elif

I have no idea if this would apply to your situation. I have attached half moons to B3s using 3M Dual-Lock. Mainly, this was to allow them to be removed and stowed down beneath the manuals for transport. The connection is very secure and takes an effort to separate. It doesn't lose strength with many repeated removals (so claimed). I have also used it to secure a few items with protruding pan-head screws (pedals, small mixers) to flat surfaces (the side of keyboard stands, rack trays). With clearance for screw heads cut into the material, when the two are stuck together it is thick enough that there is no interference.

The C2D in Low mode sends a variable velocity message. In High mode it sends a message with a velocity of 100. The C2D supports a split in the lower manual, and midi out on 3 channels: upper manual, lower manual high-split, lower manual low-split. However, it does not allow you to have different high-low settings among them; one choice covers all manuals/splits. if you want velocity info (low trigger) for LH bass maybe to drive some bass rompler, and high trigger for everything else, no joy. Do any other clonewheels allow this?

I doubt this performance will by used by Bose to demo the L1 Compact. I particularly enjoyed the Star Trek theme. Also, Pretty Vacant by the Sex Pistols!

This is a fun All Thing's Considered story about Don Voegeli and his synthesizers. He wrote the original theme for All Things Considered on a Putney synthesizer. When he retired in 1982, all his synths were auctioned off. A lot of people have wondered where they went. Anyone have a Putney? It's a 5-minute listen.

I don't know if this is of interest or not, but it is sort in keeping with the topic of the thread. It's an example of the lengths to which touring bands went to get more stage volume. Some years back, I did some work on a couple of Leslies that had belonged to Stephen Miller (rip 2003), the organist for the southern rock band Grinderswitch (late 70s?). They had been extensively modified. The motors were the only thing stock in them. Externally powered - I don't know what Steve used at the time, but later he used a Macintosh. Hand made electronic crossover Redundant motor switching relays JBL 15" with a baffle insert to prevent cone rub Altec 290 "Giant Voice" horn driver Circular locking multipin connectors for audio and switching signals. AC power was though a separate twist-lock. All trim had been removed, though one had 3/4" wood strips affixed to the periphery of the top. I imagine it was to allow them to be stacked on stage without the one on top rolling off. The owner now wants to turn these back to stock-ish. This was Steve's B3 and two Leslies at a memorial concert named for him. You can see the wood trim on the one on the right.

Comments say Steve Rodby.

If you can swing it, get both. I have a chopped A100 and a C2D. When I play each through the same Leslie, they sound fine. However, for some reason (!) I want the C2D to sound, and play like the A100. The chop has so much more character. There is something different about its key response and its non-sterile tonal character that is so appealing, and this with a Trek II preamp. It is just a lot more fun to play.

What instrument is the fellow to his upstage left playing at about 1:10? [video:youtube]

Would there be a way to archive the messages from the Yahoo group?

If the Yahoo Rhodes group migrated, where to?

As far as I can tell, the lamp should toggle regardless of whether the Leslie is attached. However, I have a combo amp here in front of me in which the lamp doesn't light under any condition. The owner said "Don't bother fixing it. I don't look at it anyway".

Did he say "Z-plane technology is used to make many of the..." etc. etc.

I can have no argument. -- grass hopper

If you want a full gel seal with an independently certified NRR... David Clark - 10S/DC - I have had a set for years. Recently. I sent them back for repair because one transducer developed a buzz on low notes. I said I'd pay, D/C said "No Charge". http://www.davidclarkcompany.com/files/headsetmodel/imgstyle-detail/10S-DC.png

Dumpstaphunk is a band with two bass players. They play different parts. We cover one of their songs , alas, with only one keyboard bass player. I think it loses something but the BL likes it. I suspect that most of the audience have never heard the original anyway,

This was a recent rumor on the Nord User Forum. New deliveries of the Nord C2D have been discontinued "worldwide" by Clavia Nord. If so, maybe something new will come out. The C2D is perhaps a little long-in-the-tooth.

The LTSpice group contains a wealth of information. I am hopeful that this is saved/migrated to another platform, etc.

Back-in-the-day around these parts, keyboard players played either synths or else a Rhodes with a Clav stacked on top. Travis Moore was one of the Rhodes/Clav players. I was in a band with Travis as a tenor player in a two-trumpet/saxophone horn section in a local jazz/blues band. Everybody loved playing with Travis. Before Travis joined, the band was a sort of Butterfield type blues band. Travis was a jazz player, though he wasn't about chops. His stuff was about chord and note choices, and rhythmic groove. It was transforming and the band became a different kind of band. One day, Travis's apartment burned down along with his Acrosonic, his Clav and his two Rhodes*. Travis moved back to Oklahoma. I think there may have been a tax problem. Some time later another piano player came to town and joined the band. He was, and is a good jazz piano player. He kept hearing from other band members how great Travis was. Oh Travis. You should have heard Travis. Blah blah Travis blah Travis. One day he asked me about it. What's with Travis? Why does everybody love Travis? Was he a monster player? What was it? I told him no, he wasn't a great soloist. The reason we liked playing with Travis was not because of the way HE played. Rather, we liked playing with Travis because of the way WE played. Simply, he allowed us to be better players. * At the time of the fire he was playing some more modern epiano which stayed at the gig and thereby avoided the fire.

My most recent cringeworthy moment - I am playing LH bass and organ on Jungle Strut. We start the intro and something is not right - the drummer looks at me and says "Down a 4th". It happens.

I spent 2-3 hours yesterday working over fairly repetitive passage on a semi-weighted board (Nord E4 SW73). This morning I woke up with a slight carpal-tunnel type throbbing pain in the right wrist. Can keyboard weighting have an effect on this or is it merely my poor technique? TIA - bradley

Until this thread, I had never heard of White Claw either. Then ten minutes after reading it I read this in the Washington Post: The key to White Claw"s surging popularity: Marketing to a post-gender world. Weird. I guess I need to get out more.

This is interesting. I play mucho LH bass. I use an old sampled bass module from the 90's. Until recently, I ran it into a separate bass amp, which was perfect. Events have transpired, and now I have the output of that module muxed in to the Leslie along with the clonewheel output. The thing is, when in tremolo, I find the wobbling sound of the upper partials of the bass to be so annoying that it has actually restricted my use of tremolo. This will not stand, y'know? This aggression will not stand! I am looking forward to trying the so-called Memphis-mod this weekend!

I expect the Trek pedals to be very linear. That would be consistent with MS's design approach.

If you haven't seen it, also check out Waterford Whisper News. It's from Ireland but has some funny stuff about Brexit, among other things.

Thanks for the link. I enjoy these sorts of pieces. I subscribe to The Best of Journalism to get more of them.