Brad Kaenel

Great; thanks, Dave. There's an email on that page; I'll try contacting Nick through that. Would be a great mid-week trip for a retired couple -- drive up to Santa Barbara, try some gear, visit the beach. My wife would be down for it, no question!

Yes, I agree heartily that it's a great blessing to have my wife affirm (or deny) such a purchase, as I am often myopic when it comes to my own wants/needs; she knows this. At 65, I'm rapidly approaching the point where purchasing new gear is both wasteful and impractical, and despite spousal approval I would have to admit that this Rhodes is both of those. If I were to consider one last "vanity" purchase before closing my checkbook for good, it might instead be a VV Marquis 73 which, although still a $10K instrument, appeals more to me for its homages to the original, the Harold Rhodes family, domestic origin, and mechanical innovation. That said, I could never spend that kind of moola without actually playing the instrument first, which will be a challenging, though not impossible, task on its own!

My wife said, "It's pretty; why don't you order one." Um...

Worked today on a Nord Piano 5...

Alesis Quadrasynth S4 1U module Had one of these in my gigging rack 30 years ago. Didn't get it for the keyboards (though they are excellent), but for the stellar (IMO) orchestral patches (clarinet, flute, trombone, bassoon; wow!); well, and a little nostalgia. Now in my home studio for musical theater projects. Tip o' the hat, Alesis -- you've made some great gear for us. Arturia MiniLab MkIII My new auxilary board for one-handed organ-playing with VB3m/iPad (runs off the iPad's battery, over USB.)

Now there's a real "Tiny Desk" concert! How 'bout this one: Arturia MiniLab3 and iPad 6 Mini ("Look ma, no power cord!")

Jupiter-Xm! Can't get more JOAT than that in a small footprint, if you don't mind mini-keys. But if that's way overkill for your needs, I second an iPad and a small controller, or one of the 3-octave Korg synths like the Wavestate. Assume you're talking about just one-handed playing?

I wanted to follow-up on the usage of External MIDI zones, specifically in reference to a Global Setting that is present, but undocumented in the user manual: MERGE IN: [OFF] [TO DIN] [TO USB] This setting, when set TO USB, was the crucial missing link to enabling me to control an external MODULE with an external KEYBOARD, through the Numa X. Many others have already reported how simple it is to add a modern iPad, as a sound source, to the Numa X. You simply connect the USB-B port on the NX to the USB-C port on the iPad, and then configure an EXTERNAL MIDI zone's "MIDI Port" setting as [MIDI USB]. Voile; MIDI flows to the iPad, audio flows back to the NX, over the same cable. You select and play the EXTERNAL MIDI zone exactly like a zone that plays one of the NX's internal voices. This is a great feature, as long as you want to play the external zone using the NX's keyboard -- but I wanted to play it from an external keyboard controller, and still have the NX be the only "main out" for all of my audio. I had already accomplished this in another way, by MIDI-connecting the external keyboard directly to the iPad and connecting the iPad's headphone output to the NX's built-in mixer. But that required "yet-another-cable", an iPad dongle to get at its audio (since modern ones don't have a headphone jack), and just required more moving parts than I'd prefer for live setup and performance. What I wanted was to be able to play the iPad, from the external keyboard, through an EXTERNAL MIDI zone. And here's where the MERGE IN and COMMON CHANNEL global settings come into play. Select a preset on the NX where all 4 zones are assigned to an internal voice. Set MERGE IN to [OFF]. Set COMMON CHANNEL to [OFF]. This assigns MIDI channel values of 1-4 to the NX zones 1-4, respectively. You can still play all of the (unmuted) zones from the NX's keyboard, in the usual way. Connect an external keyboard controller to the NX, using a standard 5-pin MIDI DIN cable. Set the controller's MIDI channel value to 4; you can now play the zone 4 internal voice from the external controller. Set the controller's MIDI channel value to 3 (or 2, or 1); you can now play that zone's internal voice from the controller. Connect the iPad and the NX using a USB-B-C cable, as described above. Configure the software instrument on your iPad to use MIDI channel 6 (for example). Likewise, set the controller's MIDI channel value to 6 (to match the iPad); play the controller -- you will hear no audio. Set MERGE IN to [TO USB]. Now play the controller -- you will hear the audio from the iPad! Set zone 4 on the NX back to internal voice; now you have access to 5 voices -- the 4 internal zones, plus the external connection to the iPad. So you see, you can have it both ways. Connect to the iPad through a zone, and you have access to the real-time knobs to control whatever CC values you want to manipulate while playing. Or, bypass the zones by connecting on a MIDI channel higher than 4, and you can still control the iPad instrument from anything available on the external keyboard AND still have the 4 internal zones available for playing from the NX's keyboard.

Two thumbs way, way up again for the Numa X's external zone and MIDI implementation. Playing a Motown show this weekend, and adding VB3 was just dead simple -- one MIDI cable. Done. Another nice benefit of those blank areas on either side of the NX's controls -- my magnetic iPad folio really grabs on. It ain't goin' nowhere...

It's not just the tiers, though; there's also a strut that connects the triangular legs together at the bottom. As far as I know, you can't buy one of those, so the stand is fixed at the width it was designed for the VC. It might be helpful to read these earlier posts in this thread: https://forums.musicplayer.com/topic/167744-new-vox-continental-some-thoughts/page/3/#comment-2675538 https://forums.musicplayer.com/topic/167744-new-vox-continental-some-thoughts/page/6/#comment-2764165 I still use my VC73 stand everyday (though not with that keyboard). The only way you can utilize the standard Sequenz tiers that are available from retailers is to purchase a long one (model STA-L-B), disassemble the end caps (easy), cut the bars to the needed length (also easy, with a hacksaw), then reassemble the end caps. The included VC stand is custom-sized for that keyboard, so you essentially have to custom-size your add-on tiers from the stock ones.

I know that's a josh of endearment , but it's still a good question. There are many responses here of bandmates sticking together after literally decades -- I submit that the absence of financial pressure is a significant factor in a band's longevity. When we started our band, we all agreed from Day 1 that any money we made from gigging would be banked (our drummer was the treasurer!) and used only for recording studio costs, should we ever get the opportunity/desire to make a record (we made two, eventually). And as we introduced replacement players through the years, that was our principal stipulation. I firmly believe we're still playing, and still friends, today because we never had to stress about money, or making a living. (Which is, admittedly, easier when your bandmates come from a polytechnic university, and everybody is an engineer. )

The jazz/fusion septet I helped to form in 1980 still gigs once a month to this day with four of the original members. I gave up the keyboard chair 20 years ago, but they still let me sit in occasionally. We are still great friends. I have one even-longer connection to a talented flutist I first met in high school, in 1976, and was their competition accompanist until I graduated. We still communicate regularly and talk much about music, though we haven’t played together since then.

Yessir, it certainly is. That keyboard, and Logitech thumb-trackballs, saved me from carpal tunnel 20 years ago, and I've never used anything else since. Always felt sorry for techs at work, or anyone in my office, who sat down to use my computer: "What is this weirdo mouse you have? And how do you even type on this, this THING??!" I've had several, and they're unicorns -- especially the white ones. Hope I never have to replace it!

Rather than buy a whole new composer desk setup, I found a local craftsman (David Laake AudioWorks) who built a second tier for me, and a keyboard tray, for my existing corner-desk. After 40 years, I can finally just have everything ready to use, whenever the need strikes!

Ideally, yes. I own a nice Epson printer/copier/scanner that can handle larger documents. And I do the opposite with choir music octavos, which are smaller.

I've never been one of those players that preferred to have a whole multi-page chart laid out in front of me, nor someone who used live "page-turner" helpers at recitals and such (though it was always so gracious for them to offer). From my very first lessons, my teacher required me to turn my own pages -- if that meant taking my hands off the keyboard to do it, so be it. I've always been thankful for being forced to learn to read ahead, "memorize" a few bars on the fly, and play those while I flip pages. Two pages visible has always been enough, and is my preferred way of playing long charts. So, all that said, I always set my music up, double-sided, in sheet protectors in a 3-ring binder. This has always worked for me: big band, broadway musicals, classical recitals. Especially nice outdoors where the extra weight of the sheet protectors mitigates the wind blowing things around. I usually get these: Avery Non-Glare Sheet Protectors, but other thicknesses and sizes are available (and, yes, I get that most published charts are larger than 8 1/2 X 11) This might work for you, depending on the nature and size of the charts you're working with. TIP: In a sheet protector, I can make notes "on the music" using a dry-erase marker pen -- which I can then wipe clean without marking up my originals permanently.

I didn't take pictures, but here's how to open the Forte: https://forums.musicplayer.com/topic/172043-kurzweil-forte-tips-tricks-amp-other-cool-stuff/#comment-2735027

No flooding out here in San Bernardino, but we're 60 miles inland. However, we will probably have to drain a few inches out of the pool today...

There is an album of the original Broadway cast: https://www.amazon.com/Musical-Original-Broadway-Cast-Recording/dp/B09WXQ4LQZ/ref=asc_df_B09WXQ4LQZ Personally, I think the L.A. cast is better, but I kinda doubt they'd cut another album.

To be quite honest, I don't -- but there are tracks, and then there are tracks... I mean, with all the synchronized lighting and tech effects, I don't imagine you could do any of that precisely without a click track (or maybe you could, I don't know.) But there are 12 guys in the pit, their names are in the playbill, and sometimes during the show they actually play on stage, as well. I suppose that's arguing from *lack* of evidence, but it's enough for me to believe that the music is a lot more live than someone just pushing "play". 😊 I have a friend who knows one of the dance captains and swings in the show, and they told her it's all live playing. Third-hand, but I still believe it.

I was able to see one of the final performances of the L.A. cast and band last night at the Pantages. Wow. Just wow. 12-piece live band; rhythm and horns. No tracks. Incredible keys programming. They nailed the album arrangements, IMHO, to a level beyond what I thought could be achieved, given the complex, multi-layered engineering on Thriller and later albums. And Roman Banks, the young man who performed the adult MJ was fantastic; scary-good, with all the moves, mannerisms, even the high, airy speaking voice. Stellar supporting cast of dancers and singers. Story is essentially autobiographical, from early Motown up to the opening of the "Dangerous" tour. Really fun to see recreations of those early "Jackson 5" hits with "little Michael", before the CBS days. Show moves around to a few more venues in California; highly recommended!

Minty vintage Roland XV-5050 1U rack synth, to adorn my new custom composer desk (under construction). Keyboard drawer will house an equally minty Keylab MkII 61. It will be SOOOO nice to always have keys, a sound source, speakers, a recorder and headphones always at the ready, without having to cable everything up whenever I need to practice, record a track, or do some notation. If you saw me now you’d fall down laughing at the tangle of cords and cables!!

I almost bought one of these German-made desks, though they are likely a hardwood veneer over MDF, as D.Gauss suggests: Glorious Sound Desk Another option is to scour your local Craigslist for studio gear. There's usually lots available near me, but I have the advantage of living near L.A. where studios are opening up and closing down all the time. Craigslist: Studio Desks The option I elected ultimately, was to contract with a local craftsman to add a second tier and lower keyboard drawer to a sturdy desk I already owned. And if you already have something that you like and fits your existing space, having something built custom may not actually be more expensive that purchasing something new. For example: My desk: Jaxon L-Shaped Desk My contractor: DL AudioWorks

Well, here's a first for me -- needing to re-trace my own steps and follow my own instructions to make the same repair again! I guess I must really *bang* the middle "C" on my Legend '70s, because yesterday it started behaving exactly in the same weird way I described here, a little over a year ago. Back then, my repair was successful, but slightly improvised and a bit makeshift because I needed the fix urgently, and did not have time to order spare parts. I received them eventually, of course (all hail the parts department at Syntaur). But being of the "if it ain't broke, don't fix it" mindset I did not re-open the keyboard, opting to wait and see how long my repair would last -- about a year of heavy banging, apparently. No need to rehash everything; followed the instructions, repair successful, Bob's your uncle. But I did snap a couple of extra photos that someone might find handy... If you've never seen the Legend '70s optional legs, here's their brilliant execution. The legs don't attach directly to the board. Instead, the legs attach to a frame, forming a table-like, free-standing platform; then the keyboard attaches to that. I find this to be quite handy if I just need to quickly run-off with the board alone, leaving the legs behind; particularly handy today as all I had to do was shift it to my work table. Here's the dodgy C4 bubble contact again. Oddly, though, I could not discern any obvious damage or deterioration of the contact -- but I replaced it anyway (and also the one I had cannibalized a year ago, from the top register.) All is well again. If this turns out to be an annual maintenance task, I've got it down to a science now! P.S. Is this not a perfectly excellent location to mount a GSI Gemini box? I have a couple of blank Legend '70s expansion panels -- plenty of real estate to house an LED display, a couple of lights, and a big-ish knob. Hmmm... A fascinating DIY project for the newly-retired...

I do want to re-record them -- but I don't want to be on the recording. I have lots of material that's 30 and 40 years old now (it's all instrumental jazz/fusion), and I'd love to arrange and publish some of the best tunes for other musicians to play: big bands, combos; high school kids, college ensembles, etc. If I recorded it again myself, I'd probably just fall back into exactly the same voicings and licks I played when I originally recorded them. (And I say that because I occasionally sit in with my old band, and that's precisely what happens. ) It would be much more gratifying and honoring for me to listen to someone else play one of my tunes, than to try and redo it myself.