Barryjam

You mean the way it alternates between the intro/between verses bass line, and verses bass line, right? Yes. I incorrectly played it like the intro during the verse, until my bass player politely corrected me.

this! I play in a Chicago tribute band where I"m frequently playing left hand (even duplicating bass) on AP, Rhodes, and, of course, FM EP, but I never touch the keys with left hand on organ (except for palm smears). But, again, these are heavily rehearsed songs, played with an ensemble focus, where the bass player and I hear and iron out our differences.

This also got me thinking about 'Don"t Stop Believing,' where the piano bass is essential to the intro but is clearly syncopated. Then the bass comes in but is NOT syncopated. Both players need to listen carefully and work together to get this right.

I Wish is another example where the main bass/Rhodes riff is simple quarter notes played exactly the same throughout the song, so duplication sounds great. But it can get muddy during the prechorus unless the two players work together to keep the groove.

I have replaced CP4 with CP88, and here are some of my observations: The resampling of CFX sounds better in octaves above middle C. CFX sounds different than on CP4 but one gets used to that quickly. I could play that '78 Rhodes all day. I think the warm Wurlitzer sounds are also improved right out of the box. I think small amounts of 'drive' can be added to Rhodes or Wurlitzer even if you are not going for distorted or amped sound. Edits are 1000% easier on CP88 than CP4. Night and day difference. I can actually make easy edits while playing live. But some of the switches are small, eg, turning on effects for particular sounds. New sounds in 1.2 are greatly appreciated. CP88 lacks filter editing of synth sounds, which I used frequently on CP4. I think I will miss this most. The AUX input with level control provides significantly more gain than CP4. Great for optimizing Mojo61 level through CP88. One cannot PAN the internal sounds, so no ability to send organ or bass to a dedicated external effect, like Vent or bass cabinet. For me, the keybed playing experience is more pianistic on the CP88, and I love the texture on the black keys. One can layer 3 sounds on CP88 vs. two on CP4. I am also using 'advanced mode' frequently, mainly to layer two synth sounds or to split other 'sub' sounds, one of which is processed thru the AP or EP section. The organ sounds and Leslie sim are inferior to a dedicated clone, but that is old news. Passible organ if forced to use it in non-organ centric gigs. I"m ecstatic about the CP88. I find myself looking forward to playing it multiple times per day. Frequently more often than my Steinway! It"s sound set is almost perfect for 95% of live bread and butter playing. I could also see people using it as a controller. I want the additional sound palette and FM sound creation of my Montage. I think I could see replacing Montage8 with Montage6 if CP88 proves to be a great controller.

While I agree with all the suggestions as a general rule, it is interesting that the OP used Celebration as an example. On the original recording of the introduction and during the chorus, one can clearly hear that the Rhodes is copying the bass line during most of the 2 measure riff, then holding the I root, while the bass continues repeated notes on the root of I. This is one example of a song where I think copying what is done in the studio works live (some but not all duplicating of bass lines). But this is a line that is easy and repeats in exactly the same notes and rhythm throughout the song, which means both the bass player and keyboardist can get into exact sync and rarely stray. While the keyboard player could easily arrive at muscle memory playing of just the right hand, I think it sounds better to duplicate on that section of this one particular song. Generally, I would listen carefully, cut bass EQ, favor rootless chords, and enthusiastically invite the bass player to tell me if immediately if there are conflicts from his/her perspective, I would reserve the right to argue for occasional duplication, like on the chorus of Celebration. Maybe the exception proves the rule, but there are legitimate exceptions nonetheless.

Just curious about those of you who play in PG tributes. In Your Eyes: do you have keyboard or guitar playing the repeated arpeggio comping in the pre-chorus and chorus. Seems like guitar in the studio recording and keys in the tour video. (Now I can go back to drooling over Paula Cole"s vocals and body movements)

Maybe because relatively simpler riffs (holding a bass note in left hand while using simple triads in right) can be played by a much larger group of players than more difficult riffs.

Does Anybody Know What Time It Is: 4/4, 5/4, 3/4, 4/4, all within a few measures.

On two occasions in the last ten years, I"ve discovered one keyboard completely dead at the start of a gig. The 2nd keyboard completely saved me I not only want both piano and organ actions, I want the piece of mind in knowing I can get through the gig without desperately seeking an open music store on a Sat night in wherever the gig might be.

I"m absolutely sure that with huge amounts of additional gigging experience, you will find that... (wait for it) You (me and everybody"s Uncle Bill) will totally forget how to play an exposed intro on a tune you"ve played perfectly the previous 1073 gigs. I think that the notion that one should 'practice until you cannot get it wrong' is at best an aspiration and is actually a disservice to 95% of us. (Yes, I still often feel deep misery in the moment, but the time to recover back to my baseline level of mixed self-loathing/self love gets shorter with repeat experience.).

Some of the humor can certainly be due to nervous recognition that these conflicting thoughts and feelings are familiar to many of us! Let"s see, what is the predominant one for me at any one time (you can choose more than one simultaneously): 1) i just know that purchasing XYZ will greatly advance my music. 2) I don"t care what I think, I want XYZ. 3) My purchase of XYZ detracts from actually working on my chops. 4) Even my research on the possibility of having XYZ detracts from my practicing. 5) Owning XYZ actually inspires me, leading to chops enhancement or song development. 6) XYZ is the last one. (My GF rolls her eyes) 7) I"m gonna sell everything except my AP (GF asks if I will be practicing scales and 2 measures of same song while she is home) 8) I think I have all the equipment I need, no need to buy anything now, and I"m feeling a little empty inside. 9) I"m selling everything and getting out of music. (GF is genuinely concerned) 10) I"ll just buy the new ABC because it replaces all the stuff I sold in a much simpler format. One will be enough. Rinse and repeat.

Obviously, any recording done to ascertain the audience experience should be recorded from out in the audienceâ-not a board/mixer LR mix. Board mixes will often falsely have keys appear hotter than what audience hears, especially if guitar and bass are amped and kick and snare are hyped in post-board subs/mains speaker processing.

I have resigned that I cannot ultimately control what the FOH does, especially when the sound person works for the venue and/or a festival. The best I can do is convey our band"s vision. My efforts have to be focused on what I hear, what my band mates hear, and that all of this is consistent with emerging best practices, which IMHO is less, not more, stage volume. My path has been Mackie 450s, to Traynor K4, to excellent JBL srx712s as a pair, and finally to expensive IEMs. Only with the IEMs have the old battles ended on stage. Everyone on stage gets the mix they want. We all play with more recognition of what the other players are doing, and I think this does prompt many FOH guys to mix to our ensemble vision. (except for the occasional person as reported by the OP). Given my prior experience of un-winnable volume wars, I just don"t think that throwing increasingly loud keyboard monitoring on stage is going to be a winning strategy, even if that strategy has the laudable aim of making sure the keys are heard in the audience. Band mates will complain about keys volume, and the guitar player will just turn up to 12. Just my opinion. Now back to rehearsal (without any ringing in my ears).

Sometimes rack devices can share a single power supplyâusing inexpensive splitter cables. (depends on voltage range of each device and the total amperage draw all connected devices). For example, I have three IEM transmitters connected to a single PS and two wireless mic receivers connected to another PS, and both PS are the stock units that came with the devices.

One of his brethren obviously mixed Bill Payne and the Doobies the night I saw them a few years back. What a waste. But there was plenty of distorted (in a bad way) guitar.

The only IPad mixing interference I"ve heard about is 2.4ghz router interfered by wireless guitar signal. I haven"t heard of a router or IPad interfering with keyboard patching or keyboard anything. I doubt it was the case here, but never say never. Unless there was a midi program on that IPad? But even then, it wasn"t actually connected to the keyboard, correct?

First thing I thought of: When I lived in LA, what I wouldn"t tolerate anymore... The Queen Mary. (You have to be there. Often bands had to load in through a single tiny service elevator, shared with food staff, that would never be enlarged for historical preservation excuses). homey don"t do the Queen.

In my Chicago tribute situation, I use Mojo61 over CP4. The CP4 has a polyphonic synth sound that is serviceable, especially since I can edit the filter. (think of the huge crescendo near the end of Hard Habit to Break). When you owners of CP88 try out the new sounds, can you comment on any new analog polyphonic synth patches? Are there big ole polyphonic (brass?) patches ? Is there anything approaching filter editing? I guess I can wait for Guitar Center to download 1.2 before I try it out. I"ll search for YouTube videos. The idea of having 3 layers is appealing. A number of our tunes have AP, dx7, and analog poly mixed at various levels. I like to have only some of them respond to expression pedal.

Over the years I have found that Rhodes patches may be a little soft compared to AP, out of the box. I try to set levels per song. On organ, when I go from 888 to 888888888, I often have to lower volume/expression pedal at the same time. I try to avoid keyboard compressor, letting FOH add that if (s)he needs to do it.

Regarding power issues....Is the patch that it returns to the same as the default patch at power-up?

Yep. My money is here. I bet we get to actually hear the new sounds. Looking forward to it.

I play Mojo61 in a Chicago tribute band. For years of cover band playing with other clones, people would say at most 'nice work on keys.' Now, people are saying 'great Hammond' or 'nice organ' tone or playing. Suddenly they know. This says a lot to me about the authenticity of the Mojo.

I have wondered if the studio track should have started with that big bass slap on One. Would have oriented listeners that the first clap is on two. Some of us need that help I do recognize that Parliament/Funkadelic was not obligated to help 'some of us.'

This has been hinted at but not explicitly stated: if you are programming and saving splits and layers on a per song basis at home, then you can carefully choose split points and decide what parts are less essential when limited by 61 keys. Another variable would the ability to easily move up/down adjacent presets via up/down button or foot switch. More presets per song allows fewer splits/layers per preset. Actually, the MODx61 allows much of this while staying within one or two performances. Seems like a good choice. If the band calls songs out-of-The-blue, so no pre-planning, I play one important part and call it a day. In a live context, playing organ OR piano is often nearly as good as organ AND piano, and is often better for me. How many of us with two keyboards have had a catastrophic loss of a board on a gig, only to discover that the only ones who notice are maybe one or two band members. I"ve had three incidents of keyboard failure in the last 20 years. The show must go on. Being left without a single keyboard is scarier than the reduced number of keys.