jazzpiano88

The sounds are nice, but how are they different from say a Hammond clonewheel with Leslie? I guess I'm not sure what your goal is, but I don't see how any organist would adopt your sounds as the subtleties are well within any organ to organ variability.

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I would go with the MacBook Air. Lightweight perfectly capable. Add memory and SDD options $1500. You can manage the any lack of connectivity externally. It is a delight! Had one delivered this week.

https://www.dailymail.co.uk/news/article-8304781/Coronavirus-enter-body-eyes.html This tells a different tale. There are many different tales and it is probable that some truth exists in all of them. If and when more scientists agree on particular aspects, those aspects will become more believable. As it stands now, we do not know enough to confirm anything. One can choose to believe one thing over another but that is all it amounts to until we have solid proof, a belief. Well stated. All the more argument that it has made zero sense to completely Nuke the economy and send everyone into the next depression based on zero scientific facts or agreement. Ebola and bleeding out with 50% death I could understand, but this has too many unknowns.

These data from New York Times seem to be reliable numbers that are consistent with the CDC website. I've been tracking them (my state and county) and the numbers between this, CDC and Newspapers are very consistent. They are cumulative statistics by date, so if you have Excel and can filter the State or County you can easily plot the cumulative cases, death count, and cases per day. NYT Case Data So you look at any state or your local area to see if the case count is increasing, decreasing... etc. I find that inserting a column to compute the 5 day moving average of cases per day is pretty helpful as the data are very noisy and subject to incredibly high measurement errors. As a final editorial comment, the baseline "Shelter in Place" advice by the government is questionable, We are accepting unverified data and guidelines with zero scientifically accepted information. The experts are going by the seat of their pants and have killed the economy on a hunch. Canada now has a study coming that indicates the Virus is transmitted primarily by droplets from surfaces and not airborne. The fact that no one knows anything about this virus and yet we've completely destroyed the world economy without any solid science is going to be the take away when history is written.

From what I've heard online, everyone between the coasts is either in jail or a redneck product of incestuous immigrants from Viking territory. Jesus Christ, I've never heard of a more misinformed statement than live music being a thing of the past on the coasts Clearly hasn't been out of the St. Louis area in quite a while. Just going by what has regularly been reported on here that gigs dried up in favor of DJ's and nobody wants to see bands. When I said the scene was good around here, the response was that it's because we're behind the times and it will catch up with us. So if I'm misinformed, this was the source. Sorry for flying off the handle JDan. I apologize. I just know that there were tons of venues offering live music on the coasts before the virus hit. At the risk of generalization, I just think that the use of anecdotal info from KC members of trends on the death of live music on the coasts probably isn't a reliable indicator of the ground truth. I'm open to being wrong too. In the end it will be fascinating to compare predictions versus reality, although the historians will spin it to any way that justifies their world view.

From what I've heard online, everyone between the coasts is either in jail or a redneck product of incestuous immigrants from Viking territory. Jesus Christ, I've never heard of a more misinformed statement than live music being a thing of the past on the coasts Clearly hasn't been out of the St. Louis area in quite a while.

From sjmercury.com on TOP's 50th anniversary By JIM HARRINGTON | jharrington@bayareanewsgroup.com | Bay Area News Group PUBLISHED: April 23, 2020 at 10:57 a.m. | UPDATED: April 24, 2020 at 5:49 p.m. Tower of Power unleashed its debut record 'East Bay Grease' on the public back in 1970. A half-century later, the iconic East Bay soul-funk-R&B troupe is still going strong. Recently we spoke with the band"s legendary bandleader/saxophonist Emilio Castillo from his home in Scottsdale, Arizona, catching up on both new developments and old times with the band responsible for such classic cuts as 'You"re Still a Young Man,' 'So Very Hard to Go,' 'Don"t Change Horses (in the Middle of a Stream)' and, of course, 'What Is Hip?' One notable recent development is that the group just released a new album, 'Step Up,' which Castillo looks forward to supporting on the road once concerts get up and running again. Q: Hey, Emilio. Thanks for taking the time to chat today. Are you managing to stay busy during the coronavirus lockdown? A: I feel like I"m busier now than I have ever been. For one, I"ve gotten besieged by interviews. You know, the new album is out and everything. Q: And everybody wants to hear about it. A: I also did a Q&A on Facebook recently. (Tower of Power drummer David) Garibaldi did one a couple of days ago. And Doc (saxophonist Stephen Kupka) is going to be doing one pretty soon. Yeah, staying busy. Q: Do you know the band Lettuce? The jam band? A: Yeah, they contacted me. We have some dates with them at the end of year. We"ve got a new booking agency and they are booking us with all these younger acts, which is exactly what we wanted. The drummer (of Lettuce) use to play with AWB (Average White Band) and I knew him. I didn"t know that Lettuce was his band. Well, he contacted me and said that they had this tune and would I consider writing the lyrics with Doc and putting some stuff on there. I wrote the lyrics, and was about halfway through and got (input) from Doc finally, and dialed it in. I went to sing it â my recording engineer had time at the studio. We got it mixed and we"re sending it over to them in a couple of days. It came out really good. So, I"ve been busy. Q: That"s good. There are a lot of musicians who are probably having a hard time staying busy during this COVID-19 pandemic. A: Yeah, I wish I could go back to work (on the road). We had so many gigs. But they are going to reschedule everything. The other thing, too, is that I am really strong with the church and I am also involved really strong in the recovery community. We do Zoom church on Sunday and we do Zoom midweek on Wednesdays. Then, we"ve been going to all these AA meetings online on Zoom. I went to one the other night in Panama. (Laughs) Q: I"m doing church online myself. It"s definitely different. But I still need it in my life â big time. A: Yeah, me too. It can imagine it"s really weird for the pastors, though â sitting out there with no congregation, just looking in the camera. Q: The band went a bunch of years without putting out a new studio record. And, now, you"ve released two in relatively rapid succession â 'Soul Side of Town' in 2018 and this year"s 'Step Up.' A: We actually cut both of these records at the same time. So, we had this one in the can. We knew were going to put it out in 2020. Q: And the reaction has been quite favorable. A: We made the charts with the last record, 'Soul Side of Town,' being No. 1 on the jazz charts and the R&B charts. Once again, right out of the box, (the new album was) No. 1 on the jazz charts and No. 5 on the R&B charts. The record is just great. I have felt like I"ve had the best kept secret for the last two years. I"ve wanted to play it for people. Just really proud of it, so, you know, you want people to hear it. I"m just listening to it everyday in my car, just grooving. Q: How do you stay motivated after being in the industry so long? You still sound super excited about making music. A: The creativity thing â that really is the high. I got a little off track there for 20 years, dabbled in drugs and alcohol. I thought it made me more creative. But, eventually, I just became a slave to it. Once I got sober, I wondered how creative I would be. Soon, I wrote a song with Doc and I remember being so exhilarated. Just the whole creative process â not just writing, but taking the songs to the guys and rehearsing them, preparing for the studio, going in and producing a record, singing in the studio, playing live. We"re wearing all these different hats. And they are all very creative hats. I love it all. I mean, I live for it. Q: Besides the new record, the band has also put out its first music video in 30 years â for the song 'Look in My Eyes.' A: It was fun. I was a little nervous about it. I hadn"t done one in years. But it came out really good, so I was very pleased. Q: The band released its debut album back in 1970. Did you ever think, back in the day, that you"d still be doing this 50 years later? A: I was a young man. When we did 'East Bay Grease,' I think I was 18 â just turned. I didn"t have a lot of vision. I didn"t think that way. I just loved the band. My instrument has always been the band. I"m an ordinary sax player and ordinary keyboard player and an ordinary singer. But playing the band? I do that pretty good. That"s what I do. I"m a band leader. That"s all I thought about. I remember my idols in the East Bay was this band called the Spiders. They were the tightest soul band I"ve ever seen. I wanted to be like them. They got a gig in Sacramento. And â this is how far my vision went â I thought, 'If I could just get to Sacramento.' Q: The early '70s must have been a pretty exciting time, signing with Bill Graham"s record label and seeing the band"s career take off. A: Absolutely. I remember waking up â I had a little radio next to my bed, back there in the hippy days. We had mattresses on the floor. Me and Doc were living in the same house and he was on the other side of the wall. I remember waking up in the morning and I just felt so good and I heard this sound and it was the flute from (Tower of Power"s) 'Sparkling in the Sand' and they were playing it on KSAN radio. I was like, 'Oh my God' â banging on the wall â 'Doc, wake up, they are playing us, they are playing us!' Q: What was it like working with Bill Graham? A: It was great, man. We had a time there where we had a little fight with him and it was difficult. But we knew we had made a mistake and we tried to apologize. Eventually, it all got settled and, for years, he took really special care of us. He was a great friend. And I think he changed the music business single-handedly. Q: Your second album was 1972"s 'Bump City,' featuring vocalist Rick Stevens, who many unfortunately remember for being convicted on multiple murder charges. Did you have much contact with him while he was in prison? A: I didn"t when he was in prison, because I didn"t really know him when he went to prison. Everybody thinks that he murdered those people while he was in the band. I had fired him for heroin addiction and it was four years later when he did those murders â he was all strung out and everything. People use to contact me â people who supported him â and ask, 'Could you write a letter for him?' How could I do that? I didn"t even know the person who did those crimes. Why would I now step up and go, 'Oh, yeah, let him out?' But when he did get out, we became very close. He had become a Christian. We would let him sit in with (the band). He"d just call and we"d pray. Q: Take me back to the night of Jan. 12, 2017 when Tower of Power bassist Marc Van Wageningen and drummer Dave Garibaldi were hit by an Amtrak train as they were crossing the street in Jack London Square to get to the band"s gig at Yoshi"s nightclub in Oakland. A: I was at the gig, waiting for the show to start. It was almost show time. And Marc and David were walking across the street and â¦. That night, two trains were coming. They saw the (first) train and everybody was waiting for the train to clear. So, once they cleared, everybody moved forward â about seven people moved forward. But there was another train coming the opposite direction. But you couldn"t tell. It was a tragedy. We had just done 10 shows (at Yoshi"s) and were planning to do the final two â 11 and 12 â that night when that happened. But they"ve recovered. (Note: Both Van Wageningen and Garibaldi are still playing in the band.) Q: So many longtime bands break up, get back together, only to break up and get back together again. Yet, Tower of Power has never done that dance. You"ve stayed together for more than a half century. What do you credit that incredible longevity and continuity to? A: God did it. I just showed up. I made every mistake known to man. I got sober in "88, started a spiritual path, I said I was really interested in God and I sought him out wholeheartedly. Some years later, I came to Christ. I make no bones about it: God did it. I just showed up.

For whatever it be worth.... I'm pulling fer ya... Gettin' some o that fine trim..!!! Just remember me, if ya could though... I've been going crazy down here at the Lake. So if ya see anyone who could use some action, send them to me down by the lake.

Well Sergei has been wasting the last seven years of his life thinking that money could buy anti gravity. It's very satisfying to watch a multi billionaire piss his fortune made from mouse clicks down the drain. I'd sooner put my stuff into a wild badger's ass than a Google Drive.

Man you nailed that Dave! Instant!

I can't imagine selling off electronics these days to pay down any significant debt unless you need the proceeds to keep your house. Everything is depreciated so much that any sale is a minuscule amount unless one has very rare items or hundreds of items to sell. I could be wrong for specific situations but wondering.

Love the setup, Dave!

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My Setup

I agree nothing they are telling us make sense. Example: Social Distancing -> Flatten the Curve -> No Hospital Bottleneck -> No deaths due to lack of hospital beds The problem is, anyone who knows anything about math knows that the reduction in reproduction factor from Social Distancing only delays the total number of infections. The total number in the end is the same. This is born out by the fact that the experts' death models have gone from 65k to 85k to 135k deaths in the last few weeks. Do you see a pattern? I guarantee it will keep increasing. So, in my mind people at low risk (under 50 w/ no comorbidities) have the same 10 year risk of dying from the disease whether they go to a concert or not, say, after June. Everyone will almost certainly be exposed. This assumes no effective vaccine, which I believe is a very good assumption.

I really hate to hear these stories but it is inevitable given the number of pianos out there and the clueless owners. Abusing a high caliber piano should be a crime A club in my hometown has a house piano (M&H) that they've let completely go to hell. I couldn't play it without complete disgust and whenever I played there I chose to use my MKS-20 or later Rhodes Mk80. Bill Evan's trio with Marc Johnson and Joe LaBarbera had a date there a few years earlier and Bill complained about it all night (it had been tuned/voiced that afternoon). Yes, a reality of real world conditions when an iconic legend like Bill is subjected to 'make do'. After all he had accomplished and the stature he earned at that state late in his in his life, yet there it was -- another bad piano to deal with. Just to keep the Acoustic thing going for a bit, thought I might switch brands and post a couple of favorite videos with the Fazioli pianos. It might appear I'm a shill for PianoWorks in Atlanta, but I can assure you I'm not. I just enjoy Derek's masterful playing, along with the excellent recordings of all the great pianos on their site. The only piano in my experience that rivals the mighty Steinway D. This is an early 2000 something Faziloi 278 that sold fairly quick. One of the better recorded Faziolis I've heard on youtube -- even from major name performers and pro engineers. Really luscious sounding ! The Chopin Nocturne at 3:30 is a slice of heaven ! Again, for whatever reason, I can't embed the videos from the PianoWorks site. And another exquisite recording of a 278. With top notch playing of the Debussy Reflects dans l'eau. That is really nice!! I've never had the chance to play a Fazioli, but any demo recording has always made me love its sound! When I was living in the Bay Area, I fell in love with a Schimmel. It was at a dealer at 101 & Montague across from Intel. it was '96 and the price tag was about $35k. I'd be interested in if you have any opinions on Schimmel? Alas, I never had the space living there

I probably shouldn't give away my strategy but all of my passwords use 4 numbers. It's easy then to have a cheat sheet on a piece of paper for every company: Amazon: 7753 VISA: 4452 Facebook: 4390 The key is to have a fixed random prefix and postfix to the number: Amazon: Tgbn3?7753Onv!Sz VISA: Tgbn3?4452Onv!Sz Facebook: Tgbn3?4390Onv!Sz Hash table attacks could beat it, but I don't think anyone is using that these days outside of academic institutions.

I really hate to hear these stories but it is inevitable given the number of pianos out there and the clueless owners. Abusing a high caliber piano should be a crime A club in my hometown has a house piano (M&H) that they've let completely go to hell. I couldn't play it without complete disgust and whenever I played there I chose to use my MKS-20 or later Rhodes Mk80. Bill Evan's trio with Marc Johnson and Joe LaBarbera had a date there a few years earlier and Bill complained about it all night (it had been tuned/voiced that afternoon).

I think it is great. It is a very cool thing for your grandkids to come across. I'd love to have tangible things like this from my family tree.

There are many categories of Pro. Here are 4 examples; there may be more. 1. A Joke: Professional Wrestler 2. World Class: Professional Basketball Player 3: Expert: Professional Engineer or Union Electrician 4. Ill-defined: Professional Musician, Professional Photographer, Sanitation Engineer

This was about Bob from Frank Zappa's "Flakes" : "Wanna buy some Mandies, Bob"

I haven't read every response but my perspective is that the price trajectory of Keyboards are on a fraction of Moore's Law. It drops every year, but at a level lower than consumer electronics. The reason that Keyboards of the pre-1980 era were so expensive was Materials + R&D, along with limited demand, which drove prices up into the border between unaffordable and affordable as a teetering point for the potential market. It was, "Can I afford to take out a loan and still pay my Car and Mortgage payment" Once LSI and VLSI became mainstream in the 1980's you saw the price of pro keyboards drop into the range of buying a new high end Television. Now that the price of high end Televisions have plummeted due to Moore's Law encompassing the LCD Display, Keyboards have stayed in the middle of the Moore's Law curve due to the large component of non-electronic materials. My estimate is that the sound generation SW/HW and the interface Intellectual Property is worth between $500-$2000 and that the Keybed is worth between $1000 - $3000. The sound generation cost follows Moore's Law, but the Keybed doesn't. Of course, if the Companies and US can figure out a new, and much lower cost, source of source of Slave Labor after after CV-19, my projections could be different for the Keybed portion of the cost.