Steve Nathan

Welcome, and it's good you're asking. I'd assume it took you some time to recognize a Strat from a Les Paul, from a Country Gentleman, and even longer to hear and feel confident you were hearing a Twin or a Marshal or an AC30. We all spent years listening to records and turning knobs until it sounded closer or further away, until we eventually got to know what filters, oscillators and ADSRs did. There's not really a shortcut, but some of the tutorials above should be helpful in getting you started.

Thanks everyone.

I'm doing an event in a couple weeks, and the backline has a RD-700GX & a RD-700SX. Is there much difference between them? Which is the better choice for Piano/3 songs? As always, thanks in advance for your wisdom. PS. I also now see a Nord Stage 3 is available

It seems hard for some to grasp that sometimes, the keyboard part is just not important to the original recording. Sometimes you're a feature, or one of a number of important elements, but sometimes you're just along for the ride, there to fill out the track without getting in the way. Not unlike how I made a lot of money creating synth sounds that listeners never notice, but if you mute the sound, the track falls apart. And I would submit that learning how to respond, to play spontaneously, with heart and soul is much more likely to make you a better musician than clinically analyzing every note of someone else's performance.

I agree with all the "just play" comments. If it sill bugs you, just be sure to hit the 1 chord (w/root on top) on beat 2 😉

I watched some of it. I've been a fan since hearing him play Wurlitzer live. His band is TIGHT! The performance with Chris Stapleton on the CMAs a few years ago was DEEPLY SOULFUL! 😎

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I assume this is a current interview. How nice to see (my Armenian brother) Omar doing so well. 😃

My time touring was brief and a long time ago, but I remember that it was always the show producer or network that insisted on covering logos. I never did it myself. In the late 70s, I played The Midnight Special, Dinah Shore, Merv Griffin, Tonight Show and a bunch of other TV shows, and they all covered the Brand Names.

A friend once described this kind of music as like being in the ring with Mike Tyson. You can't help but be impressed with his technical skills, but before long, you're on the ropes in the corner and he's just pummeling you non stop.

I sometimes find that doing non-musical work (recently I built my daughter a horizontal fence), takes over my brain and gives my musical grey matter a little break. Pretty soon, I've got the fence figured out and the music starts flowing again. I also like to take simple common tunes (Over the Rainbow, Twinkle Twinkle, etc) and doing re-harms.

Mutt saw Shania in a bikini at one of Harold Shed's pool parties and apparently decided to both produce and marry her on the spot! I doubt he was thinking of Rock vs. Country at the time 😉 I did one record with Mutt and though I initially found his process unbearable as a player, once he let me play B3 on a track, he kept me there and left me to my own choices for the rest of the sessions. I did learn a lot about Production from the experience. I was never a fan of his records, but you couldn't deny their success.

The piano you heard at the beginning of the Tony Bennet tribute was coming from the Tony Bennet video. Probably the great Ralph Sharon. Stevie played after that.

2006😛

I don't know. I had 3 kids who all banged on the piano. At 18 months, none of them played a G with their left hand and followed it by spreading their little chubby fingers into a perfect G triad with their right. Even after he bangs on that F# that people say stops the video, his left hand moves to a B minor triad.

Curious to see what this will be. Used, but I paid $50 each for a 200 and a 200A in the late 70s, and $100 for my 126. Darrel Combs and Tom Bromfield (two of the greatest techs ever, sadly longer with us) took parts from both 200s to make the one I still play today (which has been called "the best sounding Wurlitzer I've ever heard" by many of the world's best engineers 😊).

Just read this, and scribbled the following. I'm sure you guys are way past this, and numbers don't translate for most non Nashville players, but here's what I scratched out.

$150! When the Summer shows were in Nashville, any member of the Musicians Union could attend for free. Of course, for keyboarders, those summer shows were barely worth the cost 😉 Then again, seeing Mike Martin and Dave Bryce always made up for the lack of gear wow.

Sad news. I only worked with him once, on Mark Knoffler's "Cannibals". He was a force of nature.

It costs me $500//year to insure a $50,000 piano from a house fire or other disasters. Are you suggesting that, I should set another $50,000 aside in a bond of some sort instead? I'll take the $500/year peace of mind. It will take a Hundred years to have paid the Insurance company more than its value.

I've had coverage through a partner program offered by the AFM. $1 per $100 if value is cheap peace of mind.

Sorry to hear. He was a big influence on me as a youngster.

1960 Fender Concert with original 10" Blue Jensens

What's the big deal about the nose. I thought it was very well done. In fact, all of the make-up in this film was outstandingly done imho. They captured his physical look at all ages with incredible accuracy, and Cooper's mastery of his movements, facial expressions and body language was equally impressive. For people who weren't/t alive at that time, or tuned into popular music yet, it may escape them, how well they portrayed that time in history. The smoking and the dominance of Broadway Musical scores in Popular Music are just 2 of the many well done aspects of this movie. What I didn't know as a youngster (or until now) was his personal life. Apparently his daughter's book is deep, and she has given Cooper high praise for accuracy. Turns out, Bi-sexuality is not the recent invention of the Woke that half the Country insists it is.