mynameisdanno

Usually right here. Or in the top octave, depending on the band.

I like this idea. Unfortunately, to your last question, artificial reverb (whether mechanical or digital) usually puts out a "100% wet" signal, with the assumption that you're mixing in just a taste of it with the original dry signal still mixed in fairly prominently (and therefore the "core" of the sound is unaltered and still subject to phase cancellation problems). What you'd need is a "room simulation" that models a pair of virtual stereo speakers being captured by a virtual mono mic some distance away, probably in a slightly asymmetrical layout, and in a regular room, not one explicitly designed to be highly reverberant. UAD's Ocean Way Studios plugin might be suitable. There are probably others.

For your requirements, I'd definitely give the Kawai ES120 a shot. Haven't tried it myself (I need 5-pin MIDI out) but I really like the feel of the ES110.

Yes, it looks like you’ll get only one side of the CP73 if you use one XLR output. I can’t speak for the CP73, but on many keyboards, when I have to run mono, I prefer to use one side anyway, rather than a summed L+R output, due to phase cancellation - but that’s a bigger deal with some piano samples than others. I usually go with the right channel, since most keyboard manufacturers tend to bias slightly towards the treble on the right output, which suits the piano role in most of the ensembles I play with. I also think the Mini Vent sounds better in mono when using one side only rather than both sides summed. It’s worth a try both ways. Running two XLRs as you proposed will give you both sides summed to mono.

For line-level signals like keyboards, unbalanced cable runs (such as 1/4" TS) are generally fine up to 25 feet. You *might* notice some slight degradation at that point or beyond, and depending on the environment you might be more likely to get some noise issues, but it probably won't be anything that would distract from a rehearsal. Guitar players have to worry more about noise and high-frequency loss from long 1/4" cable runs, but for keys it's generally less of an issue. Back about 20 years ago, I used the 1/4" inputs on my Yamaha CP300 to mix in my Nord Electro 2 to avoid carrying a separate mixer. Worked great. I see the CP73 has added an input gain control. Even better. For rehearsal, I would suggest trying: Nord > Mini-Vent > CP73 input CP73 (1/4" TS) > QSC K10 line input (if input A, set for line mode) Adjust input gain on back of CP73 as needed to balance Nord volume with CP73 If the overall volume isn't loud enough in that mode even with the keyboard volumes and K10 input cranked all the way, the next thing I would try is running an XLR cable from one of the CP73's XLR outputs into the K10 (with the input still in line mode). The XLR output on the CP73 might be noticeably higher-level than the 1/4", or the K10 might get a hotter input signal when getting a balanced signal. It's worth a try. Failing that, next I'd try putting the Whirlwind IMP inline between CP73 1/4" out and K10 XLR in, and setting the K10 input to mic mode. That may or may not result in more effective gain, depending on the K10's mic preamp, but it's worth a try. If that doesn't work, Yamaha MG06 is probably the cheapest good-sounding way to get some extra gain before you hit your K10. When you gig out, the same precaution applies as with the K10 output – don't try to use its XLR outputs to directly connect to FOH soundboard. You always want to have a DI or other type of isolation transformer between your gear and the main soundboard, to allow you to easily lift the ground in the event of hum, and also to protect your gear from phantom power. This also goes for the XLR outputs on the Yamaha CP73. It's really annoying that they put those connections on there, I guess it looks "pro" but people inevitably conclude that they don't need a DI which just isn't true. The "nuclear option" without spending any more on gear would be to run 1/4" TS to the K10 input A (no DI between), with the K10 input set to mic mode. You're sending a line-level output to a mic-level input, which is way more gain than you probably want. Start with just a couple notches of gain on the K10 input, and both keyboard master volumes at zero, and bring them up very slowly. It will definitely get more than loud enough, but it probably won't sound good; there'll be significantly more hiss and likely some distortion. I'd probably file this under "misuse", not something I'd do long-term.

For rehearsals I'd suggest you run 1/4" TS from your two instruments into the two channels on the QSC. The Whirlwind IMP 2 will make things quieter, not louder; like most DI's, it puts out a mic level signal (this is because DI boxes are primarily used to feed signals to mixing consoles, and the general expectation of mixing consoles is mic-level signals at the inputs). If you absolutely need to use DI's between your keyboard and your speaker e.g. to eliminate hum/buzz (which it doesn't sound like is an issue here), you'd want to run into the Channel A input on the QSC, and set the mic/line switch to mic. This will make that input considerably louder, so turn down the gain on the QSC input first and slowly bring it up; you may also need to turn down your keyboard output volumes. Unfortunately Channel B input doesn't have a mic level input mode, so you won't be able to use the K10 as a mixer if you're doing this. What I'd *really* suggest is that you not try to use the K10 as a mixer - at least not outside the garage. When it's time to gig, get yourself a Radial Key Largo. Your input levels for the two instruments will be easily physically accessible, you'll have a dedicated monitor output level control at hand to turn your K10 up or down without needing to reach behind the speaker or affect the signal level to the sound board, you'll have a high quality stereo DI for the feed to the sound board, and you'll have ground lift switches for both sets of outputs to troubleshoot hum/buzz issues. It's a great little device if you can swing it and you can mount it on a small pedalboard next to your Mini Vent. If you use your K10 as a mixer in live-performance contexts, I don't recommend using its combined output XLR to feed a signal to the FOH sound board, at least not without putting an isolation transformer of some kind between the K10 and FOH. If they inadvertently apply phantom power to your channel you'll get a nasty buzz at the least and possibly fry some circuitry in the K10.

I started a long thread on this topic about 12 years ago and most were in favor of old tube amps with 10" speakers. At that time Steve Nathan had an old Fender Concert that is his Wurly amp of choice, I imagine he still has it. I took the plunge on a blackface Vibrolux Reverb and have been thrilled with it for Wurly ever since. I have one Eminence Legend and one Ragin' Cajun in the Vibrolux for a little variety, and it always comes out when I bring the Wurly to a gig. I have to admit I've been copping out and using a Strymon Iridium amp sim pedal quite a bit lately when I'm recording myself at home, just for ease of tweaking and to quickly provide an amp-y option as well as a clean DI.

I really love the On-Stage KS7150, it's been my main stand for years now. A lighter-weight take on the K&M 18950 type concept. Great value for the money, more sturdy than it looks. I regularly stack a Yamaha CP300 and Nord Stage # Compact on these stands, combined weight close to 100lbs, and it feels sturdy and solid at sitting heights. Just make sure the legs are hinged out as far as they'll go to minimize side-to-side wobble. The big advantage of this type of design is that you can put it in a keyboard gig bag along with a folding bench, so all your hardware is (1) protected and (2) reduced to a single one-hand carry. Or put it in a Pelican Air 1615 with a folding bench along with an iPad clip or whatever other bits and bobs you need, and you have a hardware package under 50lbs so you can even fly with as checked baggage if the need arises (it's come in handy a few times). I haven't tried the official 2nd tier for it, I either use a CP300 or VPC1 one and just stack, or use a home-brew thing I made with a couple of 7/8" square dowels and threaded rods that just holds up the back of the top keyboard. I rarely play standing but on the handful of occasions I have, it still felt fine with the height jacked up.

Radial Key Largo +1, even though it's excess to requirements, IMO that makes it more useful to have around. It's become a real swiss army knife item for me in studio and live contexts. Your thought of using the FX send as a separate monitor mix unfortunately will not work; I believe the FX send knobs are post-fader (as you would expect for FX send use), so there's no way to have have a signal (e.g. click or a monitor feed from FOH) muted in the main/mon outputs and present on the FX send bus. Most of the time I use the FX return (with the recessed FX mode switch set to mono) as an additional input for my accordion. The FX foot switch mutes the return, so I can easily mute with my foot and unplug the accordion to save battery on the pickup system. Works a charm. I have a MOTU M2 in my office I use just for listening, it sounds good but sometimes it needs to be rebooted after a few days for some reason. Probably not an issue in gig environments but it still gives me pause.

Mine's usually on the floor mounted on a small pedalboard next to the Key Largo, which lives on the floor to one side rather than under the keyboard, so it's still easy enough to reach down to one side for a quick tweak of a knob (I play sitting). I try to minimize the number of cables running up onto the keyboards both for aesthetic reasons and reliability reasons (keeping the 1/4"s between the Vent and the Key Largo permanently connected on a pedalboard = less wear and tear on cables and jacks). I also use a remote foot switch so I'm not having to step on the Vent. I've gone through a few footswitches over the years but my Vent and various Mini-Vents all still work and have never needed any repairs. I rarely felt the need to tweak settings once I found ones I liked on the original Ventilator, so I moved to the Mini-Vent with Ashby remote mod years ago and never looked back. The Vent algorithm sounds best to me with the drive fairly subtle. The Nord doesn't hit it with a very hot signal, so so "fairly subtle" for me ends up meaning 4/5 (drive level 3 on a Mini-Vent). If I need more drive I just get it from the clone, or occasionally a Tall&Fat.

NS4 or NS3? If you have a NS3 Compact, I can vouch for it flying like a champ, assuming you'll be on airlines with typical baggage allowances. Put it in the Nord gig bag, put that inside a Pelican 1750 (no foam). Put a couple of random 1-2" thick blocks of foam to fill up the few free inches on either end, and there's still room for a Yamaha FC7 expression pedal. Comes in right at 49lbs, check it, no worries. I've been flying with 73-key semi-weighted action NE2's, NS2's and NS3's that way for like fifteen years now on a very regular basis. Never an issue. If you have a NS4 Compact, the same basic setup would probably work. Looks like it's a pound heavier and half an inch deeper but you should still be OK. Might have to lose the FC7. If you have the NS4 weighted 73 that’s probably a no-go with this case setup.

For stage gear, I like the idea of something that could get gracefully dinged up in the way all our bandmates enjoy. My main skepticism is how this novel action mechanism will feel. Time will tell, I hope. They seem to have a great team assembled. I want to believe! The CP300 is still my go-to bottom board for backline rental situations, or if someone else is setting it up. The CP300 that’s been baking in my parents’ garage in Oklahoma for 17 years still boots up just fine every time I go back home, so I imagine all the backline companies will keep theirs around for as long as people keep asking for them. For special occasion local one-offs, the Kawai VPC1 looks a little sharper. If space or weight is at a premium, the Kawai ES110 and my @Tonysounds-inspired half-tier to hold up the back of the Nord.

This looks awfully perfect to plonk a Nord Stage # Compact on top of. Gonna have to find a way to put my hands on one.

Never in my life did I ever want to pitch bend until the Nord pitch stick came along. I find it so easy to get natural-sounding bends and vibrato, thanks to the lack of an artificial center detent and horizontal-ish axis of motion. Non-sprung wheel for mod.

I don't know what percentage of people use ad blockers, but I'd file that under "don't let the perfect be the enemy of the good." There will always be a significant percentage that don't bother with ad blockers, and the people who do bother to enable them don't really represent lost revenue, since they are mostly not people that would ever have actually clicked on an ad if they hadn't blocked them; these are people bothered enough by ads to take extra steps to never see them.

I'm personally a fan of Patreon for the "public radio" type model of things that work best when free to all, and those who see the value and want to support can kick in. I subscribed as soon as I noticed there was a MPN Patreon set up. If Patreon numbers aren't going to cut it, the "free with ads, subscribe for ad-free" model seems like the next natural step up. That maintains the low barrier to entry, generates some revenue, and also generates some revenue from people who want to support the forum but don't want to sign up for a Patreon for whatever reason (and/or hate ads).

Specifically regarding the official Neo Instruments Ventilator Remote II, the two-footswitch remote pedal: How loud are the switches, acoustically/mechanically? I've been using my old Ashby Solutions pedals for years, but they're no longer available, and my one pet peeve is that those plunger-type switches are pretty loud, which can be a bummer sometimes at intimate house concert type performances, or when cutting scratch keys on the floor with a drummer (and all the open mics that come with that). I'd love if a Boss FS-6 could be made to work with an adapter cable of some sort; they are blissfully quiet. Haven't dug into the switching scheme yet to determine if that's feasible.

And regardless of which type, telling them how to do their job probably won't help matters.

If that exact suitcase isn't a hard requirement, on the rare occasions when I need to bring a keyboard stand in checked baggage, I like an On-Stage KS7150 in a Pelican Air 1615. Combined weight about 34lbs, and plenty of room left over for clothes/whatever (or an On-Stage X-bench, but it sounds like you won't need one of those). I have a KS7350 at home I can break down and measure. I'll be back on Sunday. Send me a PM or tag me in this thread and remind me if you haven't figured it out by then.

I want to say there are some users of that monoprice case here. Also some proponents of the Harbor Freight equivalent. Do a little searchy search.

I wouldn’t worry about a few inches in any direction on case dimensions making a difference on likelihood of surcharges. I’ve never been charged extra on Alaska flying with keyboard cases (including ones quite a bit larger than the 1750), and they’ve been my main airline for about seven years now. I’d opt for a not TOO snug fit between the gig bag and the interior dimensions of whatever case you choose. The closest thing I have to anxiety about the Peli 1750 / Nord GB73 combo is flexing of the top panel (e.g. with heavy suitcases being stacked on it in the hold). Can’t speak to other solutions but the GB73/Peli1750 is about as tight as I’d want it. I was worried about it until it successfully made it through the first 30-40 flights and then I stopped worrying.

If you really need to be 100% self-sufficient, a Pelican Air 1615 will hold an On-Stage KS7150 and a typical X-bench, and a few other bits and bobs and come in under 50lbs as well. I've flown with that package from time to time where there was going to be no backline support whatsoever available. Cables and pedals in a carry-on. I buy those with foam just to have some in the lid and base to make it a nice tight fit so it isn't all rattling around in there. Or you can just buy a sheet of foam or wrap the stand and bench pieces in a towel or whatever.

I've been flying with NS3C, NS2C, and NE2-73 for many years now, probably over a hundred flights, mostly Alaska and Southwest. Pelican 1750 (no foam) + Official Nord gig bag inside + a couple small blocks of foam + Yamaha FC7 = 50 lbs. Nice snug fit, never had any damage. Every once in a while the TSA screeners will leave a zipper pull dangling outside of the case and smash it when closing the Pelican case. I tried taping a nice note to the lid asking to please pull the zipper pulls over to one side so they wouldn't get caught; that made minimal difference. Eventually I just bought a small bag of spare field-replaceable zipper pulls and kept them in there. I've only been charged once for oversize out of probably hundreds of flights. It was at Burbank on Southwest. Of course it depends on many factors but I believe that on most airlines, you're allowed a one piece exemption from oversize charges for a musical instrument, firearm, or sporting equipment (e.g. skis/snowboards). With that Pelican case, they will ask you every time if it's a firearm, and may look a little askance as they do so because those are supposed to be locked (I don't bother locking the case - the small added "security" isn't worth the risk of losing the key). Just say "no, it's a musical instrument (keyboard)". Never had an issue. Depending on the airport, sometimes on the receiving end they see a rifle case and automatically hold it at a baggage service desk and require you show ID. Just leave yourself a little extra time. I don't mind the minor hassle since it also eliminates the risk of it walking off. In my opinion the Nord Stage compacts are the perfect fly gig machine, especially if you haven't already climbed the learning/investment curve on a good computer-based rig.

The two crucial keys moment to me are: 1) the Hammond fading in in the build to the end solo. This song actually got me to connect separate organ swell and control pedals for my NS2 so I could play the body of the tune with strings, fade them out and bring in Hammond for the end solo, and then bring the strings back in as it builds to the peak of the final solo, all while keeping both hands on big wide two-handed voicings. 2) The sixteenth note string figure on the choruses (and the modified, less busy version of the same motif that happens behind the first guitar solo). I use a synth string sound for the 16th notes; the part feels right to be a little more pure/simple than a big string sample, and I also feel like I can get the necessary shorter attack without them feeling too grossly artificial in the way that a non-round-robined string sample with a shorter attack quickly becomes. I back that part up with whole note 4ths/5ths using a "real" strings or full orchestra sample in my left hand, played from a separate board with a separate volume pedal to get the balance just right. Obviously you have to make your own decisions on how to condense the orchestration on the verses, and it doesn't matter much what you pick, but there are plenty of gorgeous lines. I like to do that horn counterline in V1 if I can find a brass or full orchestra sound I don't dislike too much. In V2 I do those low tight chords with tron flutes and have a Rhodes with delay for the "pinprick" answer. This is one of the only songs I will bother with changing patches in the middle of. It feels worth the hassle to me.

Unless specifically advertised as having output transformers, I tend to assume they do not. After learning that lesson the hard way a couple times, I wish manufacturers would stop providing stage gear with XLR outputs unless they're properly isolated. It's just asking for trouble. It's not even a question of accident or negligence on the part of the audio engineer sending 48V where it's not needed; some lower-end mixers only have a global phantom power switch.