allan_evett

If there's distribution in the lower-48 I've got to check out the "Magnitude 9.2". Love tasty brews that kick my behind. Burn 'Em Brewing, here in Michigan City, has a few of those. Lots of fun trying different crafts while traveling, and plenty of memorable beers along the journey. We discovered Dogfish Head that way. That place is a highly-recommended hang.

Certified craft beer snob here . Almost all types, though sours normally don't work for me. We usually have a mix local and regional brews in the fridge, plus random nationals - like Michelob Amber Bock (still a favorite). So many great craft breweries within 50 miles, and many others that are stopping points on road trips. Great Lakes in Cleveland is a memorable hang. Their Imperial IPA, Lake Erie Monster, is my favorite; though their Elliot Ness Amber lager is a close second. Love the Ohio City neighborhood where they're based. Was drinking Speedliner IPA recently, courtesy of River Bluff Brewing in St. Joseph, MO. Unfortunately no bottling yet, though we did leave with a crowler. On the same journey - while visiting family in Colorado, we rediscovered Great Divide brewing. Their farmhouse ale, Colette is awesome; so is Titan - their core IPA brew. Was able to bring a healthy amount of Great Divide beer back with us, so that - along with some Long Day, IPA ( Off-Square, Crown Point, IN) has been in-hand the past week.

I have approximately 180 Programs saved on my Stage 3, 76. And quite a few of those are in use within about 40 Song setups on the instrument. Each Song allows for quick Program changes between up to five selections, similar to a Kronos/Nautius Set List choice, or Fantom Switch Groups within a Performance (though simpler than both). And for the most part my other instruments have back up presets that cover those essential-to-me sounds. My Stage 3 was in the shop from mid-August to October, 2021 (entire action replacement), but I was able to cover several gigs-between two groups at the time-with my Fantom 7.

Thanks for the insights, Craig and Docbop. I see a lot of phishing scams around, plus plenty of attempts to get at personal info. So those things are most likely the cause for caution on the retailer's part.

So I listed a QSC CP8 on a retailer's used equipment site. I received a message yesterday from a potential buyer; being that I received the message via an email link, I responded via that email address. Early this morning the retailer notified me that the message had been blocked, due to a couple of items in my email signature; I have site links to my music in that signature. Guessing that a link to any other site (beside said retailer) is a threat to their business, even if part of a signature? Seems awfully picky to me. It's not as if I attached an in-message link to a different retailer, then told them to purchase new gear there instead. Or am I missing something here? I was able to change my reply to within-message on the used equipment site, so hopefully that goes through without further incident. This whole incident seems weird though...

Earlier I posted my choice for the 'No longer living' category - Tom Howard was a friend and long-time mentor. For honorable mention I choose Jon Batiste, who is an amazing player and soul-inspiring human being. My currently-active 'favorite' pianist is Bill Payne. I've had the pleasure of hearing him live - with Little Feat, Bonnie Raitt and James Taylor. And when watching a recorded live performance of Leftover Salmon, I was further inspired by Bill's playful and virtuistic flexibility. And his solo album-Cielo Norte-is a joy to experience. His website is a must-read. His observations regarding life and the arts are substantial. It's tough to list just one living pianist as a 'favorite', as many who are still around continue to inspire. Rick Wakeman was my earliest piano influence, and being able to meet and talk with him at length was a suprise, 'bucket list' experience. And I was gobsmacked when hearing the solo efforts of Mike Garson - the late David Bowie's keyboardist. Then there was the time a songwriter-vocalist friend put on Chick Corea's Mad Hatter album at her home (first time hearing it for me). It about riveted me in place...

I've been studying the Trigon 6 a few weeks now. The Moog One has intrigued me, as I did own an original Memorymoog; but the cost is well beyond affordable right now. Heck, even the Trigon 6 would be a stretch, but the temptation could easily lead to some keyboard stable adjustments. The demos sound sweet; can't wait to get some playing time in on a Trigon 6.

First, the 'no longer alive' selection: Tom Howard. Tom's work has had a strong influence on me. We met in 1977, while he was touring small venues in support of his first solo album. The guy was an intriguing composer and arranger; also an accomplished pianist, vocalist and very capable guitarist. We developed a long-distance mentoring relationship; and later on - when he relocated from LA to Nashville - connected in person several times. The last time I saw him was in 2006. He'd been in Nashville about 15 years, and was doing quite a bit of string arranging-conducting for downtown sessions, plus a fair amount of writing for media. We met up at one of his frequent solo piano gigs, at a restaurant lounge in Franklin, TN. While hanging on a break, he suggested that I open his second set with a couple of numbers; definitely a 'yikes' moment. Tom died in early 2010, while on a hike with his wife and a few friends. I miss his insightful observations, along with his off-beat sense of humor. Here are links to recordings of an instrumental - Horizon Storm - that Tom wrote in the early 1980s. The first is his studio band recording, the second is a piano interpretation I recorded back in 2010, shortly after Tom's passing. When playing live, Tom would do some inspiring 'detours' during the piece. So I based my version on memories and improv - using ideas that reflect the years of Tom's influence. I started tracking it in Logic, using a Roland FP7 to create audio and MIDI files. First rendition was created from the MIDI file, using Pianoteq; then in 2018 I re-tracked the piece using Ravenscroft 275. Horizon Storm.mp3

Good advice so far. I actually owned the Kronos 88 Moonglow mentioned, and his advice about carting it is rock solid. 20-25 years ago I carried a Kurzweil K2500 XS, and the same cautions apply - even more so, as it weighed 72 lb. An additional caution for using the Kronos 88 on small-medium sized stages (especially in bars): Beware of errant, wandering guitarists and flailing lead singers. In Denver I had several stage-prowlers nearly knock my Kronos 88 off it's perch. In later years I had a few similar near misses with a Montage 88. Unless there is very ample stage real estate, I tend to leave the larger gear at home now. Too many bandmates lacking basic situational awareness .

My Stage 3 was 'semi-bricked' on a late 2019 gig. The band was set up on the crowded, restaurant side of an area bar. Upon power-up my NS3 worked properly. But during the remaining time prior to downbeat the bandleader plugged a high-powered speaker into my power strip, also pulling the keyboard's plug out of the strip in the process... When reconnected, the Stage 3 would begin its power-up cycle then shut down - wash, rinse, repeat... We were about to start the set, and when I told the band what had happened the leader's response was: 'Your keyboard obviously failed, so go get your back-up one from your car'. My response was to call the manager over and have a quick conference with the leader. The manager agreed with me that the room was experiencing a low-power situation, so I supplied a very long extension cable and she plugged my rig into power on the bar side of the venue. Problem solved and I could use all of my NS3 Programs for the gig. While the manager and I were resolving the issue, the leader still insisted we were wasting time and I should just go get my back-up board...

All joking aside, supersaws can be quite useful. I've programmed a few pads and string patches that started as a basic supersaw sound. And with some envelope shaping they can turn into monstrous 'plucky' tones.

But I hear its popularity is picking up...

In our television market, WGN9 uses a background track for its nightly sports segment. I suspect the composition is called, ‘Variations on a Supersaw’. And the famed ‘Hoover bass’ is very present as well…

I eventually got used to it, due especially to a lot of demos and local album recordings in my late teens/early 20's. It was a big plus to have people in the studio - to critique, make suggestions and also offer positive reinforcement. And thankfully that carried over into later recording work, when the stakes became higher - with some paid album gigs and a handful of commercials. Getting comfortable with recording at home has been another story; that's when the 'Not good enough' loop acts up in the head space. I recall a virtual recording effort in 2020, when I was part of a Patreon group that Matt Rollings was teaching, via Zoom. We were each given part assignments to contribute audio files to a simple vocal/guitar track written by one of the members. So I worked up a basic Wurli part and sent it in. The next group meeting was enlightening. My part was described as sounding 'cautious', which hadn't really been the case in past studio recordings. I didn't want to overplay, but ended up doing quite the opposite. The group's consensus was that they wanted to hear more 'personality' to the part. Matt's comment kicked something loose for me, which has been of great benefit: "Just play, man!" The massive recording phobia I do have is being on video. So much harder to relax and cut loose, but I'd love to learn to do it. That 'Not good enough' loop is brutal, and sadly appears to be a struggle many of us experience.

The Prophet-600 has always held a special place for me. Though my first synth was a Yamaha CS-50, the Prophet-600 was my first programmable polysynth. The Pro-800 is quite a temptation. Add a basic reverb/delay pedal for stage; tasty

Thanks for that, Steve! Sweet, soulful mastery...Going to listen to more of Duke's playing. I've enjoyed listening to Tommy Emmanuel for years, along with many of the others mentioned. One of my favorites is G.E. Smith. First saw him on tour with Hall & Oates in 1985. In additional to Darryl Hall's 2-keyboard rig - plus another Prophet-5 across the stage - there were apparently 20+ keyboards/sound modules in an offstage, extensive MIDI rig - covered by an additional keyboardist. Even with all that, G.E. Smith's guitar work blended beautifully. The guy is a highly-skilled player who knows what to play, and when.

Very saddened to hear of this yesterday. Christine McVie's sound has been a big part of my life's soundtrack since high school years. I greatly enjoyed her writing and singing, and appreciated her very tasty keyboard work. Godspeed, Ms. McVie!

Yes, plenty of great suggestions posted here. I've leaned toward hardware keyboard-only rigs in recent years, but like the OP am jumping into using iOS apps live. I purchased a new iPad Pro 11" earlier this year, and converted a few books of band charts into Paperless Music. Also have been checking out some previously used instrument apps and adding a few new ones. I'm moving toward using the iPad as a sound module live in the coming year - especially in combination with keyboards with onboard sounds (at the very least for emergency backup). I've been using a Casio CT-S500 with the iPad during non-gig trips recently. Combined with Cubasis 3, this setup has been great for hotel-room practice and writing. The IK MM/Hammond B3-X app is becoming my go-to for recording clonewheel tracks, and after hearing demos - like Al Quinn's, above - I want to make it my go-to clone for stage. Also have started experimenting with an iPad and RD-88 combination. For single-keys gigs where a light 88 is needed, but also a credible clone, etc., this cold be a great combination. RD-88 USB to hub for MIDI, hub 1/8" audio out to 1/8" audio in of RD; simple 'n solid so far. I've been using this USB-C hub: It's worked out well, with the 'hanging' cable being thick and durable; so minimal strain on the C port. Still may spring for one of j5 create's Ultradrive hubs, which connects directly, and use this as a backup. Have looked at a couple MIDI and audio multi-routing options, and currently have AUM. Though I am drawn to more straightforward, matrix-style apps, and having MIDI and audio separate would work fine. When gigging with rack modules (many years, no, decades ago! ), I used a Digital Music MX-8 programmable MIDI Router amd separate mixer, so a similar skeuomorphic layout would be awesome!

Reminds me of a book I read many, many years ago: "The Silent Meow". And cats do seem to be everywhere...

So that's what Johnny Cash meant when he sang, " I've been everywhere, man..."

Food for thought?

Overheard in my senior-year high school science class: Attractive girl-speaking to my lab partner about me, “Should I ask him to the girls-choice dance?” Lab partner, “Cute guy, but he’s such an egghead!”. 😂

Good points, Jim. The strongest appeal of the Stage 3 was having the Lead A1 VA and C2D organ in an all-in-one 'board. I've made the APs and EPs work for me, and especially like the Wurli tones. I purchased my Stage 3, 76 in late 2017. If it was irreparably damaged, I would likely pick up a PC4 as a replacement. I gigged with a PC3 for several years (and a Forte 7 in 2015), but find the PC4 more appealing now. Straight up jazz organ is not really in my wheelhouse, so the KB3 organs would work fine. I also have B-3X on my iPad, when that Hammond tone is a must.

Definitely. Most of the sounds I use live have involved extensive edits of presets, at the very least. Lots of 'from scratch' material in there too - especially the Programs with layers/splits. Have gotten quite a bit of help and inspiration from the Nord forums, also from a couple posts/comments here. The factory piano Programs ranged from uninspiring to just-usable when I first picked up the Stage 3, 76. But through trial and error I was able to dial-in a couple of very playable grands within the first year. My 'lightbulb' moment came when considering what types of other-brand digital piano tones had always felt right-on for me, yet also worked capably in a live mix (of course with some FOH room tweaking and in the monitor mix). Though I've tended to favor Yamaha for core samples, what Roland does with EQ and other DSP mojo is magic, to my ears. So applying some of that to various Nord piano samples has worked well - even within the relatively limited DSP options on the Stage 3. The piano section's tone options help a lot, along with master EQ tweaks. For single keyboard gigs and light setups, having a strong, playable piano sound in a compact 76 is awesome; the Stage 3 is a top-notch 'Swiss Army tool' axe. Though for more involved gigs with piano I still like to use a dedicated Yamaha or Roland 88, when doable.

Holy Moley! My first synth was a CS-50. So now I can have it's massive, mutated older brother in software? I'm in!