Jon May

It's not really noticeable to me in recordings 🤔

Just to chuck another combo in the mix; a recently purchased Quicklok WS-550 table stand with WS-562 accessory bar which braces the two front legs and is needed as an attachment point for the Z-727 adjustable 2nd tier. I bought it for its clean lines and for the vertical adjustment of the upper tier as I wanted to experiment with close placement of two boards (M-Audio controller and Nord Electro 4) . As expected I still had to drill extra holes to get the 2 boards touching with their keys offset in a "2-manual organ" configuration. 4 inches was the closest I could get between the key surfaces. In that format the top board occluded the Electro's controls, but access wasn't really needed as both boards were MIDI'd to an HX3 organ module and I had some Ocean Beach drawbars for the 'lower manual'. All this just to practise some Hammond tunes. 😄 For my usual gigs, 2 more holes allowed close yet practical placement when seated (forearms level playing the top board) and Electro control access. While I like the look of the stand there are some gripes... The table stand folds into a T-shape that is slightly awkward to stow in the car and carry into a gig. The accessory bar and upper tier arms are best kept connected together to speed assembly of the whole rig. They form another shape that is awkward for packing. The bar connects to the table stand legs underslung, so you have to support its weight while dropping in the threaded bolts from above. The bolts are long and take a bunch of turns before they pull up tight. Setup does take longer than a folding X-stand. I have the upper tier adjusted as far towards me (the player) as possible. This places maximum leverage on the horizontal arms supporting the keyboard. I wouldn't want to place anything heavier than a light controller up there. The stand breaks down into 2 parts (4 if the upper tier was disassembled further) plus 4 securing bolts. How long before I lose a bolt? Not as convenient as an X-stand with upper tier arms where everything folds into one flat unit and even the bolts are retained. I searched as to whether this stand had been discussed before and found mention of a modification by TonySounds, but unfortunately the link is dead https://forums.musicplayer.com/ubbthreads.php/topics/2373769/WS550_Mod_for_2nd_tier If anyone has details they could repost...? 😘 Molto grazi... Jon

Thanks Mate! Terrifically similar to the one other reading I received from a FB group... 2 9/16" The closest I can get with 2 clones is about 4"

Could a B3 owner measure up for me please? Need the vertical distance between the tops of the white keys. Thanks!😘

Well that fix didn't last long 😔

An hour with a hairdryer wafting down the length of the keyboard fixed it... for now 😛

Uh-oh! It's happening again! Slightly different pattern; the same Eb's are clashing, two octaves apart as in my OP MIDI-Ox example, but now the semitone doubling is between the key (Eb) struck and the semitone below. Previously it was with the semitone *above. 🤪 Almost like a 'short' between adjacent keys, but why repeat 2 octaves apart? Could that indicate a fault elsewhere? We have had days of steady rain recently and everything feels damp, which may be exacerbating the problem, but I think a strip-down and clean as suggested by Reezekeys is in my future.

On Boz Scaggs's "Lowdown" too I suspect.

Thanks Reezekeys. A potential reason MAY be that I rebooted the keyboard after having done the factory reset. I was becoming less slow and methodical though and can't be absolutely sure that the reboot immediately did the trick.

Hold the phone! I hate it when things resolve for no obvious reason! But in this case my relief leads to making an exception 😄

Boo! A factory reset did not fix the issue

This began happening overnight. I've been using an M-audio Code61 to control an HX3 organ module for the past month without problem. Then today (keys have been set up overnight) 3 keys are acting up; playing 2 notes at once, themselves and the semitone above. Weirdly the glitch repeats using those same keys TWO octaves above and below... the glitch skips an octave. I've attached the MIDI-OX output for just one of the 3 problem notes, Eb, played an octave apart. Ebs 2, 4, and 6 play a double-note. Definitely the Code at fault as I can hear the double-note whether the Code is controlling the organ module, an Electro or computer sound card. I first suspected dirt under the keybed strip (an occasional Nord problem resulting in max volume from one isolated key) but the "every second octave" pattern wouldn't seem to to have such a cause? Perhaps some sort of factory reset might clear it? I'll look into that, but any ideas are appreciated

I needed to replace the front panel on my HX3 Expander module. Since the knob seemed to be a sloppy fit onto its shaft I glued it on. Now the knob rotates for changing parameter values but won't move in/out for saving I have to save using the remote software and computer. Fortunately this isn't often required. Yes I am an idiot. That is all

I haven't seen any HX3 love around in a while, so for those of you tossing restlessly & wondering what it sounds like Inspired by Niacin's version... [video:youtube]

Boo! My 2 mixer channels that have the compressor are both a single mono 1/4" in. The other jack is for insert effects. So I would need to use both channels in order to hear stereo... which is OK...channels are like my principles... I have others!

I don't know if there is any improvement in Leslie in the later Electro models, but I do know that a Ventilator pedal (ver 1) made a significant improvement to my Electro organ experience, both on an NE2 and currently an NE4. The Vent removes the "mufflling blanket" from the raw Electro organ tone, providing noticeably improved output level, clarity, overdrive... . Would be a cheaper solution than an Electro upgrade if you're just wanting improved organ (and who doesn't? )

Ahhh.. sorry, as usual I was confused ... My advice â again â is keep it simple, don't spend big $$ on more gear, use what you have, get a female XLR to 1/4" TRS adapter and go with the setup you posted in your FIRST message of this thread. Use line in 1 or 2 to get the monitor mix from FOH, and try using the compressor on your board as a limiter â crank it up all the way to get the ratio as high as Yamaha lets it go, and adjust the input trim and the monitor send from the FOH board so you hear it start to squash at a slightly-beyond comfortable listening volume in your in-ears. Again - keeping all lines balanced between the keyboard & mixer and the FOH board might not be absolutely necessary on a smaller stage, but it'll guarantee you'll be ready for any playing situation where the line runs get longer â and all it'll cost you is the price of one adapter! PS - get a stereo DI! You never told us what you use for a keyboard but I can almost guarantee you'll enjoy yourself a lot more on a gig. All-mono in-ears sounds like torture to me! (OK, that might mean this will cost more than the price of an adapter ) Stellar advice, and the price is right! And I've only just come around to understanding your suggestion to use my boards compressor to possibly give some protection against volume spikes. Initially I thought, "he's thinking I'm using another mixer model with built-in effects". I've had that mixer for years and never toyed with the compressor!

I approve your diagramming skills and your skills in building your own system

THIS! The possibility of a volume spike does worry me. My particular little desk does not have built-in effects such as a limiter (that model was more expensive and I'm thrifty, OK?). A limiting feature is important enough to me that I may just have to buy extra gear after all.

Now you're contradicting your original post. I'm not sure what you mean by "back out my mains to FOH"... according to your diagram the mains of this mixer are not going to FOH so it shouldn't be a factor. The mixer is strictly for your in-ears and is not sending anything to FOH. I would forget about using the RCA ins â just do it the way you drew that diagram! . My apologies for the confusion. The suggestion from the Yamaha forum was an alternative routing to the one I diagrammed above. More like this... http://www.propertyshoot.com/dev/wp-content/uploads/2021/01/Mixer-to-in-ears-2.jpg Any input to the 2TR IN RCA's can be routed, via a toggle button on my Yamaha desk, to only go to the monitor outs/headphone jack, so avoiding a feedback loop. Drawbacks could be * hitting the toggle button by mistake * having to have an adapter cable (eg female XLR to male RCA's), though I note below that I'll probably need an adapter for my other scenario. * possible physical strain on those RCA's What I have diagrammed here (no DI or fancy-shmancy 'FOH') is my most common setup; my mixer direct to an ancient 'brick-style' powered mixer unit (the YAMAHA EMX212S I think) on stage. (5-piece Eric Clapton tribute band playing small bars and clubs). I've yet to find out what limitations it has to send me a monitor mix. Great idea. And useful to know how FOH commonly delivers a monitor mix. I occasionally play bigger stages in other bands, so now I can act all knowledgeable

I'm a retired science teacher with a major in stick figure diagrams

The FOH guy is a wannabe keys player

So it's not just me then ... and not just a 'Down Under' phenomenon.

Thanks ReezeKeys - ha ha... yes I'd seen extra personal monitor amps suggested in that old thread. and I'd heard from a guitarist/vocalist friend who used in-ears, that he found the isolation from ambient noise a little disorientating. His solution was to pull out one earbud, but that seems to me to partially defeat the advantages of having in-ears in the first place. I do run mono keys - well spotted. I can imagine that the more that is added to the in-ear mix, the more one would appreciate stereo separation.

Someone on the Yamaha board suggested feeding the FOH monitor mix into the RCA ins on my mixer (2TR IN in the photo above). That signal can be sent to monitor only (toggle button "To Stereo/to monitor), it doesn't go back out my mains to FOH (I just checked using music from a connected phone) and its volume can be varied independently via the monitor mix knob. Any drawbacks to that solution?