richforman

Thanks Marc, I got it worked out with the help of a couple youtube videos and a very helpful respondent when I asked the question in a Facebook group.

Long story short, can anyone tell me the steps to have an RD-2000 tenant m transmit MIDI only on channel 15? Back story: I'm doing a gig tonight where the backline guys have provided an RD which I'm happy to use as an external controller to control my Kronos. Basically I only want the Kronos to receive on 15; the combi's are all set up such that the timbre (part) I want to be controlled by the external board listens on channel 15. I have gotten to work fine with many other boards serving as that external controller, but the RD has me stumped. I even did some research before I got here for sound check and thought I was ready, but things aren't working as I expect. I went into Menu, Program Edit I think, then Zone Edit, assigned tx ch on Zone 1 to 15, for good measure I set the kbd range on all the other zones to A0-A0, presumably out of the range of the physical keyboard so that birthing would come in on any other channel. I set Zone 1's dest to Out1 (midi cable is in Out1). Pressed the top row button above the zone fader to light it up red, indicating, I understand, that I want it to send external. (I don't care if it also plays internal too; I am not taking any audio from the RD). But whatever I do, when I play the RD, the Kronos responds as if it's receiving data on all the channels, or maybe it's the Global Midi channel, but my xhannel 15 part does *not* respond. Is it that all these settings I'm changing apply on the level of a Program and I have to Write it first and then make sure that program is selected when I play? I didn't think I'd that till after adorned check, lol. Help! What do I do?

Subject says it all really. Experiences? Doable? I bought a heavy duty flight case in case I need to bring mine for an upcoming flyaway gig, it doesn't look like one will be provided by backline it's a cruise and I'm told they only provide controllers, not specific model keyboards). I guess the total weight in the case will be right around 70 lbs. If you've done this, how much did it cost? Did the keyboard survive intact? Does it have to be arranged with the airline ahead of time or can you just wheel it in and check it at the baggage check? I got a roadrunner flight case which seems to have a good reputation for protection on a flight.

I dunno, but my ex-gf, who's a lifelong Genesis fanatic (and a fellow keyboard player) said many times that they were terrible in '07 and she left thinking they should absolutely let it be.

I've played the song in many different bands over the decades; not sure if I have it authentically note for note but it sounds pretty good and bandmates and audiences seem to always respond positively and enthusiastically. But anyway, it reminds me of the last time I saw Boston in concert, four or five years ago I guess, rather than recreate the familiar recording, Tom Scholz played a way-extended version that expanded the themes and motifs into a dazzling almost classical piece. way longer and more complex, it was pretty impressive. I thought it could be heard a little bit as a "here, suck on this!" to all of us cover-band keyboardists in the crowd who think they're hot s**t because they can play something close to the original.

Not super relevant but my newest gigging band project is an established Huey Lewis tribute band based here on Long Island, my first gig with them is next month, a flyaway to a casino resort just outside Vegas (first time I've done something like that in a few years, very excited). Most of his hits I was covering in top 40 bands when they were first out, back in the 80's. Have always really admired the songwriting and recordmaking on irresistible power pop gems like "Do You Believe in Love," "I Want a New Drug," "If This is It," etc, Not super keyboard-heavy/challenging but a lot of fun to play nonetheless.

With no forewarning? I learned that song last year for a wedding gig where we had been asked to play a bunch of Latin jazz, but before that I wasn't familiar with it at all, hadn't heard of it. So that sounds to me like a pretty high-level gig if the players were expected to just know it. Lovely song, fun to play. It's in the Real Book, yes, but I would expect that (to the extent people know it at all) they would be familiar with and expect to hear something close to the Ella Fitzgerald arrangement.

VERY happy with my 2-tier Stay column stand and I swore by the Spider Pro for years before getting it, now I don't miss that one at all. This one's much more lightweight for transport, and boasts very quick/easy setup/breakdown. Cable management system is better than on the Spider Pro (and I always mentioned it as a good feature there; here it's even better). The reason it's better is that you can just take that little rubber clip off momentarily then clip it back on over all your cables that you're running under it it, rather than having to individually run each one under the permanently mounted corresponding clips on the spider pro. Another advantage over the spider pro, you set the tiers at the height you want them and can keep them there forever (on the SP, you have to basically draw the desired locations on the column with a sharpie in order to get the tiers back to the same height position next time.) It's less expensive to purchase and comes with its own specialized carrying bag included, whereas with the Spider Pro you have to spend an extra 50 bucks for that. I've placed my Korg Kronos, Roland Fantom X7 and Yamaha MOXF8 in different pairings on the two tiers and don't have any stability issues at all.

Wonder what older Yams she found so much easier? My experience historically they've all been pretty challenging to work with. I've had a DX7, an S-80 and an MOXF8 which has been relegated in my rig to the role of strictly a bottom-board/controller for the piano parts in my Korg Kronos' combis, with the Korg as my sole sound source. I actually miss some of the sounds on the MOXF8, a few of them (notably sax) I think are superior to those on the Kronos, but for me the simplicity of this setup makes it worth the compromise.

Did it for years with my S80 which was 52 lbs., I'm not an especially strong guy but it was always doable; but for the last few years I have been much happier since replacing it with the 33-lb. MOXF8, just so much quicker and easier to move around even without wheels (and I can get away with using a soft case), if it's a compromise it's worth it to me, just makes gigging life easier. Anyway these days there are many under-50-lb. options for a weighted-88, you should look into at least some of them; if you find one where you don't feel the action is a compromise you might be happier.

I work with the percusssion player in a local Stevie Nicks tribute band. He just sent a link to this concert out to all of us in the band this morning!

Swore by the Spider Pro for years, but now I am even happier with the Stay 2-tier stand (I'm told Korg actually makes it). Meets all your stated requirements, very easy/quick set up and breakdown, you can set your preferred tier heights forever and forget 'em (or of course very quickly and easily change them at any time); it's way less expensive than the Spider Pro and unlike that one comes with the carrying case included, and is also much lighter to carry but completely stable and sturdy (there are weight limits to what you're supposed to put on it, so check those but I'm guessing you'll be fine). The cable management clips are even more convenient to work with than the ones on the Spider Pro. Only thing is the top tier isn't angled, but the way I use my rig these days, I don't need that.

At a gig last week, the bandleader told me she'd gotten paid by check so could Venmo me. I don't have an account with that, but asked if she could Paypal it to me and that worked out fine, have had a paypal account for 20 years or more I'd guess. Does Venmo offer any different or better functionality than paypal for transferring money, am I missing out on anything by not being on it? Paypal seems convenient enough to me, but maybe I'm living in the dark ages and don't realize it. (Of course if the person has an account with the same bank you do, transferring money is extremely easy.)

I love their music, have seen them a few times over the years, and definitely planned to get tickets when I first heard about this tour, but was bummed to see that their local show here is on a Saturday. I usually don't get tickets to concerts on Saturdays in the summer, thinking there's a chance I'll have a good gig myself that I wouldn't want to turn down, or if not, I prefer to keep those summer weekends just open for travel or all-day outdoor/recreational stuff like beaches and boating, those 12 weeks or so go by really fast..

Developing software, my day job, is like that too (and I have observed that there is a pretty big overlap in the Venn diagram of musicians and developers). You have to think very logically and analytically to understand what's happening and be able communicate and visualize ideas very precisely, and also be really creative and think out of the box to come up with and design high-level solutions to various problems..

Huge Elton fan and I was excited to see this show last year, but I guess as a result of my having seen him SO many times over the years (I'd say approaching 30 times, not sure exactly), i was actually a bit disappointed with the set list, "Indian Sunset" was actually for me the only deep-cut surprise; of the others you mention, "All the Young Girls Love Alice" has made it onto the set list many times, and the rest have been in pretty much every tour, certainly Levon and Take Me To the Pilot, and Burn Down the Mission only slightly less consistently (love that song though, one of my top faves so still glad to hear it), and the rest of the show was stuff he does every single time, every year, every show. In my earlier days of seeing him, 80's and 90's, every tour would bust out maybe two or three 70's album cuts, different every time, and there would always be a generous selection of cuts from whatever his latest album was (always a highlight for me too, I'd always have bought the album and become familiar with all the new stuff), but at a certain point in the last fifteen years he let it really settle in to a permanent list. Just thought that maybe for this special tour, he'd choose to shake things up just a little more, there are even other songs that were lesser hits that never get pulled out. (I've long been hoping for "Nikita" or "Blue Eyes" or "Bite Your Lip (Get Up and Dance)") Actually "Believe" was cool to hear this time too..

How about Stevie Winwood in Spencer Davis Group and Traffic?

You lost me at your second paragraph introducing the visceral, superficial sense (I mean, I read the rest, but knew I disagreed with that part of your premise). It's very hard for me to understand why anyone would think that "people who are not trying to make a living in music owe an obligation to people who are trying to make a living in music" (in terms of "stepping aside" from gigs); to me that seems absurd on its face. Why in the world would they? I guess we come down in agreement at the end because you ultimately reject the idea but I guess I feel more strongly about it than you, in that I don't even accept the "idea" as having "visceral, superficial appeal" in the first place.

> If you choose as your profession something so fun and inherently rewarding that people will do it for free, then you shouldn't be surprised that folks are (allegedly) > undercutting your value by doing it for free. It's gonna happen and you can't stop it. Exactly exactly, I've made this point many times in every Facebook thread where this dumb discussion pops up. The premise is always that "people who play for cheap are ruining it for us pro's who are sure we deserve more!" and completely overlooks not just the point that was correctly stated by jeffinpghpa and Adan, also that for any musician who decides it is in their best interest for whatever combination of reasons to play a gig for whatever low amount it pays...then they are under absolutely no obligation to consider how that decision will affect any other musician's prospects, in that sense it's every man for himself. (Just for fun I'll also point out that there's no valid reason to assume that the "part timer" or "hobbyist" or "wannabe" who can play for less because they don't depend on it for their full time living, is not as good or better as the self-proclaimed "full-time" "pro" who thinks he's worth so much more.) How about that dumb meme that says something like "try calling six plumbers to work on a Saturday night and see what they charge," I'll chime in and point out that the analogy is not *quite* valid, unless plumbing was something that millions of people dreamed of doing as kids and that they do for fun, attention, artistic satisfaction, ego gratification, social enjoyment,, attention from the opposite sex, etc, in addition to getting paid. It's not.

(Goes without saying that Benmont is great and I look forward to checking out the interview.) Meanwhile, I can play "the long version" of the piano solo in Light My Fire, but I have always choked on being able to cop the piano parts that then happen under the guitar solo.

No, he's right, the surface of Venus is a real scorcher, we do know that. (I think the Russians have even sent craft into the atmosphere there.) However, the cloud cities we may one day build above it, may be a nice place for a run of lounge gigs. (Billions of years ago the planet may have been verdant, teeming with life or at least comfortable, before its atmosphere burned off due to runaway warming; too bad we missed out on that, would have loved to vacation there.)

Yes (no pun intended) on "Long Distance Runaround," I was covering that a few years back and remember playing chordal stabs every fifth beat with my left hand against the straight 4/4 eighth-note chords in the right. I had to make a cheat sheet indicating when to do those stabs.

The very popular top 40 tune "Hey Ya," which I've covered, has its main hook in 5 time also IIRC. Back in the 90's fooling around with my Ensoniq VFX-SD onboard sequencer, I composed and produced my own attempt at a little fusiony thing in 5/4 that I cleverly (obliquely referencing Brubeck's "Take 5 ") titled "Gimme 5." And of course "Mission Impossible"! Maybe the biggest 5/4 pop tune of all. Used to do that one part of the family-introductions segment in a wedding band.

I mean, there's no one right answer except that these and any other terms/details of the sub gig should be negotiated / agreed on when first discussing it. It sounds like the bandleader or the band failed to communicate their expectation when hiring you so in that sense (if my interpretation of what happened is right), the mess-up is his fault. If he had made it clear that he wanted a rehearsal, you would have said that you are not available for that and he would have found someone else (or, alternately, you may have asked for more money to compensate you for your extra time).

Damn, for the first time in a long time, I will be away this weekend on an out-of-state gig, wish I was around with a local gig I could invite some of you guys to.