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About AWkeys

  • Birthday 01/19/2022

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  1. This is great! Thanks for sharing, everyone!
  2. I don't get this deep into equipment repair, but I appreciate you guys sharing it - very interesting reading! Really wish I had the knowledge you guys have, but thankfully I know a bunch of techs who are willing to do the work. My ARP Pro-Soloist has recently been restored to full functionality - what an awesome synth! Just yesterday I dropped off my old String Ensemble to a tech friend to get the power supply rebuilt. Also seems like one of the 3 delay lines to the ensemble effect stopped working. Next, I have a headcase of a white-face Odyssey that a previous tech could not bring back to life. I had brought it to him years ago and he just followed problems around the circuit board. To complicate matters, I also purchased an aftertouch kit from the now-defunct New England Analog which was installed, but I can't verify that it will ever work because of the state of this Odyssey. Ugh, old synthesizers....
  3. This was my solution for my very small second bedroom (link below). I bought two sets of wall stands and three sets of tier arms for each. Here's one stack of three with a K&M Omega stand holding up the ARP String Ensemble (which is there to demo against the Behringer String Solina I just got yesterday - so far so good!). Also bought a couple of Standtastic trays hold the shorter keyboards. I will take these stands to wherever I live - they are an excellent solution! https://lm-products.myshopify.com/collections/standtastic-keyboard-stands
  4. Yeah, I have an original Signature Edition and the aftertouch is barely usable. I sent it back to Moog about 4-5 years ago when they offered all the mods including slew-rate, but the aftertouch is still crap.
  5. If I read the staff right, I hear it as an F#7#9/C#, ie. an F#7#9 in second inversion
  6. I have a pedalboard that serves two purposes: it holds my Radial Key Largo mixer and a power strip, and the three pedals below it are for organ. I primarily gig with a Nord Stage, and it is configured (most of the time) for organ to go out of output 3. This goes into an EH Holy Grail Nano reverb pedal then into a Lounsberry Tall & Fat then finally into a Neo Ventilator 2. Outputs of the Ventilator either mono or stereo to input 2 on the Key Largo. I also have a smaller pedal board under my feet that holds (L to R) a remote for the Ventilator (stop/slow/fast), an expression pedal and a sustain pedal. Never considered whether the reverb should go before or after the Tall & Fat. Wouldn't the reverb on an A-100 go before the preamp?
  7. Check out this oddity - Tom Scholz' Franken-Hammond. Two full-sized, staggered keybeds, the wheel on the upper-left cheek block I'm assuming affects the tone generator speed as it's his pitch-bend wheel. No doubt there are a bunch of you who can tell me if that's the case. I know he did the pitch-bends on the the first album by slowing the tape machine while he was tracking. Anyway, this thing looks like a giant headache!
  8. Me three on the keybed. First thing I noticed. The synth is built so well, and the keybed feels chintzy in comparison.
  9. It's all a money-laundering scheme by Big Plastic.
  10. It's such a ridiculously wonderful synth. Maybe a bit of a sleeper in our world of analog goodness, but IMO it's already legendary. I have barely scraped the edges of mine.
  11. I own a Blue Marvin B2600, a BOdyssey, a PolyD. I also own an original 1973 ARP Odyssey that is pretty much broken, was on line to get the original Korg reissue 2600 (too far back in line to get one), owned the Korg Mini-Odyssey, own a Signature Edition Moog Voyager that I bought in 2001. I don't blame anyone for their feelings about Behringer's business practices. Those stories are egregious. The fact remains that their price point makes it possible for me to own things that would have put me out thousands more dollars. As a full-time musician, I have to consider this. My take (or cop-out, if you believe it to be so) is that every piece of technology I own has some dark history in its development behind it. The history of my country is much darker than the white-washing it was given. Maybe it makes me part of the problem that I don't fight these things, but I'm just trying to be creative in what is at many times a very dark world.
  12. Yeah, I believe I was just using a Wurli sound through the wah effect on my Nord Stage 2 when I played it with Joe Vitale. As he said, they were still building Caribou Ranch when they were up there recording that record, so who knows what keyboards they had available at the time. The Odyssey was new, portable and de rigueur of the time. I quickly tried to dial in the ARP Odyssey sound on the Stage last night during sound-check and it's so close, though the ARP is way better (of course, it's analog!) Anyway, what sounds like PWM is actually just two analog sawtooth wave oscillators beating against each other.
  13. I got it dialed in on my BARP Odyssey. Wanted to post a video, but my damn Yamaha expression pedal is so loud, I need to record audio separate from video. However, it is definitely just an ARP Odyssey. Two sawtooth oscillators with an expression pedal controlling the filter. The ADSR is also opening the filter a tad. I'll try to record it and put a link to the video here over the weekend.
  14. I actually got to sing and play that with Joe Vitale, the original drummer/keyboardist on the song. I can confirm that he used an ARP Odyssey for that section. Told me that he and Joe were up at Caribou Ranch working on it while the studio was being built. They've been best friends since they started out together in Ohio.
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