ABECK

I'd look for lead sounds with "sync" in the title. And lead sounds with "Saw" in the title. To me it sounds like an osc sync program and a sawtooth program layered.

Forum member Dave Weiser offers Kurzweil programming lessons as a service. His site is: https://www.weisersound.com/ He used to work for Kurzweil and knows his stuff. Also, if you are on Facebook, the following group is pretty useful: https://www.facebook.com/groups/kurzweilk2700group/ Your approach to the above scenario sounds correct. Start with the samples. Load them in (8 or 16 bit), create a keymap, assign the samples, create a program using the keymap.

I echo (pun intended) a lot of what others have said. For live, the wrong amount of verb or delay can suck the impact and presence out of a sound. I lean on the drier side live, but like to have programs setup where I can increase reverb or delay if necessary with a pre-mapped slider or knob. I get frustrated when sooo many presets on modern boards come with buckets of wet effects applied. I almost always strip away the non-modulation fx and start from there. !00% Agree on this one. I'd prefer to add spatial FX when everything in the mix is in context - Unless there is a program that has a real defining/signature effect that I want to capture on "tape." Also, when recording, I add an EQ to the reverb return to cut below 200Hz and above 8-10K, as well as apply a bit of compression. Helps reduce the mud.

+1 on the FA06. Good bang for buck. Swiss army keyboard.

Here's a couple: http://www.setlistmaker.com/ https://audiomodeling.com/camelot/features/ I've used both. For simple patch changes and charts, Setlistmaker is pretty easy to setup. Camelot can do a lot more, and there is a learning curve.

Anyone who can make a buck, no less a living, publishing web content, more power to them is right. It's the wild west out there and people have to figure out what will work (unless you are a hot chick...then the money just falls in your lap - only half kidding). Rick has done some great videos, from interviews to song analysis and so forth. I like his stuff. As a consumer, I don't want to go to multiple channels for essentially the same content. But if it works for him, then kudos to being savvy. No love lost. I'll still click on his vids that catch my attention. To digress back to the OT - Since I picked up guitar 4 some odd years ago, I am now much better at hearing when certain strings aren't properly in-tune. Before I would see guitarists make small adjustments to their tuners when playing and would think - what are they hearing!!?? Now I can hear it.

Nefarious? No - an honest question. Why have a second channel? My assumption is more clicks for more revenue. Rick himself has talked openly about how to turn content creation into a viable business model. I'm assuming somehow you include me in that "group", as you have tacked it onto my quoted post. As a 20+ year member of this forum, I strongly disagree and will let my past interactions speak for themselves.

What would you like me to let go of? I simply made an observation about a second channel, which I assumed was a technique to generate more clicks. In previous comments in this thread, I've indicated that I typically like Beato's content. And I do.

I noticed recently he's got a second Youtube channel. Rick Beato 2 (creative). Now when I go to watch a new vid, I get greeted with an advertisement to go to the other channel. Why Rick? I'm here. Why would I go there? (It plays like an overt trick to gather more clicks.)

I usually like Beato. He has some good insights and some opinions I agree with. But I honestly bailed half way through the vid (I think I got the gist). Dylan was practicing his guitar and Dylan was listening to a record and Dylan was playing in a show and Dylan was talking to Layla and Layla was listening to Dylan.....OK we get it! Let's agree my kids aren't very interesting to you and your kids aren't very interesting to anyone else. But more to the point. I think most people can tell when an instrument is out of tune with itself (the degree of tuning drift will def determine the number of people who will notice it). Many people, including myself and MANY musicians I know would not notice an entire track that is a semi-tone sharp or flat, UNTIL they pick up an instrument and try to play along. (Or if they have heard said song 800,000 times and it is burned in their DNA.) Some people....a minority....simply can't tell from 2 notes a 3rd apart which one is higher and which is lower. I've only met one or two people like this. It's scary. I think they are called drummers.

Funny you bring this up. I had kind of forgotten about the Polybrute since it's initial splash. Off the bat, it didn't seem to have the fatness of the UDO Gemini or the Novation Summit. But just last night I was watching some PB videos and was really surprised by the possibilities. Maybe it just took some time for folks to really dig in and learn the beast. Alas, I have no need for another board, but damn I sure can picture this in my rig. I'm really digging what I'm hearing here:

I've had some playlist sent to me this way. I don't mind so much....Allows me to easily review the tunes in the car. I still get some playlists that are google drives with .mp3 files, but I can appreciate that is a hassle to maintain. I've also had just a list of songs sent in a text, which basically means find em on youtube yourself. I'm just happy that I don't get mailed packets with charts and a CD. That seems so wasteful now.

Interesting observation about the angle of the black keys. I suppose it's tough to rate feel from a pic, but I can see where a pivot so close to the back of the key might not feel great - especially if you are playing something like a funky clav in Eb.

My first thought too. I like doing my editing on the PC or a tablet for my Gemini, then saving on the hardware to take to the gig. Also reminds me of what Nord did with the Micro-Modular 20+ years ago. This! A stage keyboard that has all the controls on the right has me scratching my head. My first thought was...great for the 1 finger noodlers at home, but reaching across the keyboard to adjust parameters while playing with your right hand is just not ideal. Same with with display. VERY cool, but for live playing, there seems to be many layers of navigation and it is small for stage use, where you ideally need to be able to see where you are with only a quick glance. Pros - I love the wood looking end caps that wrap around the back. Soundwise, I really like the quality and breadth of sounds Arturia has.

My most portable rig was an Electro 3-73 in the backpack case, an X stand in my left hand and a Bose L1 Compact in my right. I could easily hump that rig many city blocks without a sweat. If I had to do that again, I'd have to find something more cost effective. The current Electro is like 3 grand. That's crazy! I'm out.

We all should have just played guitar! There, I said it.

I just have a soft case with handles -no strap. I can carry it ok by my side, but any heavier and I'd want something with wheels. It's a double edge sword, though. Robust cases with wheels can add a lot of weight, which becomes a factor when using stairs and loading in and out of a vehicle.

While on the heavy side, it's surprisingly easy to carry and setup. It's fairly narrow, balanced and there are good edges to hold on to. I use a soft case, as I typically don't have to lug it down city blocks or anything. But a rigid case with wheels would take care of that. For me, the extra features like the Audio Interface are key, so it was a better buy than the PC4.

I caught them at a UMASS spring concert around '94. It was just about the time they started playing instruments on stage IIRC. I distinctly remember the long curly cable MCA was using with his bass - at the time that was SUPER retro. They were amazing live (Except Ad-Rock yelled "Thank you New Jersey!" - I couldn't tell if that was some kind of gag, or if in fact he really thought he was in New Jersey.)

I remember hearing a similar sample on Tangerine Dream's Melrose, but that was a few years after So. I don't recall earlier TG albums where it was used (but I'm sure it must have been).

Just curious (cause I see a lot of players on youtube with Nord Stage keyboards that are primarily being used as controllers for Mainstage) - Are you leaning towards digging into Mainstage again because there are shortcomings with the Nord Stage? I often wonder if people are leaving a lot of horsepower and functionality on the table when they incorporate virtual instruments into rigs with already robust hardware. (I realize I may have opened a can of worms here.)

Mine varies based on the gig, but whenever I can bring my Gemini/DMC122, I am happy. Over 10 years use and it's just as useful now as ever. If I have more than a couple piano tunes, I like to have an 88 key board (currently the K2700). Piano on the DMC is NO fun. I've tried introducing VI approaches to my rig (Macbook, and 2 different iPads). I keep coming to the same conclusion - for live gigs, I am a hardware guy. I just don't like working with a computer/tablet to facilitate my playing. Next, I'd like to add a dedicated monosynth like the PolyD, or something simliar.

Thanks to @Dave Weiser for completely hijacking my week by exposing me to this band. I am hooked.

When I had an E-III, I had the full set of factory CD-ROMs the shakuhachi was in there and it sounded amazing. There were a lot of incredible samples in there as well, including a haunting waterphone.