jazzpiano88

Yikes! The first story was that he covered the gambling debts of his interpreter as a favor . Then, when the lawyers got involved they reversed course and said the money was stolen. We may never know. It'll all be up to the forensic accountants. Let's see if they go as hard as they did against Pete Rose. But it definitely isn't looking good for him: https://babylonbee.com/news/shohei-ohtani-concerned-about-affect-betting-scandal-will-have-on-dodgers-world-series-odds

.

It’s a good idea, and I think it could be done through a plug in like a speaker or amp sim (of course one would need to develop it). I toyed with a similar idea a few months back over on SSS about a mastering plug in to insure all the instruments could be heard in the shopping mall by modeling the speakers and various building configurations. in your case I think it would be a lot easier so add some random phase to each channel; probably as a function of time and frequency. Good project if you can do some prototyping in matlab or python.

I mistakenly thought he went out with the wardrobe malfunction.

I was listening to Bill Schnee's interview and he delved into a description of a breed of successful session musicians that Steve Nathan so well elucidated in his interview. Namely knowing how to arrange (often on the spot) to achieve the best out of the artist that the artist may not have envisioned. Neat to hear Bill confirm how important guys like Steve are. (nowadays, they would have songwriting credit).

Same here and completely agree! . For home use I'm always chasing performance as a semi HiFi and a EE Ph.D. Geek. For live, I totally agree as the weakest link in the chain is never what we're talking about.

Frequency isn't everything, or necessarily anything. Usually it is used to make something cheaper via another spec. As you know, oversampling has been used since day one to relieve the converter of reconstruction specs within the audio passband via the cheap frequency roadmap. It comes automatically, not as if they're doing any audio engineering, unless you've heard Apple has entered that business.

Here we go (I don't have a dog in the hunt. Maybe Apple has pro audio outs now. They don't market it possibly for a reason. I'll let you hash it out, thanks). Back in my day they had optical out on my Mac Pro and dual use 1/8" copper/optical on some products for a reason. Maybe that is now moot when comparing a decent mid-fi systems, especially live (non studio requirements).

Consumer 1/8" stereo headphone out and 1/8" stereo mic/line input seem like they are often the poor man audio interface. I would go with pro A/D D/A units. Like who wants to stream their super Hi Fi Montage M8X out of a Mac Mini headphone jack (not that I've looked into their D/A's, but conceptually)?

I would imagine so! At the time when enough money was swashing around that multiple grammys would make him multi millionaire or more. 12 million albums sold at that time made him a rich man. 12 million sold over the same time interval in 2024 would make a below average basement player with a day job at a high school who no one's ever heard of netting about $4k. Pretty sad, actually! The cool thing is that George was discovered, rose to the top, and made a great living at it. There was something to be said for that trajectory that doesn't exist anymore.

.

Slippery slope there. Once having to justify playing any instrument where does it begin and end...talent level, weight, cost, portability, maintenance, etc. That would be interesting to have judges sitting in the music store and deciding which instrument(s) a customer is qualified to purchase. "Get your g8tdamn hands off that Nord Stage 4 if you cannot play and solo over Giant Steps."🤣😎 Yeah that came out the wrong way and not what I meant. Should have been more along the lines of “in general, to tour with a real…..” because of the expense and logistics of keeping it running. Of course there are exceptions.

I thought I was the only one with this affliction 😄. I can usually get away with a half step because my muscle memory isn’t that great in say C#. But once I got good at playing Hymns in Eb Ab F# Db via years of playing the piano in church, the transpose button was over for me. I’d be playing the right notes in the transposed key and would need to do a double transpose to compensate!!! The worst was when I’d transposed a song in E to Eb for a singer and forgot to set it back for the Regular Church Pianist. I had to quickly sneak up to the stage and fix it with few being the wiser. This was an Avant Grand type machine. Man but that Avant Grand sounded glorious blended with my SK1 73. I ran the organ aux in to the piano along with MIDI and used the expression pedal. For some reason I’ve never had an issue playing organ comp with piano action. I think it’s the opposite of poeple who have no trouble playing a piano sound with an organ or synth action (which I can’t do). This was a church I would happily travel 6 hours down to sub at any time in the future the music was that good. Musicians and singers were outstanding and it was like fitting in to a perfect gig! Would always either know the music already, or have the title and arrangement to pick off of YouTube.

Any earplugs need a parametric EQ to compensate. Otherwise you’re adding a pillow on top of your already pillowed ear’s frequency response. Bob Heil taught us all about this in the 70s after studying the work of Bell Labs frequency compensation. It’s so fascinating that prior to this professional audio had no concept of equalization — only volume.

Even at that lower price, I don’t know. To justify playing a real E-M instrument you need to be a Chick, Michael, Donald, etc. and they were (are) big enough to tour with the real deal. Although I think Mr. Wonderful is actually using a VV 88 suitcase. The Motif/Montage sampled Rhodes is pretty though to beat. Check out the guy playing Still Crazy for James Taylor at the Paul Simon tribute. It’s pretty killer. There are some sample artifacts I find annoying if you look for them, but in the context of a band performance they are fine. OT Digression :: I’ve got the Crumar and the Montage sample is much much better. Sure, the Crumar emulates the Rhodes when you depress the sustain pedal without anything else, but talk about a cheesy gimmick. If you were to record that shit, it’s noise and adds blur and other artifacts they’ve cheesed up.

Same here, but fortunately I kept mine. It needs some work, as a few voices are intermittent last time I powered it up. It’s a funny story a musician borrowed it who was doubling as a cast member in a production and it came back red from stage blood. Talk about just the perfect simple test bed to learn synthesis as a teen! I’ve got the OB6 now that is totally enough to keep me occupied as a piano player.

Big time! He clearly has natural talent and time. And has figured out how to do a deal for comping / soloing the black keys. He’ll have the horns down for “I Wish” down in no time!

Jim Alfredson piqued my interest in the pigments soft synth. Would love to try this.

Have you ever used one? I have a good friend who has one. If you want small, light and loud and cheap, it has potential. We tell him, “play this” and all is good; he doesn’t ask questions. Nobody’s the wisenheimer and the leader of the band (tuba player) maintains low tones. The tour is also quite pleased (Skandifest conventions featuring accordionists).

His whole thing about starting out on the Ukulele and associated stories is just adorable! Well put Doc!! I’m not a guitar player, but I love his playing so much, and that story about his signature guitar makes me want to go out and buy one! May just do that!

I'm not a worshiper of Rick Beato, but he let George speak for 99.99999% of this interview. George is such a great storyteller that he naturally dominated this tale. George Benson is a perfect Gem. I learned of him in the 70's when I was into jazz fusion when Breezin' came out and was just blown away! Amazing he had already recorded like 15 albums. What a monster!!

https://www.sweetwater.com/store/detail/CK88--yamaha-ck88-88-key-stage-piano https://www.sweetwater.com/store/detail/K8.2--qsc-k8.2-2000w-8-inch-powered-speaker You will be happy with these, I can almost guarantee.

Guessing the the contact was a deciding factor. Would love to hear about the negotiations What if there had been inadequate clearance for Herbie's Piano? This could have gone down as Herbie's version of the Koln Concert where he was stuck playing on a Kenny Barron piano. He’s playing in Milwaukee this month. Tempted to drive over. It’s a hall with cheapest tix around $70.

Plus all piano movers must maintain a climate controlled environment. That was a big cost in moving my piano but worth it when I was astounded that it sounded perfect after 3 weeks on the road. I'm guessing the airliner freight holds can be specified for climate for his international flights. But you hear so many live outdoor concerts of the best players on Steinways where the unisons are completely whacked and I’m guessing they were perfectly tuned 10 minutes ago and just can’t maintain it in the outdoor climate?

Is that this (I couldn't see an obvious XR18 )? I thought he was asking about your Behringer 2600 in the back when he mentioned mixing controls and modular features, which the XR18 doesn't have.