Daddyg3042

It's been awhile, and I no longer have the Vent II, but I was having what sounds like the same problem. Stayed in a bypass mode. I corresponded with Guido, sent it back, and he fixed it....no charge. Good luck to you. One of these days, I got to head north to catch one of your shows!

I wanted to share an experience with you. I only occasionally post, rarely start a thread, but have been an avid forum reader many years. We all contribute our experiences with manufacturers/vendors here. Some good, some not so good…., but this situation certainly has had an impact on me. I decided a week ago or so that I needed to update Set List Maker (SLM) databases on my iPhone. It’s current with its updates for both SLM and IOS. I want to use this as a backup to my iPad3 which I use at gigs, and have for many years. Due to its age, the iPad can’t update SLM nor the IOS to current versions. Long story short, SLM has changed its database structure in the past few years. Od version export .txt files, newer version export .sqlite files. Newer version can’t import the older .txt files. Yikes! I have a lot of years building those databases…..I was nonplussed. I posted my dilemma on Arlo’s forum and got a response very quickly. The databases on the older version would need to be converted, to which he graciously said he’d convert, even after I told him I had 8 databases that needed to be converted!! He never asked for a cent and had these files converted and back to me within days. I don’t know if this is his standard customer support, and wouldn’t want to speak for him on his support services, but I simply couldn’t have been more impressed with the service and interaction. I post this for two reasons. The first is that if you need a song management, gig ready software, you should seriously look at SetList Maker or BandHelper. Arlo, the developer of these app, absolutely stands behind his product to an extent I find hard to believe. I spent maybe $35-$40 dollars ten years ago on SLM. His response to my customer needs was above and beyond anything I would have expected. This is the least I can do to spread the good word on him. Secondly, to say, that there are still good guys out there trying to provide us the tools to make music. We should support them whenever we can.

Jack London's has more gravitas, but... as I usually say "We're not here for a long time, we're here for a good time". Enjoy it while you can

I've used SLM for close to 15 years, with probably 8-10 major projects. I use if for chord charts, lyrics, patch changes and performance notes for live performance, on an iPad3, which has been running it the whole time. I import PDF's of songs for most of the work I do rather than using the chord/lyrics windows; it's just how I started, and continue to work with the program. I probably have 500-750 songs between all of my databases. Each project gets it's own database as they usually have their own songs. It could have better database functionality to allow merging/archiving/de-duping and the like, but after awhile, you develop workarounds for these things. Since "Band Helper" came out, which is a subscription model of SLM with added functionality/sharing capabilities, development of SLM has somewhat ceased but the functionality you're looking for is in there. Super easy to modify/copy set lists and set up songs to trigger patch changes. I use an iRig too...works great. Other's may have different opinions, but this has been my experience with it. Good luck

Steve, great interview. One thing you said struck me..... When you talked about having lessons with your teacher, you said you'd listen to him play and practice afterwards what he was doing by ear, and how it hampered your ability to read. I did the same. After a lesson I'd practice by ear to what I'd heard so I'd "get it" for the next lesson. One day, as I was playing an assignment, in mid song, my teacher pulled the book away and I just kept playing. Busted...he knew then I wasn't reading. It's still a task for me. I'm much better than I was back then, but I much prefer to hear it first rather than read it. You're an inspiration, Mr. Nathan.

In the last 10 years or so, I moved from a PC3 to a Kronos and now to a NS376. Still have the Kronos but I haven't played out with it since getting the NS3. I bought the Nord for really two reasons; didn't want to beat up the Kronos, taking it out 2-3 times a week. Secondly, it was just too damned heavy in its hard case. I was always scared it would go down and need to reboot on a gig as it takes like 3-4 minutes to boot. They both have hammer action, but the NS3 plays much more "crisp-ly" than the Kronos, which feels kind of mushy now. I certainly preferred getting around on the Kronos with the large screen and relatively user friendly interface, but the Nord is becoming much more intuitive as I use it, especially now learning how to use to use Song mode as kind of a "quick access" like the PC3. Insofar as AP & EP live, the Nord cuts though better than I found the with Kronos, which I'm sure EQ and whatnot would help. It certainly doesn't have the variety of sounds the Kronos does, and orchestral stuff beats the Nord hands down, but I rarely do that live anyway. There's enough within reach with the EQ & effects sections that tweaking on the fly helps sit the keys in the mix. Between the weight, weighted action on a 76 key board, and its presence in the mix, I'm glad I got one before the price went up. I still miss V.A.S.T though : )

Definitely a standing X. If he can, so can I.😀 Red Streamliner's been bouncing around in my head now for weeks. What a groove....

Thought I’d jump in here; I own both a Kronos 73 & an NS376. Have had the Kronos for 4-5 years now. Got it for a Pink Floyd tribute band that has since run it’s course. It served that purpose excellently. Each song had its own combi, and I found it very intuitive setting them up. With the ability to set splits anywhere you wish, it was became 2nd nature playing parts. Given one can add written notes to the SetList menu, I could always take a quick look down to the screen to see how the combi was setup. I could easily sample in any part necessary and add it as well. It sounded great in pretty much every circumstance I was in, whether through FOH, or through an amp. While I was never thrilled with the APs, they're tweakable enough to get me mostly there. The weighted action is decent, not my favorite, but not the worst thing I’ve played. It looks good up on stage too. I’m going to keep it around. I bought the NS3 about a year ago for a couple reasons; I didn’t want to “ruin” the Kronos from constantly schlepping it all over the place, and it isn’t an easy carry. My long time (13yrs) project is much more “guerilla” with our gigging. We do tons of venues, indoor, outdoor, stage, no stage, large and tiny setup areas, etc. Used to do so with a Kurzweil PC3 which was light and maneuverable and gave me a full palette of sounds, but sold that when I got the Kronos. I hated the PC3’s action. The Kronos though proved difficult in these circumstances; tight playing areas/stages, chancy power, and to an extent, was like bringing a 50 cal machine gun to a knife fight. The NS3 is definitely an easier schlepp. While as long as the Kronos, it’s about a third less wide and 15-20 lbs. lighter; much more maneuverable on stage and in tight spaces. I connect better with its APs & EPs than the Kronos….they seem to be more lively or something. It’s not just the EQ on the patch, they just seem more “brilliant” than the Kronos. I find the organs similar and given the dedicated drawbar function on the NS3, and sliders on the Kronos, they seem a pretty comparable playing experience. With the ability to load samples, it ticks off that box of my needs. The NS3’s synth is adequate and certainly readily tweakable with all the controllers at your disposal, but I think I prefer the Kronos’ multi synth engine in dialing in the exactly sound I want to hear, and using the available controllers for tweaking. The Nord’s weakest point is not being able to set up splits exactly where you want, and even though you can overlap, it’s not the same. The Kronos’ set list menu is a huge advantage, plus the ability to view notes on both song particulars as well as keyboard setup info right on the screen. On the Nord, I jump back & forth between Live mode, program, and song; it’s not quite as straightforward as I found the Kronos. So, not a Nord fanboy, but do like it pretty well. It was way more about the general functionality in a lightweight package than the cache of a red keyboard. I also still like and appreciate the Kronos. It’s a wonderful machine, that hopefully I’ll have for a long time, especially now that I’m not beating it up so much. In the end, they’re tools; sometimes all you need is a ball pen hammer, sometimes a big ole mallet!

For those who play with a guitar player or two, song flow and set lists are also somewhat influenced by guitar tunings. Not the in between songs, playing a cold venue, tuning correction, but having the guitar being tuned for a song. If they've got a rack with guitars set to a particular tuning, or a guitar tech handing them a correctly tuned one, then it's a smooth transition even if songs are being called off the set list. If not, it's beer selling time. We haven't made it to the guitar tech phase yet😀.

Thought I'd jump in here on two points: First, I'm with Iconoclast on the 70 something key models. It's all about the size of the board for me. I too wind up on stages way too small where there's just no room to spare. My last three gigging boards; PC3-76, Kronos 73 and NS3 76 barely fit on 80% of the real estate we play on. With a drums, bass, guitar (sometimes 2), horns (sometimes 2) amps, wedges, etc....there's just not space. Stage aside, lugging an 88 key w case into cars, through doors & crowds, etc. is no fun. Settling on a 70 something key model with an action that fits one's playing style narrows one's choices. Point two; I owned the PC3 for a number of years. I bought it after owning a K2000, K2VX, SP76, K2600 & K2661. I like Kurzweil boards, but was no fan of the PC3 action. For me, it was not just the feel I didn't like, it was that my forearms ached after playing. Not just a mild annoyance, they really hurt, especially after a long show. I've never had that experience with any other board. I bought the Kronos and NS3 because they were weighted and I did not trust semi-weighted boards after the PC3. I've come to the conclusion, as some here have related, it wasn't so much the downstroke, but rather the "spring back" that was causing the pain. I actually bought the Syntaur springs to try to mod it, but never did get around to installing them as I never felt confident enough to open it up; I needed that board to be operational and worried about messing it up. Given how common discussions are on actions/feel, and how many years these have been going on, I'd think a manufacturer that came up with a system to be able to dial in resistance/tension of their keybed would be a game changer.

Imagine how steamed you'd be if it was reversed! I'd say you were lucky, under the gaping circumstances. I conceptualize a giant office pool situation, where you pick your best imagined delivery date. The winner will have enough money for an Osmose to put on top of their Nord Grand, next to the Moog One. Definitely got the more useful of the two. Since gigs have again become a crap shoot with Omicron, not having the case is more of an inconvenience than anything else. My Kronos case works, but way too big and heavy. At this rate, it'll be paid off before I even get it

I ordered my Nord Stage 3 76 from SW in July along with the Nord rolling soft case. Got the NS3 within 2 weeks. In 3 days, it'll be 6 mos waiting for the case. Still no ETA offered.

We did a gig on Halloween eve. Rolling Stones tribute. Decent sized outdoor neighborhood venue with food and drink carts. I got volunteered to run sound. I do it for our 3-4 piece band with my XR12. Simple stuff, so it was assumed I would do it. Saturday night we added another guitar, & sax to the group, and it was decided we'd were mic'ing everything, drums included...something we rarely do. On a 12 channel mixer. I found out about this the day before. While seriously stressing about these new additions, I decided to use a sub mix from the drums and my input problem was solved. I have a small Eurorack 8 channel that did the trick. We got all packed in and were setting up when I realized my adapter for the WIFI router was missing. I keep that, and a small ethernet cable in an old camera bag/case. It was not in the mixer case and nowhere to be found, and the internal WiFi on the XR would not connect due to high traffic. I was told WiFi interference was really bad there. After a frantic phone call, I headed home to look for an adapter that'd work. Grabbed a few and headed back to the gig. It's 6:15 when I get back, downbeat's at 6:30. I finally got it up and running at 6:35. We had a good 1 minute sound check and we were off to the races. Not stressful at all Still can't find that bag with the adapter in it. Checked the place of our last gig, and the rehearsal areas. It's a mystery. Of all the things I was concerned about going into this gig, and missing adapter was not one of them. Amazon's got 2 for twelve bucks. I think they will live in my car...

Charlie's passing is driving lots of this... I too will be playing a Stones tribute Halloween eve. We've got around 25 tunes lined up and I've been on YT for the last week trying to dig in. A few songs have no keyboards, but the group wants me to play on those anyway. That's been interesting. What's been tricky is adding string parts to Angie, Fool to Cry, Moonlight Mile, as well as the flute on Ruby Tuesday all while trying to hold down the keys part. There's some things that require a note for note approach, but as Sir Paul just said...the Stones are a blues cover band, so that's the way I'm approaching it too.

Thought folks would be interested in this. Uncanny facilities. Not sure if this makes me want to study harder, play more, or quit altogether. [video:youtube]

Just another perspective; I've read many posts about failing x-stands, for many years. I guess I'm fortunate in that I've been using this Ultimate IQ2000 stand for close to 30 yrs, and it's not failed me yet. It's been through hundreds of gigs and rehearsals, takes 1 second to set up, easily carried, not heavy, and just works. I did take the advice of forumites and strapped it many years ago. Used a cargo strap like Moonglow suggested. Weighs ounces, and is concealed below the board. It's never been tested, but I've no doubt it'd hold things up. I've also never had a bandmate, audience member or anyone for that matter comment on me using an X stand, either positively or negatively. That works for me. I also have a AX90 for gigs that are higher profile. It looks cool, but if I had to haul/setup/breakdown that stand every time I bring the boards out, it'd be a major PITA. Perhaps it will fail at some point...but strapping it is cheap & simple insurance. I've certainly gotten my money's worth.

Deepest condolences, Grey

My condolences, John. My cousin played a Hammond, I think a C-3. It was a huge and intimidating thing, but I was fascinated by it. Neither of my parents were very musical, nor played music instruments, but could see how infatuated I was with it. One night I remember them talking at the kitchen table about how they'd be able to pay for something, but when I walked in the conversation stopped and I didn't know what it was they were discussing (but figured it out later). I came home one day, a month or so later, from a school function, and there was an L-100 in our front room. I was floored. I was around 10 at the time and I've played ever since. As I look back on it now, we were barely middle class in the mid 60's, and I know that organ was a huge outlay. So, so grateful for the kind of parents they were, what they did for me, and what it's done in my life. They're both gone now many years. I miss them every day. I wish you solace in this difficult time.

Thanks! Yea, I've got the SV1 set up to use a foot switch for the leslie. By "static" I mean that the organ tones, when the leslie is stopped, are just kind of flat...lifeless, and of course, without drawbars, there's no varying the tone. I wasn't aware SP2's organs being able to use function-->bass knob to vary tone. I'll need to check that out. I've got a Vent II that I've thought about using, but without an aux out, I'd have to use the bypass on the Vent when switching sounds. I'll often do, like.. EP on a verse and organ on a chorus. Needing to hit both the bypass, and a preset button mid song could get a little tricky ; ) Thanks again.

Don't do this often, but Josh's SV1 thread prompted me to start a new one. I didn't want to hijack his points on its EP's. I picked up an SV1 earlier this year as a simpler & lighter alternative to my Kronos; I don't always need the Kronos' horsepower and felt I was beating it up dragging it out to every practice & gig. I like the SV1 pretty well. The EP's are great and the AP works well in the context I'm using it in. The schlep is much easier with its wheeled bag and it looks good, but the organs just aren't working for me. The 2-3 organ patches I've picked out are OK, but without drawbars and with a fairly static tone, I'm just not inspired and it's prompting me to carry the Kronos more often. I guess I'm getting lazy in that I'd rather not bring 2 boards if I can help it. The one thing that always accompanies me is the iPad, as I use it for Set List Maker and also to control an XR12. I'm thinking about an app, like Galileo or others (suggestions?) that could replace or possibly even augment the SV's organs. Is anyone using their SV1 with an organ app? How's the experience been controlling the app with the SV (beyond the fact of weighted keys)? Can you control the app's leslie speed with a foot pedal? I'd think I'd need to adjust the app's drawbars on the iPad...no? I'm all set MIDI wise for this, and it'd require adding only an audio out cable from the iPad to the current rig...which makes it cheap & simple. Interested to hear thoughts & experiences before floundering through this, as I usually do. Thanks

AQI in Eugene is 440. It's been this way since Tuesday. I've had 3 friends that have had to evacuate due to the Holiday Farm/McKenzie fire. The weather has slowed down its progress over the last day with higher humidity and calm winds and they tell us by Monday it will rain. We're all keeping our fingers crossed...

I just bought a DM12 in January of this year. Needed a lightweight synth to carry with my SV-1 and thought it'd be fun and was relatively inexpensive. I was pretty busy at the end of January and all of February so only had time to take it out of the box, plug it in and mess with it a bit. Seemed fine. On day 32 or so of my ownership, I set it up with a few other keyboards and immediately heard it was out of tune. While I was able to tune it with the global tuning parameter, it was set almost to its max to get it in tune. Not good. Tried a calibration and it failed. Did a bunch of troubleshooting with different firmware, calibration routines, etc, no luck. Contacted the retailer and they basically said you're 2-3 days beyond the return policy...too bad, call Behringer. While it took a week for them to respond, once they did, things moved along pretty quickly and they had me send it in for repair. This was just a week ago. Was to arrive at the repair shop on Tuesday of this week, only to find out from the tracking info that it was "returned to sender". Their facility is closed due to Covid 19. So..it's on the way back; a two week process with 0 results. I guess we try again once their facility opens, but, this is turning out to be not so much fun. For the short amount of time I spent with it, I thought it didn't sit real well "in the mix"...can't really be more specific than that. Perhaps more time and tweaking will work that out. At this point I'm hoping for something similar to ChiefDanG...trying to get as much money back as I can by selling, after Behringer fixes it.

Thanks CEB. This is a brand new DeepMind 12. Without using the global tuning, all keys, all octaves are out of tune by approximately the same amount. I'm using the default program...a simple triangle wave with no de-tuning anywhere in the path. This firmware issue makes me think that there's a hardware issue going on, but that's speculation at this point. I submitted a support request 4 days ago but nothing yet from Behringer. I'm just trying to be prepared should they come back and say it's normal. I don't think it is. My Voyager was slightly out of tune for maybe the first minute after turning it on, but nothing this severe.

I bought a new analog poly synth at the end of January. It"s been a bit of a frustrating experience thus far, but without pointing fingers and naming names, my main point of concern is that the synth is not in tune. Unfortunately, it"s failing the calibration tests with the latest firmware update. When rolling back the firmware to an earlier version, it successfully calibrates, but it"s still out of tune. When using a chromatic tuner, A4=450.8, not 440, and it"s noticeably out of tune with another keyboard, even after sufficient warm up time. The synth has a global tuning parameter so it"s useable, and once it"s dialed in, it thus far appears to stay in tune. My question isâ¦is it 'normal' for a recently released analog synth to be this far out of tune? Is the global tuning parameter provided BECAUSE an analog synth can be this out of tune even with calibration? The seller as well as the manufacturer have thus far been unhelpful and/or non responsive, so I"m just trying to have all the pertinent info to be able to discuss this with them knowledgably if and when they respond. Appreciate any input.

I was just trying to program this on my Deepmind12 yesterday. Googled and found the Keyboard article. Spent some time and got close, but still no cigar. If you're reading this, Burningbusch, would love to get schooled!! EDIT: Was failing to get that "hollow" sound and the right kind of modulation, but getting much closer after a session today.