obxa

+1. Got a graveyard of foldable piano benches, and also went back to using drummer's thrones last year-something hadn't done since high school Use the Roc n Soc conductor throne with hydraulics on church gigs. Awesome on hammond or piano- so much more comfortable for long rehearsals. Use Gibraltar Josh Dunn version of the 9608 memory foam for other gigs where I'm humping my stuff. Still have a quick-lock piano bench only bring for private home gigs, as it doesn't scare clients. I'm one who plays for blunt force trauma, in that I like to sit a bit higher above the keyboard than a classically trained person would- most gig benches feel like they're going to topple over when set at the top settings.

Thanks all appreciate it!!1. Will do some checking on these suggestions. Cheers C

Back on a heavy daily shedding schedule and don't want to get off my practice routine. Extended travel until end of summer via Land, Sea, and Air Anything compact w/full size keys besides my go-to Korg Nano would be nice. Don't need (or want...) 88 keys, nor a piano experience. Semi-weighted action, but not one of those low profile flat keyboard things that have no key travel would be great. I know these things usually sound like early 90's soundcards, so aural expectations are low. Won't be gigging it - just stuffing in overheads, dragging into hotel rooms/ship cabins, buses etc. Saw this: Donner thing, which possibly looks ideal. Anyone used it, or have other recommendations? Also considered this non- folding Casio, which sounds great; but a bit larger than I'd like for plane and international travel. The Nano is actually very playable for learning material or conceptual things, but mini keyboard confuses my fingering and muscle memory. Thanks so much for any suggestions in advance!!! Cheers.

Exactly!! It's become downright ridiculous. I've taken to seeking alternatives: E.G. rifle bags and cases work great for some keyboards, and are often better quality than most of the actual music cases. Also regularly scour used & B stock market.

Totally low rent and tacky: when I was using an On-Stage double tier Z stand, I bought the largest canvas type laundry bag I could find on Amazon to tote it. Which incidentally, I've now re-purposed for the K&M. I think it was under $20.00 Drawstring top and tear-proof. Bandmates always joke and ask where I'm planning on burying the body. I guess it'd be nice if it came in black. Only use it on road gigs when my stuff is getting tossed in a trailer or bottom of a bus; so don't really care what it looks like. For local car gigs, I don't bother. Ironically- long after I retired the Z-stand, I found it's On-Stage KSB-6500 carry bag super cheap. It's turned out to be very gig-useful to carry weird shaped odds and ends that don't fit in my cable box. Use it for my Gibraltar throne, Ipad & laptop stands, and mixer. Plus top tier to my KS7150 when using that stand, or the actual 7150 when doing solo. Might be something to consider if you need a utility bag. https://www.sweetwater.com/store/detail/ZStdBag--on-stage-stands-ksb-6500-bag-for-z-stand

I've found the two Yamaha Grand samples work well. I've tried to use the white and velvet on amplified gigs, but have never been pleased because there's not enough harmonic content to work with once you play wtih other instruments. Like most stereo pianos, they do sound great in ears/headphones. The XL version of the Bright Yamaha works well because you can be subtractive and pull the top end down to taste. The other more mellow Yamaha grand works pretty well for solo. I would also strongly reccomend using the Mono button. I still use my Nord every Sunday for church, but have transitioned to a Studiologic Numa 73 for gigs. They don't offer a mono button, so I've made specific patches that are mono-friendly, and catered towards the (single) Bose I use for solo-duo-trio stuff. To add to PianoMan's excellent EQ and setup advice: I had bookmarked this keyboard mag article for a friend a while back who had just gotten his Nord Piano. Probably written by one of the Mods here. https://www.musicradar.com/how-to/how-to-solve-stereo-stage-piano-problems

This horse has been thoroughly beaten on all the forums & U-tube channels. While don’t disagree it’s a crappy move, it won't be the end of Waves either. Their target is now bedroom producers, at the expense of their pro user base. They apparently got the message- and now are bringing back perpetual licenses. https://www.waves.com/news/perpetual-waves-licenses-are-back I will say they’re still operating like it’s 2010. The old statement: “ProTools and Waves are the two pieces of software in every pro-studio” is no longer valid. As mentioned there are so many other options now - with smaller companies offering much better plugs, and a better feeling of customer loyalty. Like Avid did, Waves had to reconsider, but I don’t care. I got off the $29 treadmill and WUP thing over the last 2 years. Found better replacements with Fuse Audio, Black Rooster, Softube, SSL, Analog Obsession, Air Windows and Plugin Alliance. Besides Logic’s stock plugs, I could probably do everything with just PA. PA does a great subscription model - AND perpetuity. Though also guilty of silly constant ”sale” prices, they at least reward the customer. You get back what you spend in a voucher (immediately if you pay up front). You can buy the plugs you like. I did that for a year, and zero regrets. I had a large investment of Waves stuff and chalk it up that all along it was really just a rental. Down to maybe 2 Waves ( MV2 comp for VO, and their NS noise reduction thing). Quite sure I’ll eventually find replacements for those too. It’s not hard, and there are tons of forum sites that do “Waves replacement” threads. I finally had an Epiphany: that I needed better ideas, not better plugs. I now only subscribe to classes/tutorials for a few select music, audio, and VO sites.

Very cool-Thanks for posting this! Might be a fun personal project for you? Sounds like you already have an advanced ear. There are some new looping -transcription apps out there that are more sophisticated than the methods we've all used in the past. I've used Capo fo a long while. It's simple and clean, with a free version available. http://supermegaultragroovy.com/products/capo/ I recently switched to this: https://www.seventhstring.com/xscribe/overview.html Has some nice specific EQ things for isolation, and super easy to create cue points for repeating sections - a note or chord at time if desired. That feature alone sold me. Also fairly intelligent basic chord recognition. Because they are unique arrangements, I typically have to do weekly song transcriptions for my Church gig. Then create Finale parts & charts. The analysis these programs do isn't perfect... e.g they're often confused by slash or some extended chords. But can still help save some time, and get you in the ballpark. I've got lots of holes in my music education. So for me, personally transcribing solos/songs has alway given a much better understanding (and retention) of the material.

Well since you dig the soloist sound: If you don't need presets, Behringer just knocked the price way down on B- Odyssey. That should also reflect used market being lower too. Keyboard is superb. Though I'd prefer wheels over the PPC pads. Wasn't a fan of them back in the day when I had the real thing. The BODDY is very solid - all metal. Built in FX, XLR out, and illuminated sliders- perfect for stage. Use mine in the studio for last two years, but planning on taking it out for first time for an upcoming smooth jazz-funk show. Another option: any generic 25 key controller and something like the Roland SE-02, an awesome Lilliputian Moog Clone beast w presets.

Yes- it's: https://on-stage.com/products/view/13522 Price has shot up a bit to around $140.00 but Full Compass has a return B-stock https://www.fullcompass.com/prod/619113-on-stage-ksa8500-restock-item-deluxe-keyboard-tier?dfw_tracker=36058-619113&gclid=Cj0KCQjwt_qgBhDFARIsABcDjOf6O1w0_l69yROvotraSEt7zXQmgZeodF5ILroyTDg77RofT2kIq6oaAu7qEALw_wcB Ignore any reviews on Amazon, I confirm 100% it fits & works with the 7150. Please let me know if you need any more info.

Thanks Adam for that. I checked out Qlab. Going to play w the free version a bit. Not sure if you've considered using a bluetooth pedal for page turns? If you're looking for more power in your chart reading: Forscore now runs great as an IOS native app on M-series Macbooks, and so does Paperless music. Forscore can do timed page turns, DS's etc. and of course bluetooth page turns. You gave me some good ideas. For the oldies/pit band stuff I typically do, I may change my MO. Currently using Forscore (on Ipad) to send program changes via Bluetooth Midi to keyboards and Mainstage; and songs are advanced with footswitch. Forscore also does face recognition, where you nod your head to turn pages- but haven't gotten that perfected yet. For Church world I'm using tracks/loops in Abelton Lilve on the Macbook. I really like your idea of using Streamdeck - normal Live hardware controllers take up too much space. Qlab sounds perfect for some of the multiple things and video stuff I need to sync up too. Thanks again!

Very cool. Using a Streamdeck is a brilliant idea!! I do the smaller 15 pad one in the studio with Abelton and Finale. Never thought about using on gigs. Would be perfect for Mainstage. I've got the midi plugins installed, but haven't done extensive programming. I'm curious, when you mention the Kronos, are messages sent via the Mac output and software, or are you sending actual midi messages directly to it from Streamdeck? Thanks in advance!

Brian's name sounds really familiar. I'm sorry to hear about what you had to go through. Funny you mention B3. At that time I was singing & playing in a popular club band doing heavy synth. Vaguely remember some initial conversations telling Davis my dicey M2 was in mothballs, but could get a Korg Bx3 from my buddies at Long & McQaude. He was more interested in synths with his material, but got the feeling Leslie wanted more old-school. Like many gigs at that time, I think I got the call more because of the OB than me

Sorry- guess I'm overly active on this thread because recently had to do a deep dive upgrading my stands. I'm a fan of the K&M for hit and run stuff. But also have the KS7150 which I concur is great and super secure. OnStage has a new lessor known 3 tier upgrade to that (too high) universal 2nd tier. Bit more expensive, but super strong and much more adjustable. All of their accessories (mic stand etc.) can be mounted to it. I showed it in this thread:

In mid 80s' I got hooked up with the Davis Jaynes band that was" featuring" Leslie. Unfortunately, was right in the middle of his decline. They were doing a mix of Davis' stuff and Mountain. Did the audition in Davis' house in NJ, I think Leslie was living there at the time. Was just the two of them. Seemed to be a bit drunk, didn't talk much or make eye contact. Still sounded amazing. I remember dragging my Obxa and Wurli into that tiny basement, playing through their PA. Both were using maxed Marshalls - could barely hear myself. When we took a break upstairs in the kitchen, mentioned to Leslie I was originally from Long Island - and had family in Forest Hills where I knew he was from. He finally smiled and opened up. I think I finally won him over talking bagels and the old My Father's place ( LI club). Flattered I was offered the road gig, but money was really low, so had to pass. Was happy to hear he finally got clean, such a great loss of talent.

Yes. Run away! Possibly ok as a seated single tier, if you don't plan on gigging with it. The 2nd tier is frightening. Because of the way the entire stand wobbles, it is ideal if you plan to incorporate bobble heads in your live show. 😃 Quicklock has a similar V-stand I use for my organ rig. Heavy, but very sturdy. But the 2nd tier is also another nightmare. https://www.quiklok.it/en/quik-lok/qly40

Sweetwater still carries it. For $300.00!!! RE : Gig bags I've used larger speaker/light pole bags to carry my Apex. Much sturdier than the original nylon bag, and easy to find. Sad the company went downhill, I had a ton of their stuff. When I was putting together a seated rig couple years ago, I got their V stand. It was a wobbly PITA disaster, with unmarked floppy 2nd tier. I was actually relieved when it got stolen from all places, a Church gig. Wouldn't buy anything from them again. Though I do miss the old triple tube stands. Still have two memory X stands, but would never gig with them, as mine have amnesia. Ditto on all Apex issues and missing broken parts. Did anyone mention the metal thing that holds the legs in becoming bent and razor sharp?? Then the legs falling out trying to carry it..(because the carry handle had long broken off.... Come to think of it, when the cable holder things snapped, they'd also become sharp. Because of you guys I'm totally sold on the K&M 188880 for either seated, or rare times standing. That thing not as cool looking, but pretty darn great. I got mine from Thommans- and Paul W if you're in the UK you could easily grab one from them, Andertons or Bonners.

Bring what brings you joy, but get some help carrying it. As in paid help. When I had hip surgery, rather than miss gigs, I paid an intern from a friend's studio who wanted to learn more about gigging world. Last year my drummer had a groin injury and did same thing for month or so, as well getting his son to help. No shame. If you're playing a concert venue, more than likely there'll be stage hands available - say yes, and ask bandmates too. Most important use carts with wheels. I do lots of theater venues, and unless it's a union place, most crew folks are usually happy to help.

Have recently been following several blogs and videos on this subject. Once again this forum knows my habits LOL This is a common topic... AKA "option overload" or "option paralysis" https://thedecisionlab.com/biases/choice-overload-bias Rather than impose severe limitations, I recently created a slightly different 4 step approach and mindset: ONE: I didn't erase my hundreds (more than that) of plugs. Instead, I put a plug in folder in Logic that contains only the bare bone essentials I need for composing as well as basic FX. Because I need visual reinforcement, I made two printed labels put below my monitor: "Better Ideas, not better plugins" "Music first, Audio second". Like others here, I wear many hats with what I do, but have forced myself to remember which hat I'm wearing, and when it's appropriate to change hats. Yes, I literally thought about using real hats. 😀 It's easy for us to become distracted because we have almost unlimited options. I can spend 3 hours trying every Rhodes or Minimoog plug-in and associated FX chain. I truly enjoy that kind of thing, but it doesn't help finish any actual music. I started on a 4 track with a single Delay box. Later on early Midi with just one multi-timbral module at home, and maybe 2 or 3 at school. I was incredibly prolific; because I didn't have the power to do extensive FX etc.. Now with unlimited power, and because I'm poster child ADHD, I can easily go down endless rabbit holes of reverbs, compressors and delay resolutions etc. - when I should be working on actual music. Side note: I've thought about going back on Ritalin or similar at some point, but that's a topic for another thread. TWO: So back to hats: when I'm composing, I work on music. I'll pick from a basic sound-set of favorite synths for the style I'm working on and do the bare minimum. I'm not always successful, but getting much better now that it's a conscious decision. When it's time to mix, I put on my audio hat and spend time on FX. I'll play with delay times and other fun things, or tweak synth sounds more. But also try to set some limitations to actually mix, and not just tweak. I also have "experiment and fool-around" days, where I do just play around (guilt free) with stuff and store presets or sounds for later use. And finally: DEADLINES. I'm currently finishing up 2 EPs. One is Smooth jazz, the other a Chill-step thing. I've pushed myself to have them completed and released by a certain date. (see step 3) THREE: My most valuable piece of hardware ? I've done several projects for a local producer/composer who had many hits in the 60's & 70's. First time at his house, besides the gold records... I noticed on his office wall were several dry-erase boards that outlined the steps, tasks, and timeline for various songs/albums he was currently working on. I started noticing other successful composers and studio folks that also do the dry erase board. It's probably an obvious well known 7 habits of success "duh" kind of thing for others, but it's made an impactful difference. For me, it can't be a digital to-do list. I need a big honking visual thing I can see daily. FOUR: I hate to say it, because I find it so enjoyable, and absolutely love the community aspect - But spending time on Forums is a distraction, and very often contributes to buying more stuff. So I try to limit to when I'm on the road, or a fixed amount of time. I noticed some of the most frequent posters on the composing and audio forums actually have very little music out there. Not a judgment, just an observation. Finally, been taking myself off vendor mailing lists for plugins and trying to really limit those I buy. There are many vids on this, Barry Johns recently did a great one:

It's not cloth ears. Furthering your idea that no two real Mini's are alike: Because of tolerances, component age, and whatever the coder's interpretation of calibration and resolution and other modeling is - one to one comparisons among plugins with exactly the same exact settings rarely work. You'd be better off getting in the ballpark with the selection of waveforms, then tweaking filter, EG amount etc. by ear. I posted in another thread about MIni plugs and the real thing, specifically when it comes to the low end. I think in context any of these will work within a mix, and most listeners certainly won't know the difference. To us, I think the bottom line is whether it inspires your playing. For late night grins, I tried duplicating that great MM2 Wonderbass preset on: 1. My real Mini 2. Minitaur, 3. Model 72 (demo) and 4. the Arturia. Sorry I didn't document it. My real Mini is in such dire need of calibration and other fixes it was only fairly close, but at least had its own character going on with it. I got closest on the Minitaur where the immediacy of moving knobs vs mouse probably helped. Note, it doesn't have a 3rd Osc. So turned it off on the MM2 while comparing. Even with just 2 osc's , the Minitaur of course had that extra bit of magic dust, but the MM2 was still pretty darn good. The 72 was nice but didn't really inspire me. After not using the Arturia for a while, it sounded flat and lifeless compared to the MM2. The EG/Contour settings on all of these were all very different. Where just a nudge can make a huge difference. I think I may have the free light version of Monark that came with Kontakt, but don't remember being too exited about it. Not to sound like a shill, MM2 may not be identical, but it's got its own thing going on that breathes and responds like a real instrument, making it fun to play.. So far it also sits nicely in tracks. Our favorite records are the sound I always hear in my head. I've done re-amping on Virtual synths and Rhodes plug-ins which is tedious. Now I live and breathe with PA's Neold Warble (currently on sale...) or Softube's dirty tape. Arturia had a free Melotron filter-tape plug-in that might still be around which is also great. There are tons of free tape things out there, and a little bit always helps.

As an older full timer, I'll mention the same advice given to me by old timers when I was coming up: it's best to diversify, and look for other opportunities. There's lots more than just gigging live. Always great to stretch your skillset, with other talents both musical and related you may have- or didn't know you had. Almost infinite music facets that scratch the creative itch are out there involving production, sound design, scoring, composing, etc. etc. Evidenced by the great folks who started and moderate this very forum, there's writing too. You could consider remote recording and collaboration. There are paid opportunities and resources: https://soundbetter.com/ plus all the bandcamp kind of stuff. The holy trilogy of Money/Music/Hang mentioned is indeed true. There's also the adage "don't hook your wagon to someone else's dreams". You can be a little more daring when it's remote, or smaller projects - or perhaps an actual charity or cause you want to support. A freelance writer friend has often joked to me: "sometimes you make your living $100.00 at a time" - (82 GPB or 149.80 AUD. . ) In one of his many autobiographies; I read as William Shatner got older with less roles out there, he'd say "yes" to just about anything if it possibly sounded fun, or different - e.g. his work with Ben Folds. My personal hustle forms a calico quilt of income doing many different things musical, or music production related. Some steady, and some infrequent. Not all are high paying, and I've taken some stinkers I wish I hadn't. As I get older, I now filter more and seek stuff I enjoy most. But do enjoy the variety. Pro-bono giving of your talents- not for band slugs taking advantage; but actual charities, people, or causes you believe in...can sometimes Karmically lead to great paid gigs, contacts, or opportunities. Though it wasn't my intention, I've had that happen more times than I can count. In any event, I hope it works out for you, and you don't give up. It 's cathartic to know we all go through this. Cheers. CC

Agreed just about any app (Korg Module) would sound light years better, and wouldn't build a rig around it. While ago, found a Nanosynth at Goodwill. Been in my emergency gigbag forever. I played around with it a little; reminded me of the typical General Midi soundcard stuff. I guess if you're getting it for just something to knock around without a computer-tablet-phone it'd be useful. Then again they still sell things like this on Amazon: https://www.amazon.com/midiplus-miniEngine-USB-Sound-Module/dp/B00VHKM190/ref=sr_1_2?crid=UJN38C7V5R79&keywords=midi+sound+module&qid=1678728825&sprefix=midi+module%2Caps%2C565&sr=8-2

Wow- great eye!!! Yes ancient PC88 used for years as a silent studio controller. Use the faders & Xtouch Mini for control. Overdue for studio makeover, and going to swap in retired slab piano. Would love the Mac-daddy Kawai, but too pricey. Favorite essential purchase, just visible under the Barp: Tiny red metal table from the Dollar store -holds endless cups of coffee and tea.

Is Calzone still doing soft cases ? I had a few of their cases back in the day (M1, PC1, PC88) and they were great. I see on their site it's mostly Anvil type. I can understand why eggs are historically over-priced right now, but not sure why soft shell cases have risen almost 50-60 %

Obsessed with Moog’s small but powerful Minitaur. Been lurking on Reverb and Ebay for months, finally scored used one at an awesome price. Love how it integrates with its editor like a regular plug in. Also compact size. It's a one trick pony, but what a trick. It sounds amazing. In background is my ailing custom ’72 Chopped Midi-Mini. Saving to have it fully re$tored sometime this summer: found a great repair guy in Alabama, as it needs work beyond my skillset. In the meantime, I've been using plugins. I actually think in the upper ranges, with FX, and in context of a mix - stuff like the superb MiniMonsta2 can fool anyone… including me. But I can always hear and tell the difference in the low end when it's a pure dry sound. As shown in the "Analog playpen corner" pic, I've no problem with Behringer's clones. Considered a Boog Model D as stand-in, but have really missed the real deal. Plus needed something that could do presets for recall. For what they offer, Minataur is actually a great value. Trying to finish up some new music release, and this will be all over it.