Barryjam

I haven’t seen any reference or news about MIDI keyboard controllers with cutting edge features (MIDI 2.0, poly AT) except for Native Instruments. Nothing from Novation, Arturia, others?

Anyone done a comparison of Mojo61 with Xk-4? I’m liking the basic Xk4-4 tone, but wonder about comparisons involving chorus or drive, which many regard as great on Mojo61.

Here’s maybe OT question, but one I’ve been struggling with… My use case would be occasional fly gigs. For drive gigs, my CP88 and Mojo61 are perfect for me. I’m in a Chicago tribute band, so I need AP, Rhodes, Wurlitzer, FM EP, strings, Synth Pad/Brass, and rock organ, along with the expected splits and layers. I don’t need pitch bend or modulation. For fly gigs, I need a single piano action board, ideally 88 keys, where the total weight in a TSA case is UNDER 50 lbs. (I’d hold my nose and play organ on it). I’d like it to have most or all of these sounds internally (for backup or instead of computer/IPad sounds). A Gator TSA case is around 29 lbs, and Kawaii 120 is 27 lbs. Anyone know of a piano action keyboard more like 21 lbs? Ideally with these sounds? Failing that, a piano action controller without sounds? it’s gotta be less than 50 lbs in TSA case!

If I"m recording @96K in DAW, will the Pianoteq standard @48K play correctly?

Selling each of three PLG boards separately and an S90ES separately was clearly the best decision for me. There are lots of buyers for PLG boards that are looking for specific boards (analog, FM, modeled brass/strings). I cannot visit the path not taken (selling together), but I"m convinced that I netted far more $ by separating.

Cold Sweat (James Brown)

Easysounds has just released 'Nostalgia,' which includes classic synth sounds and templates that treat Montage/Modx more like a knob editing synth.

You possibly remember Which sheet music? I find that MAYBE the first page is close but subsequent pages are not, at least so far.

It is possible to purchase short AC cables that have one male plug and 3 or more female ends to attach to your rack modules. Every ounce counts.

I"ve always heard pitchbend on Get Down Tonight. How?

One of my guilty pleasures... Mercedes Boy, Pebbles. Especially the extended mixes. (Covers face in anticipation)

Bob built one of his chops for me in 2001 and installed solid state relays in two Leslies. Unlike Bill Beer"s, Bob"s chops are easily serviced by merely human repair guys. He provided schematics for anything altered and used Trek II devices pretty much. When it came time for my last service in 2019 prior to selling the chop, I noticed that he had lost a step or three, but he was magnanimous in suggesting a service tech closer to me. The Hammond and Leslie universe has lost a tremendous figure and friend.

No. You are not the only one. Quite distorted/harsh.

'All restaurants are Taco Bell.' 'All keyboards are Behringer.'

I like plugging the output of Mojo61 into the aux input of CP88. Then everything is being output through the CP88. This avoids a keyboard mixer altogether. I only use KB effects or eq, and I love Mojo Leslie enough that no Vent is needed. Someday I might expand with a table top Analog Synth, like Ob6 or Prophet 5/10. But I"m thinking that I will only need 2 of these 3 instruments on any one song, so I would have to problem solve the outputs. Don"t think I would ever go three keyboard stand.

To this day, you"ll break the hearts of certain islanders by informing them that 'Funking for Jamaica' is about a section of NYC.

Here"s another variable to consider: range of motion/flexibility/angle of hand/wrist compared to forearm. If you keep your forearm parallel to floor and then attempt to point your hand/fingers to the sky, some people can make their hand point straight vertically (I.e. 90 degrees or more). I can only manage 45 degrees. Anything more strains my wrist and compromises playing. I therefore must have keyboard height high enough that my wrist/hands are not bent up from forearms by much, if at all. I think this is a genetic difference. Exercise or stretching doesn"t 'improve' my wrist range of motion. I"d love to be proven wrong.

Nathanael, how would you describe difference in sound quality between Sq5 vs. your fewer tracks options like the Focusrite? I use dx4816 pres into Sq5 for full band stage recording, but I wonder if I might want to get another high end interface for critical overdubs in the studio. ???? (For me, It might be Apollo Twin x for Console 1 integration).

A couple of notes regarding USB-eLicenser : I've used Cubase for decades, started having some difficulties with my ancient eLicenser. (The big one). After I bought a replacement, all the difficulties went away, AND Cubase loaded way faster. Tonight, in response to this thread, I tested the new eLicenser, in a passive USB-2 hub, shared with an Ilok dongle, a Bluetooth keyboard and mouse dongle, and even a 2006 Contour ShuttlePro (V1) that I'm using as a shuttle wheel and transport buttons. Everything worked great! YMMV. I think Martin J. at Steinberg uses a D-Tech powered USB3 for the eLicenser. I think it can be run passively or powered with a separate USB 3 or C power cable. Cheap on Amazon. But so far, I don't need a powered hub, even though Steinberg advises it. GAS Alert! I'm getting low on USB ports, because my A&H SQ mixer requires dedicated USB2 port, and I'm also using Softube Console 1 (dedicated USB port) which is frankly incredible for workflow, Cubase integration, and SSL emulation (use it on every track, bus, group).

For many, in the short run, the path to profit will not be making more or similar money. The path will be reducing expenses. In Dec and Jan, I spent a bunch of money on room treatment and a friggin powerful desktop computer. I doubt I would have done that in March. We may see far fewer giddy discussions of the latest and greatest keyboards to buy. More discussions on skill development or how to make old gear sound great. Some of that is potentially good. But some of it is sad and worrisome. Our GAS supports manufacturers" innovation and motivation to continue to make gear for pros rather than toys for short-lived bedroom production fantasies. I hope manufacturers can weather this storm.

Yes. Tell us about the diffusers and absorbers/bass traps! For all of us, that might be the most important equipment.

I"m using advanced mode quite a bit. Helps me stack strings or synth patches. Soundmondo works with CP for saving set list entries. But that is nowhere like a Melas editor, which seems far less necessary on a CP compared to a Montage. Really wish I could INSERT a new set list selection between 2 adjacent entries. The new AP and Rhodes are good, but I haven"t switched from mainly using CFX and '78 Rhodes. I tend to stick with favorites rather than exact song replication. The new feature that is most welcome is the ability to save EQ settings on a per set list entry level. I wish the CP would boot with the EQ section toggled in the on/off position that it was in when powered down.

Such a tasteful solo, Mitch. I"m gonna download this onto Transcribe! and use it as a template for some wood shedding during the holidays. Thank you for the ð!

Thanks everyone. Really helpful. In the 'line cliche' definition, a point was made that the 3rd is not among the possible moving notes. To get the tonal qualities that I hear as defining the progression, the chord descriptions that emphasize or lead the player to continue to play the 3rd of the original chord throughout the progression would be best, if not essential. Just my opinion. I suspect that more players/band mates would understand 'descending chromatic line' than 'line cliche' on Am But the 'line cliche' definition educates me, as there are clearly more than one. Leads me to wonder more broadly if there are 'lists' of recurring chord progressions with shorthand names to aid in composition or sharing quickly in rehearsal. Thanks again!

(If I knew the answer I could goggle it) There is a common 4 chord sequence that is far easier to play than to know how to describe it. We"ve heard it in whole or part in hundreds of songs: the intro to Michelle, middle of Oje como va, Janis" version of Summertime, etc. One starts with a (typically minor) chord, then lower the root note chromatically 3 times. Here"s an example: Right hand.... Chord 1: Am Chord 2: lower A note to Ab Chord 3: lower Ab to G Chord 4: lower G to Gb Left hand: usually pedal point stay on A root during all four chords. (Or one could alternate A and E in the bass) With the bass remaining on A, I could see it notated as all extensions of Am, like Am, AmMaj7, Am7, Am6 But does that capture it in a way that is easily read in a lead sheet? Or is this better... Am, E+/A, C/A, D9/A Both of these chord descriptions seem overly complicated ways to alert a player to play something that is so familiar. Is there a better way to lead sheet this? Is there a slang or common name for this sequence that studio guys will understand if the MD says 'play the (fill in the blank) sequence here.' ?