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PianoMan51

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About PianoMan51

  • Birthday 11/30/1999

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    Cabin In The Woods

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  1. Noisy keys. Loose keys. Bought a used CP-4 years ago. Cheap. Had two black keys that had an amazingly sloppy sideways movement. I was pissed until after my first gig. When I realized that when I actually played, I didn’t even notice the two bad keys. The sideways motion was not apparent at all while playing the piano. Now, don’t get me started on the Fatar keybed on my mid-90s K2500!
  2. Dave, If you ever come to doubt the work that you and the forum team do… Consider the amazing responses in the posts above. Jack
  3. Me: “Doctor, I’ve had this strange ringing in my ears. Seems like it’s been years! And then yesterday, it changed…” Doctor: “Do you live near the ‘Church of Christ the Dadaist’?”
  4. Let me guess, you’re working on a script for a movie called A Few Good Synthesists. “Synthesizers with balls? You can’t handle balls!”
  5. One possibility comes from playing with transposing horns. Bb horns sound in the key of Bb when their charts are written in C (no flats). When my piano (concert pitch) chart is in Gb (6 flats), a Bb trumpet chart is in Ab (4 flats). An Eb clarinet chart is in Eb (3 flats). Vs a song in F# where the transposing charts are in G# and D#.
  6. The 18880 is very lightweight and seems flimsy when setup by itself, even with the knobs snugged down. Once the keyboard is placed on top, from the players position kick each of the two legs outward an inch. This will create enough tension to tighten up the rig while the weight of the keyboard holds that tension in place. I don’t do gymnastics on my keys, but I’ve had this stand for more than 10 years and used it for over 500 gigs. Let’s call my playing two-fisted piano. A fresh spray of flat black paint every five years… Admittedly not very sexy. But Velcro an ultra light seat to it and I can carry both in one hand easily, while carrying the keyboard under my other arm. And I sing, so a mic stand is attached to the 18880 with a pair of hose clamps. Tres chic! Lol.
  7. Of course it’s the total schlep. Which is why the K&M 18880 at 3.2kg is popular here. Expensive, yes…
  8. Make sure. The transformer is hi-z on one side and low-z on the other. The traditional design has the XLR on the “low-z mic” side and the 1/4 male on the “guitar “ side. It’s just a transformer inside. Different numbers of windings to create voltage and impedance shifts. Yes, it can work backwards. Just make sure it’s working in the right direction for you.
  9. I bought a cable to connect the melodica to the transformer. 1/4” unbalanced at one end, XLR male at the other. The output end of the transformer is already 1/4” and can go directly into your pedal boxes. Unfortunately the transformer is hanging physically on the pedal’s input Jack. So I usually use a 1/4” female to 1/4” female (mono) adapter and a second 1/4” cable to move the transformer off the pedal Jack. It’s still a kluge. Maybe that’s why the Hammond 44 marketing materials never show a transformer being used.
  10. The transformer was designed to take the input from a low impedance dynamic mix and output it into a guitar amp. I don’t know the design specifics for the transformer turns, but it appears to add voltage gain in my case.
  11. Way back in the day (late 60s) there was a sea change from high impedance to low impedance mics on stage. That meant for me that the new good low-z mic that you just bought would not work well well with the band’s Shure Vocal Master mixer that had high-z inputs. So, you bought an impedance matching transformer. I still had my Shure AO5UF in a box of 30 year old unused crap. And then I got a Hammond 44. A low-z unbalanced mic, not a pickup. Yes, it could plug into a guitar input, but not optimally. So I tried the matching transformer. Just what I needed. You can find new versions on Amazon for $20 or so. BTW, the signal flow is: Hammond 44 to transformer to iRig to iPhone to mixer. Out from Hammond is 1/4” unbalanced. Use an adapter to plug into transformer’s XLR female input. The iRig is a cheap I/o for getting an electric guitar in and out of an iPhone/iPad with audio connector. The output of the iRig is 1/8” female stereo. The iPhone hosts a bunch of inexpensive Eventide plug-ins.
  12. To me, the success of my piano sound relies 85% on proper EQ (for the song/band/room) and 15% or less on the patch itself. Now there are lots of exceptions, but during gigs that are piano heavy, I’m working the EQ first.
  13. Moog Matriarch. I’m not a synthesist. But every other synth I’ve had has either bored me or repelled me. This one just seems to invite me to play.
  14. Turning 73 this year. After coming back from Covid I made some changes to my musical projects. But I made one vow, to religiously follow Jaco’s advice to his bassist students… (I paraphrase) “Learn the song. Inside and out. Be able to play the melody, the chords. Memorize the form completely.” I realize that I tended (and tend) to push myself over that learning hump until I can I can play the song well enough to satisfy myself. But once I got there I rarely went back. Never Relistened. Relearned. Rethought. I have a set of big band gigs coming up. Consider the ‘old me’ method of getting good at playing the piano chart in front of me. The ‘new me method’ means learning each song as a song. Melody, harmony, structure. Then memorizing the whole chart. Where everybody else plays. Then listening to recordings to hear how the real cats solved the puzzle that each arrangement posed. And then at the performance being ready to make it my own. I know I made this seem onerous. But for each one of you who winces when Mustang Sally is mentioned, go back and listen to the original. I personally would be very happy to present something as hip yet simple to an audience.
  15. Man, I forgot about starting this subject. 2 1/2 years! My personal solution was to abandon (with great reluctance) two tightly held beliefs: - Always get paid - Don’t join organizations that rehearse regularly. Today I have four regular music projects. - 2 big bands, each practice once per week. One very good, where I get to really play and ‘comp’ in the original sense of compose. The other a well intentioned community band where I play the role of training wheels to allow others their chance at self expression. - NC Master Chorale. Time to revisit my school days choir experience. Practice each week. Four professional concerts per year. Great fun. - Retirement home entertainment. Bassist and I do hour long gigs. Lots and lots of audience banter. Sing a longs. Shake everyone’s hand afterwards. Lots of jokes. Feel great after every performance. And occasional sub gigs. Big bands, jazz groups, variety bands. Ten years ago I would have made these as ‘roll in, role out’ gigs. Now I have time and inclination to take these as opportunities to dive into the originals and make each gig as an interesting challenge. Nothing to write home about. But enough to keep a doable but challenging musical project in front of me on most days. Those other days…
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