John Tweed

The CK out of the box will transmit everything on a single channel. But it also has a master keyboard mode which will send midi out on any channel, up to four zones each with their own midi channel. Each live set can have its own master setup.

Why not patch the QS straight into the CK? No mixer is needed unless you want to put more than one synth thru the CK at a time.

Anybody out there have both CK61 and 88? I’ve had a 61 for six months and I’m about to pull the trigger on an 88 as well. For the past 10 years my main rig has been a CP4 and Hammond SK1. The SK1 is showing its age, so I grabbed the CK as a replacement (generally along with an iPad for better organ). The CK’s sounds make it a viable board for a single keyboard rig. But I really miss the weighted keys when I need to play mainly piano. This is going to trigger a cleanout of boards that I am no longer using and don’t have any plans to use. At home I spend all my playing time on either my upright or organ.

Saw him last night, not from the front row, but up in the choir gallery of the concert hall of the Sydney Opera house. So much energy! He was “chased” out onto the stage by his grandson, and then proceeded to tear it up. Soundwise the bass player was a little indistinct where I was sitting directly behind the drummer. The drummer and Herbie provided the highlights of the show for me during a couple of the piano solos. Actual Proof was the only tune they played pretty much as per the original. Snippets from other iconic tunes were included in medleys. Chameleon got partially played twice, early in the show when he played and soloed on piano and later when he strapped on the keytar and played the opening bass riff. It’s humbling to watch this 84 year old (!) jumping up and down on stage while performing with a big smile on his face. While I think it is fantastic that he keeps moving forward, playing with younger players and experimenting, the vocoder segments from Herbie and from Lionel Loueke didn’t really grab me, nor the bass solo featuring loops (I’m sure this would have sounded better in other parts of the room). One interesting thing - there was a Roland VR-something at the back of the stage as can be seen in this photo taken before the concert started. I’ve never heard of him using any Roland equipment, and indeed he never actually touched it during the show, but it was ready if needed.

i use a stand similar to this one. it’s wide enough that when the 18 note pedalboard is located up against the left rear leg the pedals are where they would be in relation to the keyboards on the real thing. For the bench I use a x-style piano bench but I shortened the left hand base so that I could get the bench a little closer. To stabilise the stand and reduce any side to side movement, I have attached a diagonal strut at the rear. This stand stays home. I use another identical one (which doesn’t have the stabiliser) when playing out.

I believe the answer will be the same as was given in response to my previous posting. Bottom line is, no it’s not safe. Use a DI or direct connection via unbalanced line.

I gave up trying to stand and play keys many moons ago - a couple of hours of that at a gig was murder on my back. i sympathise with Stokely as my original instrument was guitar, and when I play at home I sit. It doesn’t look right to sit when playing guitar though, and I always struggle with getting comfortable while standing. I guess I just need to do it more.

I’m glad I’m a Sibelius user and don’t have to deal with this. I did contemplate moving to Dorico a couple of years back, but in the end reverted to Sibelius cos I know my way round in it so well. When my subscription renewal came up this year I opted to down-grade to Artist from Ultimate at about half the cost. There’s a few things missing, but I’m coping OK. My first thought though, was to upgrade back to Ultimate. But I couldn’t find any way to do this, short of paying for another full subscription. I tried emailing Avid but never heard anything back.

Has anyone collected Harris’s thoughts and suggestions into a book explaining his fundamental ideas? Like George Russel’s Lydian Chromatic? You can find all these scales in there. The 5th mode of the Lydian Diminished (I think) corresponds to the Harmonic Major, and if you just add the flat 6 as well as the natural 6 then there’s your Barry Harris scale. I spent quite a while with that book many years ago, and picked up some neat things which are so far absorbed into my playing that I don’t really remember how they got there.

The 6 dim scale certainly works across both chords, but so far as the analysis side goes, the 2nd bar melody literally spells out an F#7b9 chord, which implies a V-I to Bm (relative minor, same key sig). That chord is skipped and instead modulates straight to G via a II-V-I. Ie Dma7, F#7b9, (Bm,) Am7, D7, Gma7. A half-whole dim from F# works well over the F#7b9 too. That is the same dim that Al mentions above (whole-half from Bb).

I’ve been playing this tune for a while but never actually thought about what I play over that chord, so I sat down and had a look - turns out I usually use a D harmonic major here. That ‘s a D major with the b6 instead of the natural 6 ie D E F# G A Bb C# D. I love the sound of that minor 3rd.

Great sound, great playing Dazz! On one of my favourite tunes too.

I can only offer an alternative transcription of "Talking About JC". Talking 'Bout JC.pdf We are in general agreement but you'll notice that I have written the section at the end of the head in 6/8. I'm curious to know what other folks find easier to read, since both ways are technically correct. This is not an uncommon situation. Personally I find reading sections where there are lots of tied notes can obscure the rhythm that will emerge, but ymmv. Even though I'm not Greek I have played a far bit of Greek music at one time or anopther and shifting time signatures are pretty common there.

Are you using a Leslie by any chance? I'm guessing not. I play mine through a 251 at home and the output via the 11 pin does not go through the "rotary gain" knob, so I have to use the general fx overdrive "rotay pre" setting, which ties the effects up (not that I'm all that interested in them but it would be nice to have). Perhaps their thinking is that it's only there to substitue for the overdrive that the Leslie naturally provides, but (like all tube amps) you have to be driving it hard to get the sound we are mostly listening for. It's not practical or desirable for me to crank it that much at home.

They are fine on iPhone or iPad, unless you wanted to dial up a specific fiddly setting, as there are no numbers on the CK. In my case if a db is not all the way in or all the way out, I adjust it on the fly by ear.