JB Sherry

On Thomann USA, the base Behringer 2600 is $529, $596 shipped to NY State. Definitely some savings there.

In the recent Rick Beato interview of Pat Metheny, Metheny describes building his own walk-up performance stand ( It was to for either acoustic 12-string or a High-strung National he was using ). He said no-one was doing that at the time. Today, there are a number off-the-shelf stands for this, but the product is niche enough to make searching for them tricky. Back then it would have surely been a custom affair. As soon as he said that I thought of Steve Howe. I know he he started using them at some point, but was it 70"s? And, who was the first?

That"s a Farfisa Compact Duo.

You need a UPS ( uninterruptible power supply ). Back in the mid-oughts, when I was doing IT in Manhattan, I could see from my UPS monitoring software that the incoming voltage was sometimes down at 106 during the summer. The UPS automatically compensated for this, outputting a steady voltage, for both over and under-voltages. (Turns out this is part of what the power company does to avoid a black-out). Your coffee maker may be fine with low voltage - your electronics may not be. A unit like this does NOT protect from voltage sags: APC BackUPS A unit like this DOES: More expensive BackUPS the smartUPS line has this feature throughout, and comes rack-mountable, but you pay a premium for the network capability. This one appears to be on sale: Cheap SmartUPS In a more rural area, you may have a chronic, rather than seasonal, power problem. One of these could help.

Fantastic movie indeed, with a wide variety of musical styles as well. I noticed another act (besides Sly) using the Farfisa Professional as well, but they may have been on the same bill. The festival took place over 6 weekends and the movie mixes and matches highlights. The Family Stone had second keys on Wurlie per usual. The gospel acts and jazz acts used an acoustic piano and some of the gospel acts also had second keys playing a real hammond console. Stevie was playing his Clavinet C. Stevie"s extended clav solo was awesome. There was a section where he was playing continuous left-hand with just occasional right-hand chords, and it was very much like slap bass. He played a funky rhythm on low Eb, popping out Db a seventh above with his thumb. He also does the 2-handed gliss on the upper keys that later is used in the intro You Haven"t Done Nuthin"

Marimba solo called Mindwalk Piece for Marimolin called Somewhere In Maine Street Dreams 3 - is that English Horn? I found these mentioned in the Wikipedia article about Mays.

The CP4 indeed requires a driver, at least on a Mac. I believe my CP4 didn"t show up in Mainstage via USB OR my cheap class-compliant MIDI interface till the driver was installed.

Gentle Giant - Free Hand, His Last Voyage Chick Corea - Lenore, Night Sprite Stevie - MaybeYour Baby, Tuesday Heartbreak Rufus - Tell Me Something Good Bob Marley - Could you Be Loved, Concrete Jungle

Looks like it could be a Virginal.

A 3 position pickup switch on a dual pickup guitar has NO open circuit position. In the middle position, both pickups are shorted to ground. In the diagram, 2-3 is lit on the left side, and 6-7 is lit on the right side. BOTH are lit in the middle position, and that"s a fail for you. Try wiring tip to 1, ring to 8, and sleeve (ground) to 4-5. Get rid of your jumper.

The disconnect may be that, while you can backorder one from Thomann, I haven"t seen a single US dealer that has this listed yet. Thomann seems to have a URL targeting the US. But it looks like it will cost more this way.

Rabid, it sounds like you're falling into the trap of trying to use a standard MIDI flow paradigm to work with Mainstage, but you've got to follow the Mainstage paradigm. I set up my first Concert using the cheapo Midi Controller that is on my desk to input notes into Finale. I then went to play my concert from a better Controller and mistakenly thought I could set the new controller to a MIDI channel and all would be well. But, Mainstage recognizes the device, not just a channel. As Tusker says, you'll need to first add your device in Layout mode. If you've got that one controller in your concert, then when you add a patch it should be assigned to that controller automatically, and it should be assigned to the whole range of the controller. It's important to note that a Patch in Mainstage is equivalent to a Performance in standalone multi-timbral instruments. I've attached some illustrations of my Lucy In The Sky patch. You'll notice in my attachments that I've got a number of zones spread out over the keyboard ( including a Tampura on a single note ). There are 2 buttons for triggering audio playback of the drum pre-chorus drum part and the chorus drum part. You can see that there are channel strips corresponding to all the sounds. Mainstage is very performance-oriented, but it should do what you want. I suspect that if your device is a sequencer and you want to play back sounds that have seperate timbres but overlapping ranges, you'll need to start by adding your Controller, then adding multiple channel strips to a single patch. From there, instead of editing the layers to adjust the ranges, it looks like you need to do this thing here. Other VST hosts may be better suited to using with a sequencer. That said, if you get the above set up and save it to use as a template, you can then just change the synths assigned to the channel strips and it should be pretty quick to get a new project going. HTH!

With full MIDI control of every parameter plus 300 preset locations, NightSky is designed to be the center of sonic expressiveness for your MIDI pedalboard. Control sequencer tempo and pitch via MIDI. Modulate NightSky"s filter with beat-synced modulation envelopes from your DAW. Let NightSky provide the inspiration, and the possibilities are as unlimited as your imagination. NightSky transmits and receives MIDI over 5-pin DIN, USB, and even the Expression jack (via our MIDI EXP cable)âperfect for your pedalboard or in your studio. Sounds like a great fit for a studio/keyboard rig. Not many guitarists care to grok MIDI.

You guys are talking like there"s 1 leslie standard when there"s 5-6, including 3 standards used in the models people care about. Both the 122 and 147 are 6-pin and send back 300v, but the pinouts are different. The 800-series and 900-series solid-state leslies use an 11-pin system that has become the modern standard, and it does NOT output 300v dc. It does provide a 24v tap that can power a preamp, though. This site is still good reading: Captain Foldback The leslie section has a sub-section on all the different pinouts. A little peripheral to the subject of preamps,but if you"re using any vintage gear it"s good to know the basics, at least. Back in the day, a lot of folks liked the Speakeasy stuff for a preamp, which was supposed to add some Hammond grease to the sound of the early digital clones. Of course, back in the day, clones really needed that. Even though they don"t any more, you may still like the mojo it adds to your Mojo. The basic Speakeasy was supposed to emulate the warmth of the AO-28.

I also found a thread which has a MIDI script for MainStage that may give different results than the floating split point option.

AmazingSlowDowner for iOS supports Spotify. I throw the track into a playlist in Spotify to make it easier to find from ASD. No need to rip anything.

+1 on the Mark Lewinsohn book if you"re into obsessive detail about instrumentation and such. Plus, it"s a coffee table book, so there"s great photos of people and track sheets from the sessions. I put together a purim spiel based on Sgt. Pepper a few years ago, and one of the things that was indispensable was Hammond Dave"s Gibson combo organ sample set. I was able to import a patch right into ESX24 in Mainstage (once I figured out how to use ESX24) for that unusual sustained keyboard sound in the verse. I used one of the other Gibson patches for the chorus. It was a one-man-band situation, so I threw in the Liverpool Bass that comes with Mainstage, grabbed some free tambura samples from the internetz, and triggered some drum loops made from a track that came from one of the better karaoke sites. I guess it was the complete opposite of a solo piano arrangement. But, I couldn"t have nailed the sound with such detail without Hammond Dave, so thanks Dave! BTW, there are lots of isolated tracks for this stuff on the usual sites, if you want to hear parts with more clarity.

I think he means he had to reverse polarity on the pedal wiring to make it work. I"ve got a triple pedal set from my defunct prp800, and the box saya VFP3-D, which corresponds to a current Fatar model number. This pedal set would be really nice for the occasional classical gigs I do on my CP4. I use the yamaha half-damper sustain pedal and an fc5 for soft pedal. I can"t do 3 pedals on the cp4 ( and there isn"t much need for Sostenuto pedal in the primarily 19th century repetoire the gigs), so I want to use the middle pedal with my Airturn, for page turns. Well, I tried it, and everything is backwards. The damper sustains when I release the pedal, and the effect I used for testing was engaged when I released the pedal. This jives with the description on the box - 'Open Momentary Switches + 1 Damper Potentiometer'. Seems like the switches are momentarily open when depressed and Yamaha wants closed when pressed. I"m going to make a 3 jack adapter box to address the problem. To summarize for OP, looks like the GEM keyboards expect pedals that are open when depressed, and most pedals are the reverse. You can definitely still get the Fatar StudioLogic triple pedal. If your GEM doesn"t support half-pedal, you probably should get the VFP3-10, which looks like 3 momentary switches ( no potentiometer needed if no half-pedal, and it might not work right with the potentiometer ).

Keep in mind that the Impact libraries require a full version of Kontakt.

there"s another great feature that I use when performing multi-page scores where I don"t have much time for page turns, and there are repeats. You can duplicate the pages of a score that contain the repeated section, right in Forecore. Combined with my page turn pedal, this is much easier to manage. Using a nav button for a repeat can be iffy when you have to lift your hand from the keyboard, touch a small spot on the screen, making sure mot to slide your finger lest it not be interpreted as a press, and then return your hand to the keyboard in time. Using a pedal without the page-dupe feature means moving your foot to the back pedal and possibly having to tap multiple times - not too fast or some taps may not be detected, requiring more taps. However, a pedal combined with the page dupe feature means you can just keep your foot on the forward button and advance one page for the repeat. I use the huilt-in page markup tools to cross out the parts of the duped pages that aren"t part of the repeat.

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Yeh, I noticed the digital hammond, too. Sounds great! In addition to the red thing, there's a nice array of vintage keys around him, including a vintage reed organ behind him.

Was in the mood for some Joey D, and looked chronologically for his latest. Wow! I did not care for his previous effort ( Van Morrison just didn't float my boat on standards; much prefer Joe Pesce ), but his latest from a few months back is excellent. This is an in-the-studio/talking heads kinda vid: [video:youtube]

On my old original iPad, I used Forscore in landscape orientation. Yes, this resulted in twice as many pages turns. Are you using a pedal for page turns? It really works well. ( i now have an original iPad Pro, which works well delivering 1 full page in Portrait orientation. Agreed, it"s pricey! )

I lurv the fact that the sheet music is completely accurate.