JoeToGo

Just had a song idea in his style last week. Very influential.

Fair enough ... except these are not promises, but PR: by mentioning the (reportedly) 100 synths he has in mind, Uli keeps the Behringer brand name active in our minds. Every synth has stages to go through which aren't done by the same teams of people, so there's nothing to be gained in working on one synth at a time, as you suggested. Some are still at Design, some in firmware, some are in beta testing, some are in production. Eventually, whatever can come out, will. The MS-101 and VC340 are simultaneously in production and release. Yes, it takes a while to get them out everywhere. Sorta reminds me how my wife makes dinner -- she says it's ready, but what she really means is that it's done cooking, not that it's on plates and ready to eat. The UB-Xa's last announced timeline was in November, when Uli said the firmware would take at least another year. So there's another six months before we can complain. The DS-80 appears to be a response to Yamaha making an inquiry about what features people might like in a re-release. Featuring a CS-80 on the Behringer FB page was just a way of reminding everyone that they too have plans, even if the only progress so far is a name and some doctored photos. The Pro One, the Solina, the Arp Odyssey (etc etc) ... it's all "in the works" at some level. Perhaps some of it will never become real. But the Model D, the DeepMind, the Neutron -- these prove their commitment to production.

Have you tried the CPS Spacestation, which purports to achieve a similar result from a single point? Just curious. I find it a handy compromise, being just under 40 lbs but still providing a stereo-ish sound ....

legacy editions of iTunes are still available online, and that's all I use anyway -- to avoid the bloatware of later editions, and because all I needed was a way of managing my 120GB iPod. If anyone knows of another free program that does that better, I'm interested.

Yes indeed, a balance to the GS tendency toward the latest rumor. Which is also useful, but I'm more interested in making music. Easy to forget this now: in 2017, used synths jumped hugely in value on the secondhand market. Awareness of this trend drove me to a buy-now-while-I-can mentality in 2018, fearful that everything might quickly become unobtanium. - which didn't happen, but hence the quickly-gained collection of synths I barely understood. Otherwise, I'm a big believer in use-it-or-sell-it: to be a player, not a collector. Not that I regret getting any of these .... lately I've fantasized about adding a room onto my house, to make more space for my music gear P.S. I should have added that I'd love to do synthy stuff with other musicians in the Seattle area.

I came here after a thread over on GearSlutz' Electronics forum mentioned this as a better place to interact with people who played keyboards. Seems I already registered here four years ago -- I'm guessing it was when I bought the then-new CPS Spacestation. I've bought a few more things since then, mostly in the last 18 months. Bassist/guitarist for a few decades, but found myself bored with that, so dove into synths -- no guidance or even real understanding, I just trusted my decades-old interest in late-70s synth music to be guidance enough. Of course it wasn't, and so I've been learning -- subtractive synthesis, FM, wave tables. I bought more CDs I thought might be relevant, and started working on piano skills. What I've liked: Juno-D: I didn't know these were hated, I just knew that Juno was a name and it was cheap (yes, yes, I know NOW that it's not really a Juno). Thought I'd lose interest but actually it's got several really great sounds, and a very easy interface. Use largely for choirs and that Theramax sound. Korg CX-3: the Juno-D organ sound wasn't really working for me, and I was curious what drawbars were all about. Researched and drove half a day to buy this. Probably the single most thrilling keyboard I own. Yamaha p115: I just wanted a weighted piano. But the electric piano sounds get used a lot too -- sometimes more. This board is set up by itself ready at all times, and therefore gets played the most. Yamaha MX: was there ever a less exciting board? I compare this to the station wagons of the 70s -- not the best at anything, but it can do what any of my other keyboard can do, just not as well. So it's my all-in-one, when I can only have one. Korg Odyssey: I wanted to try an analog synth, but this was the wrong one to start with. I didn't find it at all intuitive or manageable. But I'm keen to get it Roland JP-8080: great warmth makes me happy. I didn't know what I was getting (I confused this with the Jupiters) but I wasn't disappointed. Delighted when I saw Jarre had one in "Oxygene live in your living room" Roland TB-3: it was cheap, and small, and I bought it along with a TR-8. Love the x/y screen. Sledge 2.0: the selling point for me was the claim that it could do reasonable Moog and Oberheim sounds, and I didn't see myself ever affording either of those. Only recently did I discover its wave tables, making it an affordable PPG. Love those big knobs. Korg MS-20 mini: Somehow this was much more intuitive for me than the Odyssey. Acquired to make Jarre-ish clicky sounds but instead it's teaching me what analog synths do and why. D50: it's a total sound, it's just so much what it is. I wasn't listening to radio when this dominated popular music so it's still new to me. Incredible keybed, like driving a Cadillac. Bought instead of D-05. DX7: I figured this would cover brittle 80s sounds I didn't really care for, but somehow it's still pretty exciting in itself. And I love David Lewis' use of it with Shadowfax. System-8: When I saw this in the synth shop, I knew it was what I needed. The native engine offers a lot of versatility. Of course I turned down the lights a bit Monologue: I'm on a love/hate with this; I love the portability and the knob-per-function. And then I hate the slim keys, and sometimes wonder if I can really use the sounds. But I take it along on errands sometimes with a pair of headphones, and it's always fun. Arturia Minibrute: A great teacher for me, being so straightforward. I don't know if I'll ever use it in a band or on a recording. The future: well I can't avoid going ITB forever; obviously that's worthwile and useful -- especially for creating some Jarre-like music. I especially like the idea of being able to plug in notes to make the computer play stuff I'd like to hear but haven't got sufficient chops to play well. I just don't know enough, and the GC guys weren't really helpful -- just flogging whatever's recent .... Well that's me, now I'll have to check out what other people have said, see if I find any kindred spirits --

I use a box I found -- evidently it's an accountant's case? Anyway, its about 18" long, maybe 8" wide, 12" tall, top is two flaps that fold over and latch. When I do my breakdown, I put everything in as I go, so it comes out later in set-up order. This means the power strip and mixer are on top when the case is full, sustain pedals are at the bottom. Cords go in the side pocket of the keyboards' gig bags; that way they always have their own cords.

Gee, I figured this was just using both manuals on a B-3 -- configuring the drawbars differently, and adding the second sound for that part the OP was asking about. Seems kinda overly complicated adding an overdub, but there's no questioning the value, since it made such an impression!

This is key -- it's just not the same world out there anymore. Which has both good and bad aspects to it. But there's no point comparing today to 40 years ago; there aren't as many gigs, there's far more competition for what gigs there are, and few pay anything worthwhile. I figure I've actually come out ahead by not gigging this past year. That doesn't mean I won't play any more gigs -- it just means I have no expectation of it as a job, unless I want to get with the union for theatrical pit work (I don't), or be around drunken gamblers at the casinos (ditto). I'm not slagging those jobs -- the musicians who do them are awesome -- but I don't fit in either place, so that's that.

Try these: - McCoy Tyner - SUPERTRIOS (double album, each half a different piano trio) - Jimmy Smith (pretty much anything, but especially with Kenny Burrell) - Sonny Rollins - WAY OUT WEST (sax/bass/drums) - Thelonious Monk Trio (piano trio) - Duke Ellington - Piano Reflections (piano trio) - Mose Allison - BACK COUNTRY SUITE (piano trio) inc. a song made famous by The Who - Pat Metheny - Pat Metheny Trio Live (electric guitar trio) - Bill Frisell - EAST/WEST (modern electric guitar trio with effects) - ProjeKct Two - SPACE GROOVE (avant-garde electronic trio)

Of course, that is the thing to do -- and certainly what I did. Every new product gets talked up, but getting praised for 50 pages of postings [now more than 70] was convincing enough for me -- even though it meant paying twice as much as I had for my KC's, and waiting because Sweetwater was out-of-stock. It was worth the wait (though I did end up buying a bass amp as sub to add more low-end resonance for organ sounds).

Man, I wish I could go see that show! If anyone happens to video it, please post the link! I'm hoping jazzooo's show gets video'd, sounds like a hot show!

I replied to Tim in a PM, but some others may be interested as well ... Somebody earlier on this thread reco'd a GK MB115 as being suitable not just soundwise but also in appearance. Maybe it isn't necessary -- maybe the blatting that alarmed me from the CX-3's low notes isn't going to damage the SpaceStation's speaker, but I haven't got Aspen here to reassure me that it's OK & frankly I don't want to risk it. IMO, the GK MB115 provides more low-end resonance than anyone needs to augment the SS; a 112 or even 110 would be sufficient for anything short of earthquake reproduction. They are also a bit smaller, something to consider when one or two inches difference might mean fitting or not fitting. I've been using the MX-60's headphone output to control the sub volume -- it's kinda hard to gauge how much to add up close, and I don't want it to obscure the SS's sound. When I get more used to both, I expect I'll run the GK from the SS's sub out. One reason I didn't go with the Behringer is that it appears to use a different kind of cable than the 1/4" I was used to. Perhaps there is some advantage to XLR? Can someone through some light on this?

Amen to that -- this rock band I'm playing in has two Marshall-y guitarists, so there isn't much space for sensitive anything; it's all about power. In the acoustic trio, the SS alone is more than fine -- even with the drumbox going through the PA. One thing I haven't gotten to do yet is experience the SS in a performing venue; will debut it this Friday (w/ the trio, so no sub) & report

"Whoa. Wait a minute. I'm not sure Aspen ever recommended the Width setting be set to maximum." Quite right, he did not. He recommended setting the keyboard's parameters to maximum separation for best results about a thousand comments back. I've amended my post above for clarification, sorry if it was misleading.

Not to be too picky, but that's the PA vs the SS isn't it? Anyway: I don't dispute the quality of the SS, that's why I bought one & use it. The one aspect I found wanting was low notes via clonewheel, which issue has not been specifically replied to by anybody here in the rush to defend what we all agree is a class-A fine monitor. For the higher keys, the SS has never raised a doubt. It's all moot now, as the MB115 came in today -- which does indeed match the Spacestation, cosmetically ... I'll post a photo here if I can figure out how ...

Bossbandbob: Since there are few controls on the SS, I expect the answer would be to adjust the keyboard parameters -- stereo width [which Aspen recommends be at maximum separation], output level & EQ -- before they go into the SS. Also of course you can use a mixer. What specifically are you expecting to alter from one keyboard to the other? edit: boldprint added to avoid confusion

Not sure what you are doing wrong....but you must be doing something completely wrong with your setup. A crap Roland KC60 louder than the Spacestation?? You must be kidding! Yes. The crap KC60 was more loud than the SS. And gave much more bass, easily and glady. Has anyone else even compared the SS to a KC60 to find out?

Tough to nail this down without being there but a couple of things come to mind. First since you're new to keyboards maybe you're simplying playing wrong by using too much left hand in a band situation. That can muddy up the whole band sound and piss off the bass player. Try playing with all EQ flat and watch the lower octaves. My SK1 has a pedal bass button and if I press it that adds a low pedal bass to the left hand and yes in that case I can overdrive the woofer in the SS at low volume but I would never use that unless I was playing LH bass and in that case I would need a sub. Second, since you're using a mixer your output gain going to the SS could be too hot so you're overdriving the input. Try turning down the mixer a bit and upping the power in the SS. Bob Thanks for the considered reply. Good comment on muddying frequencies; this was a subject I recently addressed with the rock band, with the result of a less-muddy rehearsal this week.

As one who recently switched from guitar to keyboards, I found this thread while looking for advice on amplification. The fact that one commenter's signature says the only thing he'd put through a Roland KC is a chainsaw definitely caught my attention, since I was using two of them. After reading through most of the then 56 pages [yes I did!], I sold my KCs, convinced that the SS was the ONLY real choice. When it arrived on Wednesday, not even work could keep me from trying it out. Now, I'm new to all this running-several-boards business, so I could do with some sensible advice. Running thru the Yamaha MG60X mixer that someone else here used, I immediately found that the lefthand side of my Korg CX-3 alarmingly blatted out the SS's woofer at anything over a small volume. *Loud* was out of the question -- and I don't mean garage-band-loud; I mean above conversation level. This was partly because I was applying about +5db +to the low EQ on the mixer, to reproduce the fullness of the KC60s I used previously. Flatting out the mixer EQ gave me more room, but still not as loud as the KC60s on half-volume. I was surprised the bass gave up so quickly. At present I play in two bands: one a trio w/ drumbox & acoustic guitar -- no challenge, volumewise. The other is a rock band a la the Stones. I don't do anything like lefthand bass in either band, but those low notes should have some presence when played. The SS sounds great in the quiet trio, but I'd be afraid to touch the left side of the CX-3 in that louder band. This may sound like I'm complaining about the SpaceStation. I'm not -- it's a fine device, and I expect to get some eyeballs as soon as I find an excuse to bring it into church. But it seems there might be something I'm not doing right, when all you much more experienced players don't seem to be having these problems. Yes, obviously I can get a subwoofer -- I'm thinking the GK MB115 or MB210 -- but a big part of the SS appeal was *less weight*; carrying two amps was something I was trying to avoid. On the other hand, if I must: I don't know anything about the sub out, and the Sweetwater page doesn't give any details. I assume it's line level, but does the sub only get certain frequencies, or the whole range? Can the sub out be used to send the mix to a PA? And what is the best way to combine the SS with a PA? I had thought to use the SS as the PA by itself for the acoustic band, but now I'm fearful of putting a drumbox through a speaker which was overwhelmed by the CX-3 .... if there's something I'm overlooking, I'd love to hear. Already I can see that a larger mixing board would be necessary (stereo instruments take up channels in a hurry!). All advice is greatly appreciated. And I also wish to say I'm glad Aspen got through his chemo/halftime experience, and dedicated himself to great equipment like CPS -- it's an inspiring story that I'm glad to support. I look forward to being as delighted with my SS as everyone else is.

It's great to read these funny comments (I'm just about to return the two KC 150's I bought from GC), but how about some alternatives that aren't so big or expensive? It's understandable -- quality costs money, and often has weight -- but what's a 50-year-old keyboardist on a budget [with a subcompact] to do? Since the first reply suggested this thread could be avoided with a "simple search", I'll also add that it wasn't so easy just to find this thread; "best amplifier recommendation" doesn't do the trick. Links to those supposedly easy-to-find earlier threads would be very welcome, since neither I nor the search engine are evidently smart enough to find them without external assistance.