ABECK

Noice! I love mine. The action is def unique. Some say too light, some say too spongy, some say perfect. What I do like is the dedicated velocity and pressure sliders that really help dial the action in where you want it on the fly. I personally like the action quite a bit - for piano, I find it conducive to playing way more dynamically.

It's amazing what the memory does over a long enough timeline. For some reason, I don't recall any bouncing, but that may just be a factor of time - like when you pine for the girl (or guy) that got away, but completely forget how they drove you crazy most of the time.

HAHA - this is 100% accurate!

They were a bit clunky to carry and pack (I should have gotten the bag!), But after many, many different types of stands over the years, I keep coming back to the invisible as having the best design when it comes to 2nd tier height and offset. For just a single board, they aren't particularly better than a table top type design. Sturdy tho - no bounce from what I can recall.

We should post this as a tag line to our Forum name. 😆

Slightly OT, Guitarists love to pay extra for road worn "relic'd" guitars. I can't think of any keyboard scenarios where that would be desired.

I gig with my K2700, but that's what I bought it for. The only reason I wouldn't bring certain gear to gigs is for space considerations (and setup/travel constraints). I don't picture buying anything that I wouldn't one day consider gigging with. (One exception is the MIDIBOARD I recently acquired - I have no need to gig with that and even if I wanted, it's too big and heavy to make sense. Nope - that was bought to sit tight in my home.)

The pot posts are a thin plastic/nylon. Not sure if that's common, but flimsy is a good descriptor. On the plus side, I was using it as a stage monitor and I've never been happier with how my Gemini sounded. Due to stage constraints, I had the amp on it's side, which angles one of the drivers upwards towards my ears. I realize it "shouldn't" sound good that way, but it did.

Got to my gig the other night and noticed a second knob on my Motion Sound amp had gone missing. I searched the car, the parking lot, everywhere in my path. Nothin. So now 2 are gone, under exactly the same circumstances. I can only assume they are both hanging out with all the socks I've lost in the dryer over the years. I'm not sure if there's a design flaw, but I've never lost knobs like this on anything else.

That's where my head was too. I suppose the only difference would be if somehow the keyboard is more optimized for summing in regards to phase issues. I'm going to hit the venue early tonight and maybe do some A/B comparisons.

For playing with a Mono FOH, or a wide enough spread that stereo doesn't make sense, what's the best way to sum to mono? Typically I would tap the single L/Mono output on my keys and be done with it. But, I started wondering, is it any better to just run both L & R outputs to the PA, and let the summing happen there? Is there any benefit? Increased potential for phasing issues? I've tried both at home and frankly, it sounds a little better using the latter approach (but that may just be because the signal is a little hotter). Worm can opened.....

It was fun to see Stevie Wonder showing Bob Dylan how to sing like Bob Dylan. No offense to Dylan, but he was lost and just not getting what they needed. For him to be open to Stevie working with him in front of everyone there....man, just shows the respect they all had for each other. (Waylon Jennings not withstanding)

1989 - the year I stopped paying attention to the Grammys

+1. Fantastic. Lionel and Quincy have great leadership qualities. What a logistical nightmare!! I too got a little sentimental towards the end. Highly recommend.

Jacob Shear is a very bright, motivated young dude. Much respect for him - love seeing the evolution of his products.

CZ-3000 was the first "Pro" keyboard I ever played (well, technically it was the Siel DK80, but not by much). Up until that point, my experience was limited to "department store" keyboards, a la Yammy Portasound series. I was instantly smitten by the full size keys, the many, many buttons and lcd display. The large branding on the back. Oh, it was glorious! I never bought a CZ, but I do have a soft spot in my history for them. With proper FX, there's potential. None of these micro sized offerings do much for me, but i instantly got a little excited with this one.

In 1992 I passed up on a $300 200A in my local music store because it wasn't a Rhodes (which I also found for the same price). I wish I could go back and smack the 1992 me (for a lot of reasons).

Cool, now I can choose between overpriced vintage and overpriced new!

100%

It does have a trigger out, so it's possible it could be triggering another device. But now you've "triggered" the conspiracy theorist in me. When the tech comes on stage, you can see him plug the power in, the he plugs in what looks like a single cable....assuming audio out. So it doesn't look like he plugged anything else in. Then when the drummer hits the start button, it is a hair after we hear the audio. So maybe there's an FOH guy starting the pattern and he's just trying to make it look good. (in another angle of the vid, there's a laptop behind the drum machine). Then, finally, he signals the downbeat of the first bass note....perhaps telling said FOH guy when to add the bass part.

Great video. I love that they used the original drum machine. IIRC, the piano sound was a combination of Yamaha Electric Grand and acoustic piano (layered with the glock/xylo and Hammond, of course). I remember studying the studio pic on the lp with great fascination. You can see the Korg Rhythm 55 if you look hard enough.

I appreciate they didn't go "boutique" size, a-la Roland.

R2 had no filter. 😆

Me. lol. Actually, I think there are some people doing great, creative things with modular bleeps and bloops. What chaps my ass is non-modular synth demos that rely heavily on single finger note holding while twisting knobs in a (subjectively) non-musical way. But, as far as the modular landscape, Tangerine Dream really hooked me in during my younger years with their analog sequencer work.

When I had my Jupiter-80, I considered that a flagship, but that may have just been my perception. I actually appreciated that the interface wasn't bogged down with sequencer functionality.