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Adam Burgess

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About Adam Burgess

  • Birthday 11/30/1999

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  1. Just trying out the keybed manufacturer Matsushita…
  2. It's a bug bear, but sometimes you gotta bite the bullet and use the proper (expensive) Apple adapters now everything is on USB C/Thunderbolt connectors. Not all USB C > USB B cables are created equal. They might power stuff, but will not handshake, or pass data. Was in my local bar one day after they got a new LED wall. Macs would just not see the controller using Amazon level adapters. Had 6 guys on site trying to fix it for an event. Told them a hundred times to go get an Apple Thunderbolt to HDMI adapter - after many man hours, they did, and it worked instantly. Been working for a year. Same with Ethernet adapters etc... you just don't know what you're gonna get. Although I've had success with UGreen stuff in the main.
  3. You will notice saturation on anything bass heavy with cheap DIs like Samson/Behringer etc... I'd go with your gut and get a Radial. I grabbed a JDI Duplex years ago and it's been brilliant.
  4. I've always been able to hear a chord and get it 90% of the time correct. Single notes usually 100% if I'm having a good day. I sometimes reference what, for example, an F# looks like on paper, sometimes I just feel an F#, sometimes it's correlating it with an F# if I was sitting at a piano. If I'm wrong, it's a fifth out. Some harmonic filtering going on? Don't know. Singing a pitch on command, I can't do. I can tell it's wrong, but I think it's just 'cause I'm a crappy singer. I get bored long before I've slid up and down to be happy with it. I have massive synesthesia, too. Sometimes this F# maybe a certain shape and colour on the 4D space that seems to exist in my head. One strange quirk is that if I wear shades, my hearing drops by about the same level as my eyes… Not volume level, but it its perception. Think that's one of the important words in this thread. I wouldn't say I had perfect pitch at all, and can't say whether it's learned, in-built, or other, as I've hit keys for as long as I can remember. But, I'm good at it after 40 years of having a connection between touching something and hearing it. If I wasn't a piano player, I doubt I would be able to do it, even if I knew WHAT it was I was trying to do!
  5. It took a good few weeks of getting out of Korg and Yamaha mode into finding out what a Stage 2 could REALLY do with some careful forethought and programming. Sold mine cause I had maybe two years of piano only gigs, and hated the waste of it sitting in a case. I loved that 88 and have been recently thinking about a new Stage. It popped up on a Facebook memory thing last week. Positively slimmer, lighter, and shorter than the current Kronos 88. Having 16 parts on hand makes programming stuff easy, but, as above - with some careful programming, the Stage, especially the new ones, can do a lot.
  6. Can't remember! Sure there were a couple of extensions that required this. Maybe Loopback…? On the latest Sonoma beta these days!
  7. I was looking at something lighter than a Kronos 88 for just piano gigs… And, a Kronos 88 JUST doesn't fit in a Dubai taxi in a wheeled case, which is fine apart from transporting to a stage which could be miles from the nearest road 😞 Used to have a P120 many years ago, and I always liked the action, and it was slim and light! No joystick etc to the left, so quite a bit narrower, too. May risk something that has the GHS keybed. Think that will be fine (MX88, CK88, P225 etc. etc) - they're cheap enough and can't be any worse than that god awful Arturia Keylab mkII 88 I bought and sold in a couple of months or a Numa piano I had the misery of trying for a while, which I basically gave away to a church so they had a backup or to give someone as a practise instrument. Mind, I did a conducting only gig last night. Carrying a laptop to put on the stand and walking straight outta the gig was life changing haha. Usually I'd be conducting from behind a rig of some sort, so always be out later than the flute player…
  8. When working with guitarists, there's always that classic case of not quite major or minor in bluesy stuff… So, yes choose the better 'dominant' notes. I'd have no qualms about B C# F# over an A6/9, but then to thicken it, I wouldn't say no to B C# (E) F# A, or just a nice 'containing' high E on it's own… All about context… Where's it going, and, where has it come from?
  9. My Roland Integra is a 'soft off', where the power switch stays 'in', so needs a double press to turn it back on. I 'think' my Kronos 2 physically stays 'on', also - even though the switch definitely has more 'electronics' to it! Always turn these things off, anyway…
  10. @AnotherScott Yes, Scott. Agree with all the above. I believe this Bose is the L1S version I've used. It was going out of production at the time, so I don't think it was much more than $1000 US. Extra sub module was, well, extra. But worth it, I reckon!
  11. We've used the Bose L1 in a few duo gigs before, so live keys, sax, 2x vocals, and tracks. XR18 or X32 before it. So handy to have that to get a nice handle on the dynamics. Sometimes the sax is only miked to slap some reverb and delay on it and is fine acoustically, but the little Bose With two bass modules, I'd say it's good for 100 pax more than comfortably, in those restaurant/terrace/corp. dinner type things, at least. Couldn't do a rock band in a crowded bar without red-lining, but it's 'full sounding' which is sometimes more important than VOLUME! The RCF E-Vox sounded beefy enough to me the other night (compressed music, not live musicians, of course). The company played their "we're the best" corporate video early in the night and it was LOUD. Impressively so. And they had 2x sets compared to the Bose in the other room. Whether the tops could cope with live 'spiky' drums and bass clicks and pops… I'm not sure. But, I wouldn't hesitate to try it, or discount the system at all. (Like I would with the Mackie )The RCFs subs are quite a bit bigger than the Bose, and I'm sure they'd keep up quite easily. At a guess - I'd go for 200 pax in a 'busy' background noisy type room! Having used RCF TT+ stuff in the past in a LOUD ROCK BAND, I'm sure the protection is very good, if the tech has trickled down to the different ranges - but the musos have to be sensible if it redlines or they can hear and limiting or distortion… Not scientific in the slightest - but I guess the DSPs in these things are so good these days, when tailored to known speaker drivers and amps, they can be really impressive. In the same way the now quite old and tiny NEXO PS8 sounded with a huge 3600W heavy iron Crown amp and the external DSP rack(!) One of the nicest monitors I'd ever used for piano.
  12. Tagged along with a sax and tracks playing friend of mine to a small corporate ballroom gig last night. First time I'd heard the RCF E-Vox 12 in the wild. Sounded lovely - and impressive for the size and weight. She had her own Bose L1 set up in the lobby for the first set, and that I also like. Heard the Mackie column thing once and it was not the nicest thing in the world. Got a couple of JBL PRX4xx speakers that come out on occasion, and they just keep working here in the Middle East's humidity and heat and salty aired beach gigs. Harman quite ubiquitous around here for pub level stuff and service is actually among the better companies. Yamaha being another notable one.
  13. Out of all the keyboards I've owned, my Korg i3 (2020) is the only one that paid for itself in one gig! It's fun to play, sounds fine and weighs nothing. I put some strap locks on it in case I ever need a Keytar again 😃 Works great for jam nights, little duo gigs, lightweight top keyboard…
  14. Awesome, guys. That's great to get some real world set-up info. Thank you very much.
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