SamuelBLupowitz

Very cool to see this -- I think the last video they did about Page's rig was from 2016 or so? Great to hear him address how it evolves (I still can't fathom having a B3 onstage and only being able to play it with your back to the audience, but clearly he's been digging hard enough into the Wurli and the Moog One to justify them replacing the organ to his immediate left). Tell you what, I'd play the gig with half as many keyboards for half the money! 🤣

I gotta say, I’m generally more of a Wurli guy in my music, but the Rhodes on the CP88 really speaks to me. I use it for electric piano sounds on a gig whenever I can.

I forgot I posted this thread and then Life Happened. Thanks, all! Especially for the Liberty Bellows recs -- if my leads in my area don't pan out, my brother lives in Philly and I'm there pretty often, so that's a good option. Also would have been close to where my grandfather lived when he got the thing in 19*mumble mumble.* Thanks all. Now trying to figure out the easiest way to start playing it *amplified* ... pray for my wallet.

Okay listen we all know Larry Goldings is amazing and this is such a cool duo, but I just wanted to comment that that is one of the most pleasant synth bass patches I've ever heard.

The difference between Angry Young Man and Spider Fingers is that I've been playing one since I was 14, and the other makes me feel like I should quit music and leave it to the big boys. 🤣 Anyway, I just dug up an old favorite of mine, 2002's "Ben Folds Live." An absolute masterclass in playing singer/songwriter piano in the context of a rock band ... except, there's no rock band, just the piano. With minor, deliberate exceptions, he manages to make it feel like a big rock show even though it's a solo acoustic set. Here's some video from the same tour the album is compiled from:

I was really into the Mainstage stuff for a couple of years before the pandemic, and I *do* work in IT, which is part of why when I came back to gigging after the pandemic, all the individualized programming felt like too much work. I prefer to be able to go on the fly. And I do really like when my keyboards can be more or less one instrument for the whole show. You know, this is the "piano" (sometimes acoustic, sometimes electric); this is the organ; this is the synth. Sometimes that's not practical but it's my preference. So, I dropped the laptop part, and I bring like seven keyboards to a gig. I mean, I'm trying to keep it to three or under. Honestly.

I'm told Yamaha is developing orcs that can move in sunlight, and cover great distance at speed.

I do *love* those XLR outs on the CP88, and so do sound guys! I also love the stereo inputs. But my main band gigs are three boards these days (piano, organ, synth), so I wind up needing a line mixer anyway... and when I do strip the rig down, the CP88 is usually the one to go. All that said, both of these suggestions are helpful; if I can't reduce the headphone amp and the line mixer to one piece of kit, it would still be great to give myself a little more control over my monitoring. But, if I can kill two birds with one stone and only have to buy *one* new piece of gear, that sure would be nice, so I'm open to other thoughts! The XR18 would certainly work if I want to make that jump (though some analog controls might make life easier). There's also this: https://www.sweetwater.com/store/detail/SM10--samson-sm10-stereo-line-mixer A bit overkill, but it's got auxes, headphone outs, plenty of stereo channels, two XLR inputs, and XLR outputs.

I've got some time off from band gigs until 2023, so I'm trying to take advantage of some ways I can streamline my rig, even ever-so-slightly. To that end, I'd love to consolidate my Behringer stereo IEM mixer and my Rolls keyboard line mixer into one unit. I like to monitor my keys in stereo in my IEMs, and the kind of venues I play, it's a crapshoot whether or not the sound crew can spare an extra aux for that. I'm thinking if I could monitor my keys directly off of my mixer, and then get a mono monitor feed of everything *except* keys that I could send to my IEMs as well, it would give me more immediate control over how loud my keys are in my ears, and eliminate the uncertainty of whether I'd be monitoring myself in stereo or mono. Ideally, I'd need at least three stereo quarter-inch inputs (for keys) and one XLR input (for the monitor feed), plus stereo main outputs (preferably XLR) and a headphone out. If I'm thinking about this correctly, the mixer would also need an aux send that could be sent to the headphone output *only* -- that way I could send the monitor mix *just* to my IEMs, without sending it back to FOH along with the keyboards and ruining everyone's day. Also, it would be great if this mixer could fit on top of my Mojo or my CP88... but on the ground would be fine too! Wondering what's out there that might fit the bill. Or if I'm overthinking this and should reevaluate. Thanks for your feedback, everyone!

I posted about David Sancious about a year ago when I discovered Sting's 90s gem Ten Summoner's Tales. It's unreal watching clips from the tour behind that album and seeing how effortlessly and effectively he plays piano, organ, synth, you name it, all on one controller keyboard (and that was 30 years ago). So cool to see him playing with Bruce again! I always think of Roy and Danny as the "classic" E Street keyboard players, but Sancious's playing on "The Wild, The Innocent, and the E Street Shuffle" is unparalleled in Bruce's catalogue, I think -- if nothing else, for the piano intro to "New York City Serenade."

Sorry, super not helpful to you, huh? I am joking, just riffing on the observation that Clavigel sounds like a medication. I get the gnarly feedback just fine with the ancient yarn on my D6. First time that happened to me on a gig, I finally understood how the power goes to guitarists' heads!

Some users of Clavigel reported wicked feedback under the influence of gnarly solos, especially on higher notes. Do not use Clavigel while operating heavy machinery, unless that heavy machinery is a Hammond organ.

Can't wait to read. I know it's hard to pick a "favorite" classic era Stevie record, and when push comes to shove Songs in the Key of Life is a natural favorite, but ... I just think Talking Book is stellar. Forget about the songs everyone knows -- "You and I?" "Maybe Your Baby?" "Big Brother?" The man is responsible for a *genre.*

Steve Espinola is a Wurlitzer expert who I believe is in Brooklyn. I had spoken with him about doing some restoration work on my 200, and we were just about to make that happen in ... March of 2020. So I don't have any firsthand experience. https://docwurly.com/

I've been super absent from the forum lately and I miss all y'all! Hope you're well. So, I dug out my grandfather's accordion recently. It's been in my possession for close to two decades but I never try to play it. But I was working on the keys parts for a friend's album release show, and decided I'd surprise him by walking out front with the accordion for the finale (video below, don't look at my hands to see how much I mess up by the end). It was a treat, even just playing some simple right-hand-only pads and guide tones unamplified, and I'm thinking I might want to dig into the instrument a little more to add it to my arsenal. But this accordion is probably in the neighborhood of 80 years old. It needs a little TLC -- some sticky keys, some questionable tuning and voicing. Does anyone know ... how to get started with that? I could look around for someone in my area that services accordions, of course, but I know there are a few folks on here who play professionally, and I thought you might have some pearls of wisdom to share. Happy spooky season, y'all! Here's me busting out the extra axe on a song about Star Wars. <iframe src="https://www.facebook.com/plugins/video.php?height=315&href=https%3A%2F%2Fwww.facebook.com%2Fsamuel.lupowitz%2Fvideos%2F1553994285102487%2F&show_text=false&width=560&t=0" width="560" height="315" style="border:none;overflow:hidden" scrolling="no" frameborder="0" allowfullscreen="true" allow="autoplay; clipboard-write; encrypted-media; picture-in-picture; web-share" allowFullScreen="true"></iframe> IMG_9245.MOV

A bass player I work with a lot is Chinese, and I love being set up next to him in rehearsal, because I get a private performance of jokes and accents that I cannot repeat to the rest of the band when they ask what the hell is so funny.

One of my favorite bands, Dawes, has a song called Quitter. It’s all about giving up the things that aren’t actually serving you, even if you’re “supposed” to do them. I’m a chronic people-pleaser who takes his commitments very, very seriously, so when I first heard the chorus “you’re gonna have to quit everything until you find one thing you won’t,” it stopped me in my tracks. I got it tattooed on my arm.

I've gotta take some pointers from all y'all about cable management and pedals. Even with my homemade pedalboard and some velcro ties, it's a damn mess on and around my rig.

One of the great things about having the CP88 in my rig is now if I do a two-board gig (piano and synth or piano and organ), I don't need a mixer or an amp or anything, I just use the onboard stereo inputs, and direct the sound engineer to the balanced XLR outputs. But most of the gigs I'm playing in bands are three-board gigs (or gigs that don't call for an 88-key stage piano), so I still need to feed things into a small Rolls stereo line mixer I bought off someone else on the forum.. I'm not doing any EQing from the mixer, and I get my in-ear mix from a separate little monitor amp. So I do occasionally think about getting something that would streamline my process a little, now that I'm feeling satisfied with this current gig rig and its variations... but it would have to *actually* make my setup and teardown faster and easier!

Holland-Dozier-Holland is truly one of the great songwriting teams of the 20th century. I think of Lennon/McCartney, John/Taupin, Leiber and Stoller, Rodgers and Hammerstein. Maybe those teams have as many classics in the public consciousness, but I'd say it's pretty close.

From what I've heard, the Stones had more than enough of those to go around. 🤣

Slightly OT, but the unplanned-generator-power situation reminds me of a gig I played back in high school, when places for under-21 artists to play were few and far between, especially if you weren't a part of the emo/hardcore scene that dominated local music in eastern Pennsylvania in the early aughts. Our band had been offered a gig playing a birthday party for a relatively popular dude at our school -- clearly the big time -- at a local park, under the pavilion. Trouble was, some other group wanted to use the pavilion, so the party relocated to another park where there was no access to electricity. Obviously today, I would say "well, I guess I'm going home then." But what did we, a bunch of 16-year-olds desperate for the validation of our peers, do? We went back to our rehearsal space (a rented storage room for our guitarist's dad's event company), loaded a generator into my mom's minivan, and took it back to the park to play the whole gig off the generator. Rock and roll.

I didn't get to chat with any of them for too long but they seemed like a nice bunch of dudes, and clearly a pro band. I enjoyed the original tunes, but particularly loved their long, slow-build cover of Gillian Welch's "Look at Miss Ohio," and a *spot-on* "Tumblin' Dice" that got me and our drummer up and dancing from the first slide lick. Those Stones grooves are a lot harder to nail than most people think, and they just crushed it.

No cause for alarm, didn't cut the locks -- they're just pulled back into a bun. It was too hot to let my hair fly other than when we hit the stage. You could see the sweat through my all-black stage wardrobe and everything.

As stated above, it's hard to know without hearing specific tunes. What may or may not come in handy is the Al Green drawbar setting, which I find myself reaching for with a lot of soul-oriented material: 880000880 (the first two and last two dark-colored drawbars). Throw a little reverb and maybe some C3 chorus on there and you've got a warm, hollow, funky, almost spooky organ sound.