allan_evett

Well it's not an AC power problem after all. The MiniFreak still freaks-out when running completely on the CyberPower UPS I sometimes use live. Meanwhile I now recall a few instances when the CT-S500 behaved badly at the studio when running on batteries (Ihaven't used it there for couple years). One of my adult students - who is also a fellow KC'er - was helping me source the problem this afternoon. His final conclusion was: " It's got be in the air, then"; and that was my moment. A local radio station rents the room next to mine for its transmission equipment. So we're thinking it's likely there is some interference affecting the internal workings of particularly sensitive keyboard gear. So, now what? Are there ways to shield the MiniFreak and/or CT-S500 from interferring radio signals(?), ones that apparently wreak havoc with some electronic music gear?

A haiku for today: Tried the U P S It did not solve the problem Radio station Yep, our building hosts a small, local station’s transmission gear. And the room is right next to my workspace. Perhaps we’ll wrap my studio in aluminum foil, or something…

My teaching space is part of a musical retail/teaching studio facility, located in a historic former home. The power includes two different circuit breaker units, but I understand it to be an older 100-amp service. Due to what appear to be voltage dips - especially when space heaters or air conditioners are running, I brought in a Tripplite line conditioner/voltage regulator for my space (an LC-1200). It definitely helps with most of my gear - keeping displays and instruments functions stable, and maintaining capable power for my MacBook, audio interface and small monitors. From working at Tripplite in 1990s, I understand that line conditioning is not the best long-term solution for power problems, but the building owner is not able to afford a major upgrade to the electric system at this time. The problem is that a couple of keyboards do not power-up well while connected within this setup. Even with other instruments powered off, these instruments displays go haywire. Meanwhile, the studio-provided Yamaha P45 and my Kurzweil SP6-7 do fine using the line-conditioned connection. The first errant instrument was a Casio CT-500, which has worked fine in at least half a dozen hotels across the US over the past two years. At the music studio its display goes bonkers - sometimes showing gibberish combinations of letters and numbers, though more often just ‘snowing over’. The second keyboard is a recently purchased Arturia MiniFreak, which presents some rather amusing display anomalies - random circular panel light strings whipping around, flashing words from the display, and random synth tones. It works well at home (and I suspect it’d be fine in most other locations, just like the CT-S500). Each of the studio instruments and audio interface is connected via its own DC adapter, though I wonder if the wall warts of the CT-S and MiniFreak are particularly sensitive to what might be somehow corrupted/dirty power - even if voltage regulated. Also, each of those have the same problems even when connected directly to various wall outlets. Meanwhile the MicroFreak I have used there previously powers up like a champ. None of the instruments with IEC mains I have brought in have ever had a similar problem, when connected to my line conditioner. But purchasing a higher end analog poly synth to teach basic hands-on programming is a $$ non-starter, much as an OB-6 or Take-5 would be a dream. But the MiniFreak should work, under the circumstances. Not sure exactly what’s going on, and what any affordable fixes might be. Any ideas?

Recorded a podcast that included Bill Payne? I'm just a wee bit envious... Bill Payne has been a significant influence on me. Out of a half-dozen or so keyboardists whose work has most shaped my development, he's up there. Looking forward to hearing this one!

I had the same experience. I sent an email to customer support shortly after that, but haven't received a response. Meanwhile I've been organizing sounds on the CK88, a lot of tweaking factory presets and optimizing several Live Sets for some upcoming gigs. While a lot of the presets are quite good, some basic editing really brings this instrument out. This will be a very practical tool as I work it into my live rig.

Same here. The bar gigs in this area pay the same as what I was getting in 1991. Similar schlep, same long hours - even with most places having only a handful of people at 12:30 am. The other thing I've noticed is a songlist direction most of this region's bands are laser focused on, in recent years: 12-15 songs per gig that are tribute-type choices, usually with extensive keyboard part prep - extended intros, etc. Did a lot of that in the 80s and 90s, burnt out on it now. I'd much rather do fun, hook-focused stuff that people can actually dance to - with maybe one or two tribute numbers, if that. Don't get me wrong: I grew up on Genesis, Boston, Kansas etc. and like those bands a lot. I currently gig once or twice monthly with an acoustic americana trio out of SW Michigan; some $$ and sometimes fun, though kinda loose musically. The Buffett/Yacht-rock tribute I've gigged with the past 7 years has fewer gigs this summer, and most are 2 - 3 states away. Not worth giving up three well-paying church accompanying gigs per weekend to run off to Iowa or south-central Wisconsin for a job. Just picked up a couple yacht rock/classic rock gigs with a local act. Should be fun as it's with a friend with whom I've recorded and played for many years. Between the pandemic 'break' and a long-term illness he'd been out of commission for a while, but is now putting the act back together. Might be some hope there for a new, fun band to emerge. Piecing it together, gig-wise. I teach a lot, and the church gig can be intense for reading. So it's a relief not to be beating my brains out in late-night bars now.

I remember that hang around the Seven very well. For a model-based digital stage piano, its reproduction of the original Rhodes tone and feel connected strongly for me. From late 1979 to the mid 1980s, I played a couple different Rhodes Mark I EPs for road and local gigging. Playing the Seven generated a lot of memories.

Fascinating read, so far! This looks like a powerful tool with a very straightforward interface. I don't own a dedicated mastering tool, having used some of the basic mastering options offered within Logic Pro X - also using a free copy of EZmix that was included with a keyboard purchase a few years back. My 11' x 11' bedroom studio space is not a signicant source of income, if at all over the past couple years. But I'm seeing that Master Plan could've benefitted recordings I've released. Planning to check out Master Plan over the next month once my new MacMini is set up with Logic reinstalled. Just finishing up a collaboration on a 2015 iMac that is quickly circling the drain .

I plan on contributing via Patreon or Paypal. Just started by cancelling an online subscription that's underused; taking a long look at another, today. Hopefully will do Patreon, monthly. Glad to support this awesome space!

Nothing new to add, but reminiscing so much as I read and watch the tributes here. Tina Turner's presence has been a big part of my life's soundtrack. And her stand for what is right and just continues to inspire. What she brought to the stage is epic: nothing held back, and she left it all out there for us. Rest in power for now, Tina Turner; but your light will continue to shine brilliantly.

Clavia has that covered...

I find it so tasty when a musician puts their own spin on a cover song. A local friend and favorite male vocalist-pianist does an amazing version of Roxanne. His most recent act was crafted somewhat in the style of Postmodern Jukebox. I'd like to think Sting would find the arrangement fascinating as well. That said, for a typical, pop cover band I'll stick with signature lines/sounds (especially for intros), then put my own spin on the comping sections and keys solos. Though there are rare moments when twisting a signature line can work. However... In 2015 I tried to improv the synth lead for Shine On... during a 'Floyd tribute set; the band was not at all pleased . But during Comfortably Numb, the lead guitarist didn't mimic David Gilmour note-for-note, but he did exquisitely capture the soul of David's playing. Completely appropriate. Boiling it down: Catch the signature lines the majority of the time, but make the rest your own.

When living in northern Colorado I gigged steadily with a country band for close to five years. One treasured gig near the end of my time there was for a very loyal fan, and a few of her friends. She had been wrestling with a long-term illness since we'd met, but was nearing the end of her life. Originally the band planned to do an unplugged concert at her home, but that shifted to a hospice facility. So we ended up playing a small set of material with lots of vocal harmony over a speakered digital piano and acoustic guitars. One of my most memorable gigs, ever. RIP, Paula!

I'll jump in, and offer a piece of hardware not yet considered: Roland VTW model, via Fantom 7. Oops. Just saw that you have the VR model via Fantom already listed.

I've been a Stage user since 2006, but to clarify: a hardcore Stage user since the Stage 3 came out. My original 76-key Stage and Stage 2 were somewhat secondary in my rigs then. The improvements in the Stage 4 are impressive and helpful, especially the addition of a 3-zone Wave 2 engine and greatly expanded effects options. Having spent a few days back in 2021 exploring a Wave 2 (courtesy of RedKey, here), I was intrigued to learn of its slightly modified presence in the Stage 4. The Wave 2 is a fun and extremely powerful synth. As discussed above, the split-point design is a concern. It was a mildly aggravating challenge to discover that limitation on the Stage 2 in 2012, then learn to work around it on the Stage 3 in 2017. But it was clearly a "What the Squat?" moment upon discovering the Stage 4's split layout remains largely unchanged. The other thing that puzzled me a bit was the lack of a 76-key option for the Stage 4. Those of you who have been on this KC journey with me since 2009 are likely aware of my 76-key 'Goldilocks-size' fixation. It provides lots of up-top real estate for second-tier of a multi-keys rig, yet can stand well on its own for single keyboard gigs. Those three extra keys have always been super-helpful to me. I played a Stage 4 when out in Fort Wayne a couple weeks ago, and clearly get all the interest it's generating. Looking forward to learning more as this thread progresses.

Glad that Apple finally did this. It'll be a big help when sketching out ideas on a compact rig. My teaching space is quite small; with two keyboards (88-key DP and 76-key synth/controller), Mac/interface and mixer/powered cabinets, it's often a trip/stumble hazard . So Logic Pro for iPad will definitely help there too.

That's been my approach for quite a while. There are a healthy handful of advanced, jazz players here I'd quickly get off the bench for - especially you, Dave . But I've never been chased out of a solo, standards gig either. In college I learned a lot of shortcuts from a student of the renowned pianist/arranger, Frank Mantooth. I also received valuable guidance from a mentor of many years, the now late Tom Howard. Tom was a highly skilled composer/arranger (and quite nimble keyboardist) whose permutations of Minor 11ths were intriguing, along with many other musical meanderings. Both these guys' uses of polychords and various stackings of LH voicings/RH triads+ connected with my style of learning. Lots of patterns can be derived from those superimpositions; some of those efforts have been a pleasant surprise, others quickly folded and reshaped 😅.

Curiousity overcame the 2+ hours one-way drive, so I made the trip to check this out yesterday (among a couple other options). I've been looking to do some herd-thinning/rig condensing. I can work with the action, especially for stage gigs; was pleasantly surprised at that, considering some of the press received so far. The sound is quite good, stellar for quite a few patches. Though the organ tones are not model-based - like the YC88, the rotary sim is stronger than I expected; option B is very capable choice. This instrument says, " Put me under one arm and walk into a jam night "; though it could easily cover most pro situations I've encountered. Yep, I brought one home...

Anyone else hear of the 'Lixian' scale? A college instructor used that term to describe a C Mixolydian scale with F raised to F#, which would also be the chord scale for C7b5. A new favorite that I discovered earlier this year is the 'Mixolydian b6'. That came from a liturgical piece accompaniment I'd been reworking. The resolution of the tritone is haunting.

A slight 'zombie thread' resurrection. Has anyone here purchased or tried one of these? It's caught my interest, as the idea of condensing an RD88 and YC88 into one instrument for stage use has become appealing. I already have capable coverage of current/vintage Yamaha and Roland tones at home, so the final product doesn't have to be either of those brands. Straightforward editing and control features are needed, and built-in speakers are a huge plus; so this one appears to tick the boxes. Had a great demo of the S9 by Dexibell's Ralf Schink, Gearfest 2019, IIRC. Was a bit pricey for my situation at the time, but this S7 model might do the job nicely now. Thoughts, anyone?

One of my students tried the CK88 this past weekend, and had a similar experience. He plays on a P45 at our studio, which has the same GHS action; but he said it felt sub-standard to that. Too bad that many others have been reporting similar experiences. He has played the RD88 for comparison, and feels the action is much stronger. Not surprising, as I also find the PH4 in the RD88 satisfying to play. I just wish its interface was as well layed out as that of the CK88.

Digging everything about this post, and resulting thread. Sam, the video resonated for me a lot. Great job with that! I've been a distant fan of Dawes - based a lot on radio airplay from our regional station, WXRT - but have a feeling that's about to change. And though I've covered a lot of styles - and attempted a few of those rather sketchily - this is totally in my wheelhouse, perhaps mixed with a heathly swig of outlaw country. Been out of touch with those styles lately, but being part of a jam/open mic last night affirmed that direction; connected with a former bandleader, and picked up a few gigs. Brighted my outlook a bit today, as lately I've well related to Sam, I hope this shakes a few opportunities loose for you, if not something with Dawes - for which you sound quite qualified.

It works well with my iPad; instant external sound module! And having the IK MM/Hammond B3-X app makes a big difference. Going to try putting my Studiologic Mixface between the two for possible drawbar control.

Yep, I'm almost always energized to hit the stage, but the other stuff is wearying much of the time. Load-ins and staging are occasionally a pain, but that's always been the case; sometimes okay, sometimes just plain weird. What's became highly aggravating in recent years is the travel. I've been on a bus or two for extended road gigging, and would much rather deal with the few minor aggravations that pop up with that - vs driving longer and longer distances for gigs, some of which have become simply not worth the $$. And the driving 'climate' has clearly changed. I'm a capable and defensive driver, quite experienced, but some of the stuff happening now is unnerving. The surprise "whip-arounds" @ 95-100+ mph take the joy out of it - especially on 80-94 in NW Indiana. I've done a healthy share of northern CO, WY and Montana driving. Out there I get it, and can be quick as well. But between here and the further Chicago 'burbs, it's crowded and the error potential is greatly expanded. Over the past couple years I've been searching more to the east for gigs. South Bend and even beyond is more appealing. Fort Wayne? Sure. Longer distance than the Chicago suburbs, but a similar travel time - with way less driving stress.

It's been fun and quite educational to follow this thread. I tossed the comment posted earlier, due to some potential confusion. Other than a few years of improv comedy piano accompanying, my theatrical experience is minimal. And the roadmaps shown here present quite a journey. Suspect I'd enjoy concocting all that's involved though. I did dig around for info on Mainstage rentals, quite an industry unto itself now. In teaching, I've used various parts of Logic when explaining programming (synth editing, multi-instrument zoning/combinations), but am getting an idea that Mainstage may work better for that.