Reezekeys

What, no Kurzweil Micropiano?!

I heard that. "Big name artists"? That was actually the saddest part. Someday I might do a video about what legacy bands pay! We're far from "big names", but us oldsters aren't touring for $500 a gig, I can tell you that.

No, enabling transparency does not reduce volume more - it just feeds in some of the high end that passive earpugs (or in this case the Airpod Pros themselves) would block, resulting in a more balanced sound. In addition, the limiter will kick in and reduce the amplification level further when things gets loud (when "Loud Sound Reduction" is turned on). But when used this way I keep the amplification level at 0 or slightly above. "0" doesn't really mean zero as in microphones completely off - there is still some pass-through; there's just no need to amplify much, since the point is to keep the total spls lower than what you'd experience with no ear protection at all. I wish these Airpod Pros had a variable noise-cancelling feature - that would make them way better musicians' earplugs, imo. Maybe that's not technically possible. I've switched to noise-cancelling mode a few times and they reduce the level too much for me to be able to play.

Yes cycling through the modes is easy. I still find myself needing to use the phone to vary the amplification setting in transparency mode - from 0 when I'm playing, to 100 when I'm using them as hearing aids! I also mess with the "reduce ambient sounds" setting depending on where I am. So, still need the phone. Not complaining, these things are the best $200 I've ever spent.

I stopped watching when he said playing for the “90s Legacy Artists” gets you $300-$500 a gig. He doesn’t mention 70s legacy acts (my current occupation!) - maybe because there aren’t any of those in Nashville? Or maybe he’s just never been involved in that scene. I can tell you that I know plenty of musicians in the New York area who can do a local wedding gig and make $500. Nobody I know is going to travel anywhere for $3-500. Is it an age thing? What younger players are willing to take now? I'm glad to be close to saying bye-bye to all this mess.

Got my first keyboard - a Whitehall Grand Prix Duo organ - at the Sam Ash in White Plains, NY. It was a bar mitzvah present from my grandma so that would make it 1969. 55 years ago. I guess I am old! Not only onine ordering but free shipping and easy returns have to have spelled the end of b&m music stores. The idea that one might prefer having a place to try a keyboard in person before buying probably bit the dust when you showed up to a space with barely any stock, keyboards not plugged in, and $10/hr salespersons who knew less about the boards than you did. In that sense they kind of did it to themselves, but imo there's plenty of blame to go around - including the reality that today's younger music makers don't really use musical instruments. Still, I'll be forever grateful to the White Plains store for selling me a pristine Yamaha KX88 - the battleship of early weighted-action midi controllers - to replace my original which was lost in a fire. In this case the salesperson's ignorance truly worked to my benefit: I got it for $99!

There's no iOS or Android app that does this?

It's not midi, it's knowing how to store presets you make on each keyboard. The RD2000 and MX88 surely let you save a setup once you've programmed it. Just save into the same memory number on both keyboards for each song. Assign one keyboard to be the "master" and ensure it sends midi program change messages. How to send this message varies with each keyboard - could be a button, or a sequence of keys on a keypad (I'm not familiar with your keyboards). Let's say a particular song has been programmed into memory #2 of each keyboard; with the master keyboard's midi connected to the other one, pressing the button to send program change #2 on the master should call up the appropriate presets on both keyboards. There is more to this and I can understand how it might be daunting to a midi-neophyte! Playing notes on the master keyboard will usually play the same notes on the connected one - which is something you might want but more likely will not want. That gets you into the concept of "zoning" each keyboard, or programming certain ranges to send on different midi channels, or having certain zones only transmit through midi but not sound on the keyboard you're playing (that's called "local on-off.") How complicated this gets depends entirely on what's required of you for a particular song - or what you're willing to compromise on to be able to enjoy playing the gig vs being a glorified button pusher. Good luck!

"That speaker" implies singular, as in stereo piano samples summed to mono coming out one speaker. That does not bode well for the sound.

If it comes down to having to spend $1000, I'll rent or borrow a saw and chop it and the trailer into pieces myself, and have it hauled to the dump. It is on a trailer. From what I see the hull looks intact - but yea, it's been exposed to the elements for sure! At least it's fiberglass right? A wooden boat would probably have disintegrated by now!

Yes that was an option I discussed with a buddy of mine. What I know about this boat is that it's raced in Europe but not in America. It's a "one-design", a term I wasn't familiar with before I got it. It's a two-person boat not built for comfort! It has a trapeze that attaches to a harness you wear to lean out and keep the boat from capsizing in high winds. Here's a Fireball in action (I never got to sail it like this!): The boat is sitting on a rusted out trailer but the hull looks intact - probably needs the gelcoat restored though. I do have sails for it, they need some patching (and a good cleaning) but might be OK to use. It was way too much boat for me to begin with. I wouldn't have the time or ability to sail one of these now even if it was in perfect condition. I'm just looking for a way to get it out of our yard without spending a lot of money! Offering it for free is my first step - I may have to move on to a plan B; if I do, so be it.

Thank you guys. I'm on tour in England & Scotland and trying to help my wife get rid of this boat. We were quoted $1000 to remove and dispose of it! I thought there had to be a better way. Hopefuly it's not beyond restoration and hopefully someone will be interested in taking on that kind of project. This was a screamingly fast little boat!

Any small-boat sailors here? Many years ago I acquired a 16' racing dinghy called a "Fireball" from a family friend. It turned out to be too much boat for a novice sailor like myself. Unfortunately it hasn't been sailed in many years and is in need of restoration. I want to advertise this boat but be honest about its condition. It's missing these circular "caps" that screw into holes in the cabin (and one in the stern as well). I'd be grateful if someone could tell me if these have a specific name, as i don't want to appear more clueless than I already am! I guess I should also ask if these are hard pieces to source - this boat certainly won't go in the water without them! Thanks!

Facebook likes scammers!

Alto TX308 for lightweight gigs (ceremonies, cocktail hours, etc.). Not a cube but very easy to travel with. These days they’re $120 apiece, can’t beat that.

And now the scammers have your credit card number.

One day later, different "store", same photoshopped picture, now it's "slightly damaged package" instead of "misleading advertising prices." Comments are once again new FB accounts, all fake. I report these as scams and it does NOTHING. Why bother?

The TX312 and TX315 have combos - only the TX308 and TX310 are XLR-only. TS3xx all have combos and a more powerful amp. The TS4xx have bluetooth and DSP for different EQ settings.

My Alto TX308 offers no 1/4" input at all - it's XLR for both mic and line. I think most others have combo jacks. My K8s have combos and either type of input can be line or mic level (and as I've said a few times here, the "mic/line" switch just puts a pad in the input circuit - it's not like the signal is going to separate input stages). I know there are some serious "pro" powered speakers like the RCFs that have only a +4 XLR input - those would require a preamp or mixer to connect a keyboard. Aside from those, I'd rather have to buy a few adapters or adapting cables than a mixer or preamp.

Wrong why? Less stuff to buy, carry around, set up and tear down. If all you need is gain - go direct, I say.

Here we go again! Any powered speaker when set to mic level input, will be able to be driven to full output power by your keyboard. You do not need a mixer or preamp if you're only amplifying your keyboard and can make do with its own effects and eq, assumming the keyboard has them onboard. Some powered speakers also have EQ settings but those aren't meant to be adjusted a lot. When I say full output power, for almost any powered speaker over $200 - $300, we're talking a (claimed) 1000 watts or more. Sure manufacturers can and will fudge these numbers but it's all moot because the drivers in those speakers will blow long before those class-D amps start clipping - that's why all these powered PAs have protection circuitry. I've had my QSC K8s for fifteen years, and have used them doing gigs with punishingly loud bands and they held their own. My ears ring permanently so I don't take those kinds of gigs anymore. I needed to switch the input to mic level to do the gig, so I did it. These days it's set to line level or I stay home! "I've tried them numerous times and they're just not loud enough." Something is definitely wrong with this picture. Any of the current 1000 - 2000 watters out there - Alto, QSC, EV, etc., should easily work for you. Switch the input sensitivity to MIC and you will be fine! (Start with the gain all the way OFF when you do this!!). (PS - I said "here we go again" because I'm probably gonna hear it from everybody here that my way is not the way to go - they will tell you to use a mixer or preamp. I've been cabling directly to powered speakers since I got Mackie 450s twenty five years ago. I've never needed a mixer or preamp that whole time.)

The hits keep coming! Everybody loves these Nords! Look, everybody is signing up with Facebook just to let us know how great this deal is! (That's right, every commenter in this thread is a brand new Facebook user!)

I'm sure your assumption is correct. Imagine that, a musician using the avenues available to him or her to try and make a living doing what they enjoy. To some people (not you ABECK, I'm speaking in general terms!), this is somehow a bad thing? More power to him. If you don't like someone's youtube content there's a perfect way to deal with it - don't watch it! If someone starts a thread here about a video RB posted, don't click on it! Why do some feel the need to comment about how much they don't like the guy? If you don't agree with a premise he puts forth and want to make some points in opposition, that's a great way to start a discussion and what forums like this are for - but it seems like some can't resist crossing a line into ad hominems. For the record and especially in this thread, I think I've see more of the former than the latter - but it happens enough to be a topic on its own, since some variations pop up in almost every thread I've seen that has RB as a subject. I watched some of that video. I wouldn't call it a rant; more a misunderstanding of what "out of tune" means and how a trained musician might misinterpret what lay people think about in terms of "tuning." I'm guessing some interpreted that as a kind of elitist "why can't you all hear this" viewpoint; I didn't. I actually think anybody can hear an out-of-tune component inside an otherwise in-tune performance - like the flat guitar string that Ricks family immediately recognises as being out-of-tune as soon as he clarifies what he means by "out of tune." OK so this particular RB video might not appeal to some or ruffle others' feathers a bit - but can you imagine your mortgage payment dependent on cranking out multiple videos every week of the year, year after year? If I were to ask anybody here if they could come up with good topics to make 5 - 15 minute long videos about, twice a week, continuously for a few years, how many of us could do it? Not to mention the time involved editing them. I've done some of this myself - it f%$king took me HOURS to make 15 - 20 minute long videos for an online kids' music course I did during the pandemic. Try it sometime!

Thank you. I thought I was the only one in this thread to actually get what Rick was talking about.

Hot off the facebook press... a "packaging mishap"... right!