piano39

was the first thought that came to my mind. Something like Bat Out Of Hell, or Diamonds and Pearls, share that "kind" of complexity. Donald Fagen's Maxine is complex in a different way. I had to laugh at 4:01 "this would be, uh, a Am7b6, or Fsus2 over A". I would write "Fmu" and move on - but I am surprised at how many of my (top-flight) muso buddies haven't come across mu major chords. Cheers, Mike I don't know whether or not I am "top flight" muso, but this is the first reference that I ever saw to mu chords. I just researched it (thanks wikipedia). I like it.

It's me again, three years later. Still have all of the old Keyboard magazines, still live in Northeast Ohio. Please PM me if you are interested.

Original poster here. From these comments, I am wondering if line array speakers work fine for one or two musicians, but not so much for bands. To that point, perhaps that is why most LA systems only have two or three inputs???? This seems strange to me- since these are marketed as "portable PA systems" you would think that they would have 8 or 12 inputs. The open mic that I host is pretty popular. Not unusual to have 5 or 6 players on stage at one time. If two or three players also sing, I max out my mixer. So- Why do the line array speakers only have a few inputs?

I host a weekly open mic, and have been using my trusty Yamaha PAS300 system for years. I need to replace it. The PAS 300 "punches above its weight class". Everybody is amazed how good it sounds, plus it is stereo. I use it for solo piano gigs, also. I was going to replace it with an updated version (either PAS400BT or PAS 600BT), but I am wondering if I should get a line array speaker. I am a Yamaha fan, so I am considering their version. However, Bose seems to be the standard bearer for line array speakers. Line arrays are now offered by at least a half a dozen companies, ranging in price from ~$800 to $3000. Anybody have experience with these? Not only is the LA speaker more expensive than the PAS, but it is mono. I would also have to carry an outboard mixer. However, if it sounds better, I would consider it. I looked online to see if there were legit comparison tests between the various brands, but couldn't find any.

I was prepared to hate on this, but, boy was I wrong. It's great. I can't imagine how they played this to a click. Also, they looked like they were having a blast.

Sly and the Family Stone- If You Want Me To Stay

I agree with most of these comments about Rhodes being "severe". I had one from about 1977 through the eighties. I gigged with it, because it was about the only option for a piano player at the time. I hated the action. Very stiff, but sluggish. I remember that every Rhodes that I would play, sounded and felt very different from each other. I can tell you that I love the Rhodes patches in my Motif, though.

I use Digitech JamMan loopers. The cool thing about these pedals is that you can run a sync cable between them, so one pedal is the master, and the others are slaves. If you are clever, you can add and subtract layers between the multiple pedals. You can also get creative with the audio patching-- run 'em in series, or send different keyboard to each pedal. In pre-pandemic days, there were occasional shows locally with loopers only. I played a few sets with these, using my Motif, etc. Most of the loop players are guitarists covering pop songs. Most people (myself included) are not proficient enough to switch loops between chorus and verses, so you basically get to hear one groove. I agree with the post that said it can get tiring to hear an evening of this, because every song has a one or two minute buildup. Anyway, back to the Digitechs. The sync option allows you to sync up with other players. I have done this at jam sessions, where other players also had the Digitechs. Loop pedals are really fun. I wish there was a midi looper, which would allow you to record loops on different midi channels. The sequencer on my Motif XF is almost there. If you didn't have to stop the sequencer to record on another track...... I meander and digress.

We are living in a golden age of keyboards. I never remember so many synth products being introduced. Also, we have a ton of available used equipment that is still very viable. This seems to make our breed always looking for "the next big thing" because the stuff we have appears to be lacking. We are never satisfied. The result is that we are focusing on the products and the technology instead of the actual music and the performance. I just glanced at the first page of this forum----at least 75% of the posts are about hardware. I think that the whole idea is to use instruments to express ourselves and create art. At a minimum, we need to entertain people. The constant pursuit of equipment seems to hamper this goal, not enhance it. Sorry for being preachy. I will be the first to admit, that most of my posts concern hardware instead of art. Also, I have too many keyboards to use regularly. I have three keyboards that I keep in a closet and rotate in and out of my studio every once in a while. So, in regards to the OP-- He may have a point about unhappy keyboard players. We are looking in the wrong places to satisfy our real needs.

I learned a lot from watching this.

I remember seeing him on Johnny Carson's Tonight show. I believe that he was five years old. He played "1-2-3-4" on the B-3 and one other song. Blew me away. Does anybody have any links to him playing at that age? Hard to find.

In a word, no. The SPDIF In on your Focusrite will accept a SPDIF Out from any device that has one. The SPDIF out on your Focusrite can be plugged into a SPDIF out of any other device (but not your Focusrite) that has a SPDIF In. This would probably be another recorder of some type. In your DAW, you probably have to select inputs or outputs for every channel that you want to record. For the input, you can select the SPDIF IN, or any of the analog inputs that your Focusrite offers. I do not know if you can select the SPDIF Out as an output. (Too lazy to turn on that computer right now). While we are on the subject. I use the SPDIF out from my Motif to the input of my Presonus interface. Much less fussier than using analog inputs because you don't have to worry about levels, etc. The problem is that sometimes, for reasons that I can't figure out, the fidelity of the SPDIF channel is horrible. Other times it is excellent. If somebody has some ideas about this, I am all ears.

I am a senior manager at a family (not my family) owned manufacturer. We have about 140 employees. We have over 100 customers, but 10 of them are about 80% of our business. We have 50 or so suppliers. Every single letter that we have received from customers and suppliers claims that their business is "essential" and we must stay open to keep them supplied. It is BS. When asked, these customers (all of them much bigger than us) do not disclose their plans for when an employee is diagnosed with COVID-19. They all claim to have excellent training and cleaning, etc. If the government was serious about containing this virus, they would shut down most manufacturing, save food processing, pharmaceuticals, and medical devices. This will be painful, but it will save lives. My two cents.

I'm sorry, but this it's kinda lame, a band like Purple where all its repertoire its based in a Hammond organ playing with a guy that has no chops as organ player, besides using a plugin!! A few comments from a guy that is really glad I have an iPad/ BX-3 - If they were going to give us a free presets, I could think of quite a few other players instead of Jon Lord that I would want. Emerson, for starters (especially from the "Nice" era). Also, conventional church and classical settings. I grew up taking classical lessons on a Hammond C-3. - that being said, Jon Lord is an incredible player. Not lame. Check out the classical stuff that he wrote - Also, strongly agree- Mexico City having live concerts as late as March 14th was really stupid. They will be lucky if they don't have an Armageddon like disaster on their hands. So will everyone else.

I have a Model D, bought it about 18 months ago. Sounds great. Fun to play. No issues. I also wish Uli would shut up.

Thanks for all the feedback. I would be remiss if I didn't direct you to the other song he did on SNL, "ToeJam". In the opening second, you can see the keyboard playing the accordion part (melodeon part???) on the keyboard. David Byrne SNL TOE JAM

Highly recommend this: David Byrne Once in a Lifetime SNL Incredibly entertaining. Two questions: 1) Does anybody know how to get the synth sequence that plays through this song? I believe that it moves from A7Sus to A7Sus/F#. I also think that it is an arp, not a sequence. 2)Less important- what keyboard is being played on this video? do you think that he is playing the synth arp? or is it pre-recorded? thanks,

I was a real Alesis fanboy. Gigged with the QS7 for 10 or 12 years. Had several pieces of rack equipment. My favorite piece may have been the MMT-6 sequencer. It was great for workflow, really intuitive. I also still own a Micron. This is a great second board to use with my Motif. My only complaint about the Micron is the awful keyboard action.

Kawai James-- here's another solution that won't solve your problem (no audio over USB). On the XB-3 thread, I posted that my Motif XF could not control the iPAD (with an ikMultimedia MIDI 2) because it was doing weird things with MIDI active sensing. I have an old EMU Xboard 49. Pretty decent action, plus aftertouch and sixteen assignable MIDI knobs. Sustain pedal output, but no expression pedal output. I tore into it, and removed one of the 16 pots. I wired a 1/4" Stereo output jack to the circuit board (replacing the pot). Hooked up my Roland EV-5 pedal, and voila! I have functioning expression foot pedal. The pots control the drawbars (not as nice as sliders). Biggest drawback is that it is only 49 keys. I am thinking of locating an Xboard 61, and doing a similar mod. I then would have a two octave controller for the iPad.

Welcome to the forum Control Freak! I own an XB-3. You can split your keyboard so that (for example), MIDI Channel 1 plays upper, Ch 2 plays lower, Ch 3 plays bass pedals. However, the expression function (I map it to a volume pedal) is global. This is exactly how a real Hammond works.

Not sure if this should be in a separate thread or not. I am the guy that has a brand new iPad 7, with an IK Midi 2 interface. The interface would stop seeing MIDI signals at random intervals. I tried everything, firmware updates, delete and reload apps, increase buffer size. Nothing worked. I finally tried to use an old EMU midi keyboard as a controller, instead of my Motif XF. Bingo, it works perfectly. Evidently, the Motif does not transmit MIDI Active Sensing. MIDI active sensing. Who would have thunk it.

Here is my problem, I have a brand new iPad 7 with newest operating system. For the first week, I used a borrowed IK MIDI Rig 2 as an interface. Occasionally, the interface would quit working (no lights, wouldn't transmit MIDI data) or even have the dreaded stuck notes. I ordered a brand new interface. Same issue. I duplicated the problem running the SampleTank Piano that they give you, so I do not think that this is an app issue. When this happens, I unplug and replug the interface, and everything works fine. I tried running it in airplane mode only, with a Midi cablegoing directly from my keyboard to the IK interface (instead of my midi router). Also rebooted the iPad. Nothing worked. Any advice? I was going to use this on a gig tonight, but it is not ready for prime time.

In the settings menu if you do a long press on the cc number 'learn" appears as the bottom option and then when you tap on that you can then just move the control on your keyboard and it will be learnt by the app. Thanks John Lee. I tried this, the MIDI learn works for the controls that transmit CC messages. Doesn't work for the controls that transmit sysex messages. Can't for the life of me figure out why Yamaha configure the Motif this way.

A friend of mine gifted me this B-3X for Christmas. Oh, my God, this thing is incredible. Highly recommended. When I saw the announcement a week or so ago, with the $99 price tag, I thought they were crazy. Now I think it's a bargain. I have a good friend. I mapped controls to my Yamah Motif XF6. (I have been reluctant to compare the B-3X to the Motif organs, but I think I will understand the hate for the Motif organs once I do this). Does anybody know how to map the sliders on the XF6 to the B-3X? Most of the knobs (but not all) transmit MIDI CC messages, which map nicely to the drawbars. The sliders (and a few of the knobs) transmit MIDI SYSEX, though. One thing on the wish list is a "MIDI Learn" function for this exercise.

Ok, so it is fun to speculate. Here is my guess. The Model D currently accepts a midi input. There is a processor inside to convert the midi signal to voltages for the corresponding note inputs. In the current configuration, it feeds the same voltage (corresponding to a midi note) to all three VCOs. It is a three oscillator, monophonic synth. So..... maybe there is a firmware update to send a separate control voltage to all three VCOs. If you press a three note chord on your midi keyboard, the processor would send the corresponding voltages to the VCOs. Voila- you can play a three note chord, one oscillator per note. However, they teased "four" something. Well- the LFO accepts a CV to control the frequency (there is a jack on the front panel for this). This LFO can be pressed into service as the fourth VCO. I'm guessing that this would be a "paraphonic" synth because there isn't an envelope generator, etc for each oscillator. I believe the envelope generators, VCA and VCF are all analog circuits. Just my guess, but this may be plausible. It would convert the Model D to something for akin to the old Korg Mono/Poly. (I can hear the Behringer haters now.) For the record, I think the Behringer Model D is a great pieceof kit. I really enjoy mine.