BenWaB3

I've never gotten to audition the MP7 series but have had the MP6 for many years and one of the things that keep me happy with it is that I absolutely love the Rhodes sound. The promise of a better action and better acoustic piano sounds has me leaning towards upping to the MP7 if the 6 ever goes out but the possibility of getting a downgraded Rhodes would make me hesitant. The Wurly on the 6 is great also. The clavs could use an upgrade. I don't know if the 7 takes care of that or not.

Thanks for clarifying that, Scott. I guess one of these boxes is in my near future.

But will the Camola box converter allow me to go from the Hammond-to the box-to the Casio without having to have a computer involved in the chain? Since I would be using this for my "house gig" on weekends I don't want to have to lug around a computer to get the job done. Thanks

Thanks for the reply, Scott. I won't be able to experiment with the setup for a few days but will probably try the one from Amazon once I get back home since their return policy is pretty easy if it still doesn't work out. I'll probably try the NI Komplete Audio 6 first since it seems like it might be the same type of thing but then again I thought the Alesis Micro Hub was kind of the same thing also. Thanks again.

I was using a direct cable from the TO HOST USB -B port from the Hammond and tried using both the USB-A (TO DEVICE) and micro USB (TO HOST) ports on the CT. I also tried using a regular MIDI cable from the SK to an Alesis Micro Hub and into the CT ports but that didn't work either. This negates one of the reasons I had picked up the CT (not the only reason, but one of the big ones). I've groused on the SKPro thread in the KC forums about the quality of the extra voices on the SK, acoustic piano, Wurlitzer elec. piano and particularly about the Rhodes & Clav sounds. I had hoped to tote the CT along & just plug into the SK's aux in & play those sounds from the CT via MIDI. The only way I could get it to almost work was using a WIDImaster BT dongle from the MIDI out of the SK and also using the USB BT dongle that comes with the CT. It plays okay for about the first 5 notes then starts having a latency of around one second. I did check the WIDImaster itself, running from the SK to some software in my phone & it didn't have that problem. I don't know if there is some weird buffer issue going on in the CT or what. I do have an old NI Komplete Audio 6 interface that I can try at some future point but I'm not very optimistic that will work either Thanks for the reply, Mike. It wasn't the answer I wanted to hear but I do appreciate you responding to this thread.

I cross posted this on the Casio Music Forums as well and haven't gotten any replies although in all fairness it's only been on there about 12 hours I've been trying to get my Hammond SKPro to play (trigger) the sounds from the CT-S500 via MIDI. The only way I can get it to almost work is using a MIDI dongle from the MIDI out of the SK and have the CT dongle attached. However after the first few notes the latency jumps to about a second. I've tried running a USB-B from the TO HOST out on the Hammond to the USB-A TO DEVICE on the CT with no luck. Also tried a USB-B from the Hammond to the USB Micro on the CT with the same (non)results. The Bluetooth attempt was with one of the WIDImaster dongles. I also have a Yamaha dongle but you have to put an app on the receiving device to get it to recognize it, a feature I don't think the CT has. And it's very possible it would get the same delay. Has anyone been able to trigger the CT sounds from another keyboard using just USB cables? And also, would it have killed them to include good old common MIDI sockets on this keyboard? Thanks in advance. Addendum to the original post: I did hook the SK up to a DAW on my computer just to make sure the Hammond was working correctly and it does trigger MIDI on the DAW.

It's a B-major triad over a C bass. I guess C-diminished with a major 7 on top. Don't know exactly how that would be described in a chord symbol (it can be described - I just don't know the correct way). In this case I don't hear an A note stacked in there. The usual use for this chord as a cadence would be to have the E-flat & G-flat slide up to E & G to resolve the chord to a major 7th. In this particular case though they go back to the original key of A. The original, in the key of D, had the chorus ending in d-minor, going back to D-major for the next verse, so the Brasil `66 version is a pretty slick transition since they essentially transition the chorus to the key of C whereas the Beatles stay in D (and d) for both on their version.

The cable debates on a lot of audiophile sites get pretty ferocious at times and often escalate into flame wars.

<<drawback said: I've been interested in the NumaX since the launch, and there are listings for them but no product yet. The TP100 was a turn-off, but hopefully the new 110 will be... er... ten better. If you’re interested in the Numa X Piano I would recommend trying the free Numa Player app/vst as this has some of the core sounds from that piano. I have been trying them and have to say I am quite disappointed with the sounds. I personally much prefer the samples on my Yamaha CP88.>> Yes, the EP's disappear almost entirely on the upper octaves. That being said, since it's a free app I wouldn't mind paying for some better sounds that are balanced through the spectrum. So if the free app is a teaser for some additional in app purchases (and the paid version took care of the latency) I'd still be okay with that.

Yes, Time Remembered is the version Mark posted. This was supposedly his first time back in the studio after the death of Scott LaFaro. This version is very drenched with emotion so I can believe that. Also the next track on Time Remembered, his solo version of Like Someone In Love, is by itself a great non-verbal definition of the word beauty.

Another Scott posted: <<1 hour ago, Delaware Dave said: Until a couple of years ago they use to start on F. I never saw anyone but Nord or Hammond start on F. I don't think any Korg, Roland, Yamaha, or Kurzweil ever started on F. (Did I miss someone else who did?) I suppose the F rationale could have come from emulating the Clavinet. Though I think more likely, it was because Fatar simply didn't offer/manufacture a waterfall low E key at the time. (You might think it would be the same as the high C key of a 61, but nope, the internals don't line up, as those of us who modified those Hammonds and Nords discovered. We had to use a different key, and there would be a hole where the black key to the left would otherwise have gone, to be filled by a wood block or whatever. There are threads about that here, I'm sure. Learjeff knew all about this stuff. I wonder what happened to him? Hope he's okay.>> I think (but have no proof) that a lot of that could be based on the pianos of the 19th century, around Beethoven's era to narrow it down a little. They stopped at the F key. We're so used to the 88 note piano that we don't realize the limitations of earlier times. I remember working on a Beethoven sonata years ago that is in E-major. The last few measures of the first movement have a figure that that has 3 E notes followed by 3 F# notes 10 notes down, then 3 E's and 3 F naturals. I always wondered what possessed him to do it that way until learning about the range of the pianos of his era. It took until the 1880's for Steinway to introduce the 88's we're used to today. That could have been why Hohner ended their clavinets at F, modeling them on the earlier piano keyboards. The Hohner piano bass also ended on F which kept me from trying to get one during that era. That was one of, to me at least, the flaws on the SK-1. I'm glad the SK-PRO goes down to E.

That's a great list!! Do you by chance have the info on Fencewalk by Mandrill? https://www.youtube.com/watch?v=aTsw3u6g5YI That was one of THE most nasty/funky clav tracks in existence. One person who has managed to capture that essence is Ivan Neville in a lot of the Dumpstaphunk recordings.

I just use whichever way they're pronouncing it when I stream WWOZ And then of course there's the multiple ways even the native musicians doing on air promos for the station pronounce New Orleans itself.

I had one & sent it back after a couple weeks because I couldn't stand the action and IIRC a lot of other people had that complaint too.

A# mind will be augmented by this word play. A diminished one will Bb. It's getting so chilly in here I feel Phrygian.

I just posted this on the SK-PRO forum on Facebook but thought I would cross-post it here. I'm certainly open to further suggestions & tweaks: Hey folks - I was just fooling around with the Wurlitzer sound on the PRO & thought I would throw this out there if it (hopefully) helps. For one of the components I threw in a square wave & it helped fill out the overall tone. On the filter I used LP-12 cutoff to 63, resonance 17 & keytrack 32. On the filter EG I have Att - 0, Dec - 106, breakpoint - 32 & Slope Rate - 66. I forgot to write down what that component's volume was & the organ is off now but needless to say it was way below 127. This was just a quick setup so it could certainly stand to be fine tuned. I had remembered back to the 80's when I had a Korg Polysix and with only wave forms to work with that was how I got it to approximate a Wurly. On the PRO it does seem to give it a rounder tone more reminiscent of the real deal. I may try to go in & fool with a pulse wave on the Rhodes at some later date to see if that helps that voice. Anyway, hope this helps & if anyone has done this before or something similar please let us know your findings. Thanks.

The SK Pro Organ Engine is top notch. I see no need to use my iPad with the B3x. Would make more sense to use it for better Pianos.... ;-) I gotta agree wit' dese guys. Right now I'm using the B3-X while the SK is back at Hammond and, as good as the B3-X is, the PRO sounds better, at least in my opinion (and we know what they say about opinions ).

I've been gigging with one since around May. The pros: 1. Great organ sound. We would expect no less from them. 2. Key feel is good. 3. They addressed some of the big flaws in the SK-1 design, e.g., now there are pitch bend & mod wheels. The layout of E to E (I have the 73 note version) is much more practical for "only take one board" situations as opposed to the F to F. 4. The ability to play 2 sampled sounds at once. 5. There are some other personal preference improvements. The cons: 1. I personally don't like some of the extra voices as compared to their SK-1 counterparts. As memory serves, I liked the Rhodes sounds in the SK-1 much better. The clavinet in the SK-1 was a standout sound. The SK-Pro clavinet, while giving you more variety, does not have that "dig" in the lower notes that you get from the real thing. I've ended up having to use the NeoSoul app on an iPad to get those sounds. 2. And this is a big con: the Pro is on it's way back to Hammondorganco as we speak. There's some problem where the display is stuck on a filter page and the unit will only play the organ from combination 1, no matter what combo you try to pull up & the extra voices don't play at all. I tried the factory reset & the screen lock/unlock procedures but to no avail. I sincerely hope this is a problem that will be limited to my keyboard only & will not pop up with other people's boards.

I think I went there once in the 70's when I was touring with a "Holiday Inn" band. Can't remember if I needed to get repairs done or what. I do remember them being a pretty dang good music store though.

We can always defer to the old masters too (I've seen various versions of this one): 'First you learn the instrument, then you learn the music, then you forget all that shit and just play.' Charlie Parker

Yes, I've noticed that enigma too. I try to keep at least a modest practice routine at all times & go for some more serious training when possible, but have also found that when I'm in a situation of having to totally step away from it for few days, like going on vacation, when I come back things are much better from an improvisational perspective. I can come up with more creative lines rather than resorting to my own personal playing clichés. They will come back, of course, over the course of the next few days, but hopefully the newer stuff is retained as well. Granted, the more you practice the more tools you will add to your arsenal.

I've been doing a solo for about 25 years now & it's basically been 40/20. That said, I usually do about an hour & twenty minutes for the first set, 20/40 for the next two then that leaves about 20/15 for the last one. I think I had come up with that formula before because the first hour & a half was their busiest time. Sometimes the subs I put in there will do longer sets & shorter breaks but the owner/managers (they've gone through 3 different ownerships during that time) haven't asked me why I don't do the same.

Great link, Pete!! Thanks for sharing.

I've had quite a few cats over the years. Never had one damage any equipment.

Can't help with this one but if you get a chance check out his solo version of Like Someone In Love off the Time remembered version. If someone asked me for a definition of the word beauty I would play that for them. That one does have a transcription available on Youtube: Someone with better searching skills than I might be able to find a transcription of Polka Dots and Moonbeams for you.