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I run my Kurzweil Forte thru Adam A7s. They cost $1500+ and sound beautiful. I run my Kurzweil SP6 thru a pair of iLoud Micro Monitors (300+). I think they reproduce acoustic piano even better than the Adams. I just Velcro them to the top of the keyboard facing me for practice and facing away for moderate volume band practice. They are plenty loud in my estimation. Just throw them in a small shopping bag for transportation.

A real hoot!

Sweetwater encourages their reps to build rapport with customers. So in addition to thank you's when you place an order you can expect an occasional "how's it going" call from your rep. If you object, just say so and they won't call you again. I, for one, appreciate a supplier who makes an attempt to stay in touch with my needs.

I put a strip of Velcro on the round support bar on the back and the front of each speaker and anchor them vertically on top of the keyboard. I carry the iLouds loose in a gym bag, sometimes with the umbilical attached. I used to worry about the umbilical developing a short from mishandling, but so far it has held up. I adjust the iLoud bass response down for best piano fidelity. I tried running them through a small sub once, but impedance issues cropped up and the result wasn't worth the effort. Naturally I turn the iLouds around for practice. The Bluetooth feature is great for practicing with Apple Music tracks or iReal. I carry extra Velcro for when the connections need to be renewed.

I'm happy with my Kurz SP6 with iLoud Micro Monitors velcroed to the top. Plenty of volume for small rooms and great piano fidelity. Plus they let me Bluetooth in iReal tracks for a trio vibe. Sweet.

Purchased a transistor model Wurly 140 in 1960 with a battery pack that didn't require plugging in. Probably should have gone the tube amp route, as I had impedance issues connecting to external amps. Discovered Bob Moog designed the Wurly transistor amp and visited him in Trumansburg, NY for some troubleshooting. He was just building Theremins at that point. Later customized my unit with a Lowrey organo module with organ switches installed beneath the Wurly keyboard. Frequently played both the piano and the Organo at the same time which sounded a bit like a B3 on steroids.. While the Wurly could deliver a sweet sound when played gently, the best effect came with really thumping the keys for a soul-satisfying boink, especially through overdriven tube amps. None of the current simulations achieve the full boink effect, probably because the sound engineers are afraid of breaking the reeds of the pristine Wurly specimens they were sampling. A real shame. I remember lugging all 70 pounds of the Wurly up flights of stairs and, as others have recounted, performing reed surgery during gigs. Will always remember my Wurly girl.

If your goal is to reproduce piano, then near field monitors are the best. Set them at ear level. Larger ones will also fill a room. I'm particularly fond of Adam A7s (a bit over your budget) and have even used them for small cocktail party gigs. If you are budget constrained, try a pair of iLoud Micro Monitors velcroed to your keyboard.

Sad to say, the only outlet for my theremin is serenading my neighborhood and terrorizing trick-or-treators every Halloween with a variety of alien licks.

Way back I played Wurly in a band with a great chick singer and a musically-challenged bass player with a two-string home made bass. She always introduced You're No Good with "This song is dedicated to our bass player, Lloyd."

I don't own an SV-1 but do own a Forte with the Purgatory Creek samples and have from time to time played other boards. I owned a real Wurly 140 for many years and I feel most EP manufacturers fall short on capturing the bark/boing/bonk of a really smacked Wurly attack. Perhaps that's because they fear breaking the reeds of a lovingly set up Wurly specimen when they go for the FF samples. But, in my estimation it would be worth the sacrifice.

I kinda agree with the YouTube guy that it's more in keeping to ditch the maj 7 chord at the beginning for a DGAC. Just seems to start things out better for me.

Forgot to say. The iLouds are also great for practicing w/o your bandmates. You can just Bluetooth in Apple music tracks or IReal tracks and play over them.

I own a SpaceStation and a vintage MS-80. But my favorite rehearsal setup is a pair of iLoud micro monitors velcroed to my Forte or SP6. I play mostly piano and Wurli/Rhodes, so fidelity is important to me, and nothing beats the iLouds except my Adam A7s. Only disadvantage is figuring out how to point the iLouds. I suppose I could solve that problem by attaching them to a pair of mic stands behind me.

Nah ... where's the riff, where's the snark. Kinda going through the motions. Still the greatest rock band ever.

I suffered severe arthritic pain in my thumb joints and had surgery on my right thumb several years ago. The pain is gone and the strength is mostly back, although I've lost some small motor control. Takes a long time to heal, so I'm postponing surgery on my left thumb, which has for some reason stabilized. Dupuytren's Contracture has cost me some agility and made it tough for me to reach tenths (never used to have any problems). Reach issue has also stymied my ability to play early wind instruments (shawm, cornetto, etc). Ain't age a bitch.

Dug him at the Half Note with Coltrane's band in 1963. Arrived there early for spaghetti and got to keep my front row seat. Every professional musician in the city was present including establishment mainstays like Skitch Henderson. What an experience!

My rig in the '62 - '65 period consisted of a Wurly 140 with micro switches under the keys triggering a Lowrey Organo. Sound options included Wurly alone, Lowrey alone or both combined (my fave). Sound reinforcement consisted of a beastly Stromberg Carlson AU58B tube amp driving a home-built 2 x 15 coaxial cab. Biggest issues: replacing broken Wurly reeds and replacing blown tweeters on the coaxials. Don't recall being overly troubled by schlepping around the combined 250 lb load-in

My rig in the '62 - '65 period consisted of a Wurly 140 with micro switches under the keys triggering a Lowrey Organo. Sound options included Wurly alone, Lowrey alone or both combined (my fave). Sound reinforcement consisted of a beastly Stromberg Carlson AU58B tube amp driving a home-built 2 x 15 coaxial cab. Biggest issues: replacing broken Wurly reeds and replacing blown tweeters on the coaxials. Don't recall being overly troubled by schlepping around the combined 250 lb load-in.

Thanks Al, great demo. My vote is for the TT08s, and I think the difference is in the more nuanced transients and mids. I get spoiled listening to my Forte on Adam A7s, which also offer great definition on the mids (although not viable, of course, for playing out). FWIW I also find my $250 iLoud Micro Monitors reproduce my Forte 7 and SP6 with soul satisfying fidelity. I have even used them in low volume jam sessions. My SSV3, for all of it's attributes, just doesn't reproduce the APs, At low volumes the mids seem muffled, at higher volumes, exaggerated. I think the transients are more an issue than a less-than-flat EQ.

Terrific! Great piece on Bud. Nice to hear some jazz piano that's not all rootless fourths.

+1 on the iLoud Micro Monitors. I have them at my vacation place and they rival the Adam A-7s I have in my home studio.

Count me in as another iLoud fan. Very flat and loud for their size. I like them as much as my Adam A7s even through they have a tiny form factor. Also use them as sound reinforcement for my Forte and SP6. Perfectly loud enough for living room gigs and low volume jam sessions.

Transients are also important. Some speaker/amps sound and behave realistically at high volume. At lower volumes they sound muffled and you are not getting enough speaker excursion for your efforts.

I believe we should be encouraging input from manufacturers providing they are personal comments from an individual vs canned PR releases. Perhaps give them a handle that clearly indicates that they are a supplier with an axe to grind so folks aren't misled.

We are blessed with an astonishing salaried worship leader who also leads the traditional service. He's way better than me on keys, so I play bass. One of our three singers is a really gifted guitar player. We have been playing together for eight years, have a large repertoire and typically break in one new song every Sunday. Our sound system is all Bose and we play through the house so there's no time wasted trying to get a good mix.It's great to come to practice with the music all selected and everybody on the same page. Major challenges have been: (1) When we first began a number of parishioners viewed us as playing "the devil's music." They left, but there are still a number of folks who keep urging us to turn down. (2) We've had a difficult time attracting and keeping drummers. One of our goals was to involve younger church members and visitors in the service. Unfortunately, they didn't have the chops or the inclination, so we are left with a bunch of grizzled rock veterans in our 60s and 70s. Oh well.