Could of been fixed- had I known more about it, or had the internet! I do remember the Clav/Duo had much more definition and bark, whereas my Pianet was a dull thud. I was enamored with songs like "Summer in the City" and "These eyes". Couldn't get mine to sound like that. Years later, faced a similar situation with my Clavinet hammer tips. By then I was a little smarter and replaced the tips.

First: thanks many years later for that. :). I still have Pc1E & R,, Me1, (and fully expanded K2000 in storage). When I don't feel like dragging laptop or another keyboard, sometimes midi up the Me1 or 2r on mostly organ gigs to grab some quick EP sounds. Testament to Kurzweil and you how those presets still hold up. The Pianets, Wurlis in particular. Second: I've heard exposed Beatle string tracks before. But OMG George Martin's arrangement (particularly at the end) is just amazing. You could always hear a bit in the mix- but never noticed the full range of the string portamento and gliss stuff before. Wore the 45 out (with Hello Goodbye on A side) when I was a kid.

Guessing Thomann now not doing K&M is to protect USA dealers? Previously got K&M and Crumar stuff from them when my usual sources were going to have to special order or simply couldn't get. With international shipping it was still cheaper. Yamaha or Nord are understandably not allowed either. Reminds me of the days when dealers couldn't sell Fender and Gibson in the same store, or Tascam and Fostex

Sorry boring travel=long post. At some point I guess most of us are looking for validation we've made the right decision, or support that we haven't. When deciding these kind of things, I have to remind myself: It's just an inanimate piece of gear, not Sophie's choice. 🫣 Full disclosure: Still on the fence whether I should sell my Numa, there is a lot to like. I've been happier with the Yamaha YC73, at least for AP duties and as a one-board option for some gigs. I'm pretty sure where I'm heading. That's based on the musician's form of empirical evidence: GIGS. But that shouldn't mean squat to you. Price wise, I wouldn't compare the NumaX stuff to a CP88 or even the YC. At least I didn't at first. I'd probably compare it more to Yamaha's (or Kawai) better pro-sumer slab pianos, or the YK stuff. In that light, the Numa feature set is much better. However, trying to compare pianos that use completely different sound generation technologies will drive you nuts. Though not always marketed exclusively this way, the Numa is a virtual modelling piano hybrid, with some rompler stuff added. So you have to know what you're getting into. Sounds different because it is different. I've waxed ad-nauseum that Modelled pianos respond wonderfully. But compared to purely sampled piano, they may not always be something your ear gels with. Particularly with exposed AP. Within a busy live band (or studio mix) context they sit great. IMHO if not playing the Numa in an ideal, preferably stereo amplification or in-ears, you might not love it. In combat, I've found sampled pianos a bit more forgiving. After serious tweaks, I do really love the tone and response of the Numa EP.. Which of course still work great in mono, and/or less favorable amplification. But that's not the only sound I need. The perfect multi-use keyboard doesn't exist. If you do different kinds of music and gigs, that complicates things. Love the Numa mixer. Hate the power adaptor. Just depends on the type of gigs you actually do. For the price the Numas are an incredible value. As to comparisons made to the CP: By my limited research and seeing internet chatter, the CP 88 (and 73) appear to have been neglected by Yamaha. Someone correct me if I'm wrong. Not discontinued, not abandoned- but don't see any love or updates either. I think they're superb piano-centric boards. If one came across cheap used, I'd give it strong consideration. But I wouldn't expect any revolutionary OS changes and wouldn't buy a new one unless heavily discounted. There's still a decent presence for the YC community, but that too will wane as Yamaha is all in on the CK series right now. I'm used to being on completely different actions weekly on most gigs or sessions. So have no problem adapting to the YC73. Having used it on both AP and EP focused gigs, I do like the Numa action a little better. I miss the Numa's aftertouch too. Call me a heretic, but still like the Nord Stage 88 action. They're all like driving a rental car to me. Takes a minute to adjust, but after a couple of songs I'm good. But my chicken or egg question is do you first respond to sound or the action? For me it's the overall sound, and how quickly I can tweak said sound on gig. I think if I were doing this all again, I'd buy a YC61 as a top board for organ/synth and the SL midi controller as a bottom board to control those YC piano sounds. That was my original plan except with Nord Compact/ Electro piano sound up top controlled externally. But that left me without a single weighted keyboard for solo small format stuff. Look at enough reviews on Amazon (who arguably started this whole user-review mess...) you can always find enough positives to justify any purchase (if they aren't fake...) and enough to justify the negative. So who do you listen to? Your inner voice, that's who. Buddhists have a saying "First thought best thought." In spite of any ongoing inner discussion after unboxing and playing- your very first impression was probably the correct one for you. When it comes to gear, no decision is permanent. If possible find a vendor with a liberal return policy even if it's a tiny bit more $$. Be prepared to spend a few bucks paying return shipping or restock fee. Take the keyboard on a few real world gigs (if you play live). If you love it great. Be happy and don't worry what the internet says. If not, stop trying to convince yourself of what you already ultimately decided. At least that's what I tell myself, and maybe it applies to you.

Based on the many positive recommendations here, another happy K & M 18880/81 user here. Mainly because the K&M is so light. Haven't totally been happy with the tier over-hang, so will probably do the hacksaw hack on the front of tiers that many mention. Bit pricey, but got it from Thomman; shipped to USA price was much better. It's my go-to. Worth considering if you don't want to buy into a whole new system: I sometimes use an On Stage platform with their "deluxe" lesser known 2nd tier. Actually it's 3 tier.... It's super adjustable and very solid, and will work with platform and X-stands. This is not the same as that crappy $59 thing they've had forever that puts your keyboards at impossible distance. These are all over reverb and ebay at cheap prices, which is how I grabbed mine. Posted this pic a while ago.