MAJUSCULE

Are you programming your sounds beforehand or do you need to come up with new sounds on the spot? The Stage 3’s synth is very good and I imagine the 4’s will be even better with the three parts and extra effect flexibility. It can probably tick more spec boxes than the P6. Did you buy the Prophet for the tone? I’m guessing that would be the reasoning for most people, along with the panel for ease of quick tweaking. If you’re finding it hard to program, you may benefit from spending a little more time with it (and the manual or some instructional videos). It sounds like you’re pretty happy with the Stage 2’s tone for gigging purposes. Nothing wrong with that. Nothing wrong with trying to improve your tone either, even if you’re the only one who notices.

Oh, yeah no, big distinction there. My previous posts in this thread were only about recordings where I’m hired to play the keys for someone else. Ultimately, the producer and artist make the calls. If I’m the artist or it’s my band, it’s a whole different ballgame. I imagine most of the other posters in the thread would agree with you there.

Not sure where you live but that’s a pricey apartment! After sales tax (and I live in a place that has no provincial tax), a Stage 4 88 would run me back about eight months of my mortgage. And that’s before accessories! 😬

Yeah, likely a good move in the long run but the instrument will have to adjust. Bonus business for her 😉

Crossing my fingers for you, Jim. Would be really cool to see you show up in one of these.

I have the Compact, actually, so I don't do too much AP on there. Happens, of course, but any gig requiring AP will usually push me to bring the CP73 (or previously, the FP-4). I find it fine in a pinch, though, and more than adequate for EP stuff.

Told myself I’d own my Stage 3 for a good 8-10 years… bought it in early 2020. I’ve gotta hold the line, damnit!

These are your assumptions and likely based more on your own anecdotal experience, not any kind of fact. The tone of discussion goes a long way to deciding whether or not any prospective members decide to register, post, or stick around for any particular length of time. I'd rather we be open and inviting to different perspectives instead of claiming that they simply aren't interested.

Indeed, this is not the first time the locker room talk and boys club vibe is discussed and debated here. Not the second, or third, fourth, either… And I don’t think anyone was saying that sex is bad or unnatural in any way… just that there is a time and place to discuss it. This forum probably not being the best place. Tact and context can weave a whole lot of stuff into our discussions here, but I believe our moderators prefer we exercise some judgment and respect in all our interactions. We don’t all see eye to eye, but when it’s clear that we aren’t going to agree, it’s probably best not belabour certain inflammatory points.

I joined when I was in high school, but for whatever reason, forums like this don't seem to attract people our age and younger as much as, say, Reddit. I've definitely recommended joining to both peers and students in the past, since I've honestly learned so much here, whether about music or life in general, but I don't think I've ever actually converted someone to membership. I mean, Philip's Listening thread alone has introduced me to so many artists and influenced so much of my development, it's a little peculiar to me that no one else in my offline life has dipped in ever.

Wow, I didn't expect to be mentioned! Thank you for the kind words Montunoman. I don't think anyone was waiting for an apology from you, but at the same time, I'm probably not the one to decide that! The Internet can be a clumsy place at times, devoid of much nuance and real dialogue. I think, as you say, we can all benefit from sleeping on things from time to time and remembering how different our various life experiences are and the way that's shaped our individual worldviews. We're all posting to the same place, but we're coming from a lot of different places. And that's before taking into account whatever stress or bad mood someone may be feeling away from the screen, as surfergirl said. I've learned the hard way to exercise restraint in similar spats in the past. I will say that I appreciated Shaun's post and, based on the reactions to it, several other members did too. I may have not gotten my entire point across due to somewhat trying to stay out of it and just being busy away from the forum, but I do want to say that my facepalm emojis were not as much directed at you, Montunoman, as you had already made clear that your hypothetical question could have been rephrased, but rather at the subsequent discussion that had developed. Just a little too many culture war buzzwords getting used by some folks for my taste. Anyway, thank you for taking the time to reflect and re-open the discussion in what was a hopeful manner. Not sure if we'll be able to have this thread survive either but I commend your effort! And Shaun, I thought we were the same age... are we? Hitting the big 3-0 next month.

Oh yes. Had to learn pretty quickly to limit myself to things I could actually play, especially for live off the floor sessions. Nothing like having your worst take be everyone else's best... But as said, our own self-criticism can sometimes cloud the bigger picture. Just finished a record for a local band where I was unhappy with one of my solos and wanted to do some takes at home to fly in. After hearing what they did in the pre-mix (combining multiple takes at the same time with copious delay and some choice ducking), my original ideas actually came out much better than I thought. I still did more takes since I had made them wait, lol, but I at least wasn't disappointed with them using the original takes like I thought I'd be.

As far as the discussion over whether or not Brad has contributed any "standards" to the canon... I think we can all agree that there aren't many modern tunes being added the way they were in the early and mid 20th century. His treatment of pop and rock tunes certainly has pushed that side of things. If I had to name a tune of his that I would say gets played a decent amount on modern gigs, especially trio gigs, though, it's "When It Rains". Largo is a seminal record.

Gimme a real instrument any day of the week over a digital facsimile.

You gotta admire Mat Ishbia, though. Takes over the Suns yesterday morning, survives his first quasi-controversy (rumours had him hiring Isaiah Thomas for a prominent front-office role), and then trades for KD by the end of the day. Tidy work!

RIP, legend.

Nothing like the NBA trade deadline, man... Feeling optimistic about your Suns chances, Geoff?

Agreed. I checked the CP88/73 manual last night to see if there was an answer and there is no mention of it anywhere.

You learn something new everyday... and sometimes it's important stuff like this!

#1 is always a personal choice, but you'd be hard-pressed to come up with five pianists from the last 30 years who've left a bigger imprint on the genre than him. A big influence for me, even if a lot of what I do these days takes less from him than others. I'm going to listen to this episode right now, but also say that his Piano Jazz episode with Marian McPartland is also fantastic. Might just listen to it afterwards.

So like, a podcast? 🤔 Or is it different in some way? I suppose, back in the day, this could have been sold as a physical book with an accompanying CD of tunes discussed.

The first step is always awareness. I have a new student who is preparing for a music school audition. He's taken "production" lessons before but never instrument lessons. Loves soul and funk. Now I need to get him to understand the link between slowly practicing scales in the shed with a metronome and ripping an incredible solo in a band or studio context. It's not a straight line. A couple videos I showed him: Bootsy's Funk Formula, Larry Goldings talking about Maceo Parker's time, Greg Phillinganes Keyscape demo. Also mentioned some of my own experiences having my time called out by world-class musicians, and Jason Lindner's advice to play as many types of music with as many different people as possible. Every pocket is different and the more pockets you can live in, the more calls you get.

Yeah, the only real con is the price. It's hard to beat as a Swiss Army knife. Playing piano on it is fine. I use mine both as a bottom and top board in various two-keys rigs.

Yeah, a real badass. They're shredding here. I'm sure I first heard of him on KC. AFAIK, he's not quite as well known in large part because he's remained independent. He does a lot of work in Europe, so maybe you can catch him live sometime!

Sad news, Andy's posts here always exuded joy. RIP.