Paughrock

I can't imagine how suffocating it must be living in such an uptight state as to be so perpetually anxious about potentially offending all the time. Does very little towards the collective common good. English or Canadian? Haha. Lighten up man. I'm just expressing an opinion about gear. Oh wait, I forgot that this place is a gear acquisition echo chamber funded by the very manufacturers who will sell you the gear that you will be posting on the classified thread in about six months. Now I remember why any time I post anything mildly critical of said status quo I get ganged up on. Ciao.

Sorry that yours was the thread that broke the camel's back. This forum is primarily a place for manufacturers to advertise gear to hobbyists. I'm coming from having toured as a sideman for almost twenty years. My bitter edge comes from that. Would be cool if the moderators created a thread for bitter old road warriors like me. Again, sorry that I derailed. Good luck with your purchase. My two cents: don't overlook build quality which seems to be getting worse these days, not better.

Not sure where you're going with your hallmark straw man here but my experience has been (as my earlier posts read) that it's usually the reverse: the best players I've ever heard we're full timers playing in dive bars on vastly out of date gear. Tim, I agree with your synopsis but I think for some GAS is not a joke but a sad issue that holds one back from reaching their potential.

Not sure where you're going with your hallmark straw man here but my experience has been (as my earlier posts read) that it's usually the reverse: the best players I've ever heard we're full timers playing in dive bars on vastly out of date gear.

I sneer because the idea that some miniscule, incremental programming change is going to unleash some greater level of musicianship is ludicrous. Anyone who does the full time sideman tour thing will tell you that no tour manager, or tech would ever accept changing your rig as much as some of you in the weekend warrior world do. All I'm trying to do is make the humble suggestion that for the staggering amount of coin that you drop on selling your mojo for your electro x, whatever, you could invest in a real tonewheel and probably hire a crew to set it up and tear it down, or better yet, work with a teacher who can unleash your creative potential far better than some programmer can. And fyi, not an analog vs digital rant. A throwing thousands of dollars every year doesn't help your development as a musician rant.

Haha. I saw Joe Louis Walker's keyboard player in Alanta do three sets using one organ patch on an old ensoniq. The most impassioned, inspired, "of the moment" keyboard playing I've ever heard. Cured me of my gas then and there. Never changed my rig since.

It's the staggering cost of these microchip holders. If you need 'that tone' in order to express yourself I'd wager that with what some of you have thrown away in clonewheel 'upgrades' in the last twenty years you could have bought a real console AND a crew to set it up and tear it down at least twice a month. Get to that place where you're so connected to your own playing and your own voice that the tone is redundant. A good teacher can get you there. Again it's all about what you want to spend your money on. I just don't get spending thousands upon thousands of dollars on going in circles.

Why do you guys continue to spend thousands upon thousands of dollars on these things? They all sound the same. Truly. Stand front of house, I can assure you that whatever you were playing back in 199x and now, played through your local club's sub standard PA will sound pretty much the same to the inebriated, instagram surfing audience. For what these plastic microchip holders cost you could be investing in a real tonewheel or electromechanical, or acoustic and actually protect your principal, or better yet, lessons with a qualified instructor. If latest and greatest is your bag, buy a great controller and a laptop.

I think that's how it goes for the vast majority of jazz pianists today, and it somewhat explains the ubiquitous nature of contemporary jazz piano. There just isin't enough of an active jazz culture like there was up until the turn of the 20th century. Up until the 90s, there was still enough of a scene where players would cop licks and voicings by remembering what they heard at a club the night before, or hanging at a jam. That's how I learnt...if I heard a cat that blew my mind, it burned into my memory. I'd play what I heard, and then use whatever classical theory I understood to have it make sense to me, but the listening and copying was the primary engine. And of course my 'memory' and transcription was 50-60% accurate at best. The rest was filled in with whatever was me, and that's how styles evolve and diversify. Not the case today. Now the culture is watching YouTube clips and making videos, and the message, at least from Adam and the rest of the click bait gurus, is that the theory is all that you need to unlock the secrets of the greats. Not a chance theory alone is going to get you there, nor is just hanging out on YouTube. Need to be in a live club with real, live energy/urgency. I think the recordings of the masters are the most important source of learning. The clubs have been places to try it out. I don"t think Adam is teaching jazz to anyone, I just searched Adams videos and didn"t find any How to play jazz, content; he"s analyzing a post jazz fusion style of music. I didn"t see anything about swing, blues or traditional improvisation in his lectures, he"s more into composition, explaining the fusion of various posts jazz styles, IMO. My hats off to him You come from a much different perspective than the average person watching Adam's clips. You already have a vast knowledge base of theory. Adam could potentially overwhelm/confuse the heck out a lot of generally interested, but uneducated aspiring musicians. Yes, agreed the recordings, but noticing a pianists hands on a live gig is huge. I'll never forget going to the vanguard my first time in NYC and hearing Geoff Keezer. Blew my mind way more than any recording or video ever could. And, it inspired me. Not seeing how any of Adam's videos could stoke the fires of creativity in anyone, regardless of genre. His demeanour just puts me off whereas Beato seems like a dude. Just my two cents.

I think that's how it goes for the vast majority of jazz pianists today, and it somewhat explains the ubiquitous nature of contemporary jazz piano. There just isin't enough of an active jazz culture like there was up until the dawn of the 21st century. Up until the 90s, there was still enough of a scene where players would cop licks and voicings by remembering what they heard at a club the night before, or hanging at a jam. Not the case today. Now the culture is watching YouTube clips and making videos, and the message, at least from Adam and the rest of the click bait gurus, is that the theory is all that is needed to unlock the secrets of the greats. Not a chance theory alone is going to get you there. Need to be in a live club with real, live energy/urgency.

Not arguing against the importance of theory...just have an axe to grind with youtubers who are the equivalent of the pet rock. Instead of making a career out of 52 ways of describing why the blue sky is blue, maybe use that time to make actual music... There are tons of interested amateurs with no theory, or self-taught musicians, who watch these sham YouTube gurus pontificate, and they come away thinking that music is some really complex, inaccessible mystery, and that these youtube 'experts' are the way and the truth. In actuality it's just not as complicated as they make it out to be. Fair enough if the discussion was about tone rows, counter-subjects, and expositions, but a David Foster tune?

I've spent most of my life working full time in the music business. Can't recall one instance where theory was ever discussed on a session. I learnt my theory from a classical education. For the music that 99% of us play there is simply the Major, harmonic minor, and natural minor scales. Harmonies are built off of these three scales. V and Vii go to one. Start wherever you want in the scale, and mix and match as you see fit. Never understood the Berklee method. Seems like an overly complicated way of describing what most musicians learn intuitively, or by listening. Adam grates me, as do many youtubers like him...i.e. Chilly Gonzales, etc. I like Beato though....

I"m not saying it"s a bad move because Doley is some musical genius who is sacrificing his own career to be a sideman. If it were just about the music, this gig is a dream. I can"t really go into why being associated with Roger comes with it"s own baggage due to forum policies, so at the risk of creating drama, I"m going back to my hobbit hole.

As fun as it would be to answer this question, and watch MathofInsects ride in on his white horse, there are forum policies that prohibit me from going there.

Because Roger Waters (or literally anyone executing an international tour) will be hiring weekend warriors with attitude Merely pointing out the Irony. None of us became musicians for the money or because we really enjoyed taking orders or working for the man.. 1. Working as a relatively unknown professional sideman on a major tour, (for an artist like Roger), he very much will be taking orders and working for the man. He will be treated akin to a crew member, and nobody will give two cents about Lachey Doley the solo artist. 2. I wonder why such an iconic and legendary artist as Roger Waters now has to recruit sidemen from the other side of the world via YouTube? Surely Roger must have his industry connections he could use to recruit top notch talent? Hmmm, wonder what that is all about? 3. Anyone who loves keys would love to play for Roger, and musically, Roger's show is top notch, but.......this one is a bad career move. I would definitely be taking a pass if I was Mr. Doley