SamuelBLupowitz

Yes, John Mulaney, I am indeed hungry for my dreams to become reality. 🤣 Thanks for the share, Joe. I needed that laugh. I was expecting a joke about the Ukraine invasion toward the end, and instead, they doubled down on the ridiculous wish fulfillment.

So I've been having a blast with my new Prologue 8, and one of the unexpected things I'm enjoying about it is how great it sounds in stereo. I'm a sucker for voice spread, the onboard reverbs and delays sounds killer, and I run my piano and organ in stereo anyway. One thing about that, though, is that I use a talkbox on synth pretty often, and my box is mono. The Prologue only has the main left and right outputs (plus a headphone output); there's no way to route patches to different outputs, or pan a mono patch to one output or the other. It's not a huge deal to just roll with mono synth at a gig, but I'm trying to brainstorm ways (just for fun) I could have my cake and eat it in my live rig. A stereo A/B box switching between the synth's stereo outputs and the always-running talkbox? Some sort of effects loop (again, wouldn't need the return with the talkbox, just a way to direct the signal there instead of a mixer/amp)? Anyway just kicking some ideas around on a Friday afternoon. Interested in anyone's thoughts.

I love the idea of Behringer just iterating cheaper versions of sought-after music tech, including when the originals are ALSO clones of sought-after music tech. At one point does Behringer do a clone of their own clone of the Model D, at 1/4 scale, at 1/10th the price, but you need tweezers to twiddle the knobs?

Every now and then another musician, listening to my songs, will cue in on my semi-secret past life as a musical theater composer. Sondheim was and will forever be a creative giant of the 20th century. His New York Times obituary called him "without peer," and I believe that to be true. Thanks for sharing.

In this instance, I tend to heed the advice of the late, great Joe Cocker, and try not to sing on a Kia.

I mean, I've seen people play vintage Les Pauls through massive pedalboards too, so enjoying effects on the source doesn't mean it needs them. Obviously there's a tradeoff if you're willing to bail on the convenience of digital, but these things come back into fashion (or never quite leave) for a reason.

I bought one of those mic stand mountable holders that lots of third party manufacturers make, but honestly when I gig with an iPad at this point, most of the time I'm finding a button-less corner of one of more boards to rest it on if I can.

It's a synth specifically designed for covering songs from the Encanto soundtrack. No? Anyone?

"It's time to free our music from this oppressive system... and build our own oppressive system." 😏

This thread is bringing me so much joy. Like many of us, I think, I'm getting a vicarious thrill remembering the first time I laid my hands on a real clav. I don't know that I'll be gigging with mine much anymore, but it was worth hauling to all those shitty clubs just to get that sound and that feel.

Thanks for the update. I still miss Kofi and viewing this thread again made me emotional. I really want to see TTB again soon, it's been quite a few years now (I haven't caught them since Kofi passed, though I've been a huge fan of Gabe Dixon ever since he played keys with Paul McCartney on the Driving Rain album in 2001). Hearing them do the Mad Dogs tunes always thrills me; the version of Space Captain that Derek, Sue, and the Burbridges recorded with Herbie Hancock and Vinnie Colaiuta around 2010 was and is a seminal musical influence on me.

I told my therapist I was coping with depression by window shopping for synths, and he said “well, as long as you’re not emptying your wallet…” Anyway this Korg Prologue 8 belongs to me now and I am having a blast with it.

My English Major at work. I chose not to go to school for music, you see; I wanted to focus on my other non-lucrative creative talents. 😆

Roli is like that sexy friend you dated for a summer in high school, but every few years tries to reconnect with you on Facebook to try to get you to buy into a multilevel marketing scheme. I love my Seaboard Block, but a lot of the moves they've made in the last couple of years (and what I've heard about the inner workings of the company) have left a bad taste in my mouth. Let's see what they're up to this time...

I'll tell ya, I've been straight-up obsessed with that band for over a year now, and the two of them singing together (never mind the perfect interaction between Taylor's guitar and Griffin's brilliant drumming) is just magical.

You took that photo from the fly harness you use to lift yourself in and out of the keyboard enclosure, no doubt.

I think we talked about this at the last KC hang, but watching Get Back and seeing the techs just roll in a brand-new Leslie 147 in original packaging for George Harrison to play through anytime he wanted was such an incredible gear geek moment.

Just tossing in that I was on the fence about purchasing my Mojo XT in 2019 because I heard about issues like this more often than made me comfy. I went with it because I got a really good deal, and a MAG or an XK5 was way out of my price range. That said, I've never had any issues onstage or off with my XT, and I've used it at all kinds of gigs, from grubby clubs to theaters to breweries to outdoor festivals to backyard parties. I've used a Yamaha FC7 and the Crumar swell pedal, and it's been totally reliable. I also have custody of one of the early Mojo models just for at-home practice, and I've never had any trouble with that one, either. So I've been totally pleased with it, and it's been a core part of my live rigs for the past two and a half years. Still, disappointing to hear that the static discharge still gives some folks trouble with the Suitcase -- I assumed that when they switched away from the Windows architecture, I'd stop hearing about that. Bummer!

Acoustic piano through a Leslie shows up on a few 60s and 70s classics -- the first one that comes to mind is Elton John's piano on "Dirty Little Girl" from Goodbye Yellow Brick Road. There's gotta be a Beatles track with Leslie piano too. "Birthday" maybe?

I stumbled on this thread from last summer and was very happy to see several recommendations for the Korg Prologue, since I've been eyeing some good deals for the 8-voice version on Reverb... seems like it would be a really nice balance of analog sound/digital convenience, portability/enough keys to get around on, versatility/one cohesive instrument ... But also, haven't had a lot of mental bandwidth for music lately and other than window shopping synths I'm kind of taking a break. Covid is making me tired and lonely, y'all. How is every doing here?

I hadn't upgraded my stage piano in over a decade, and my CP88 has me excited to play a digital piano onstage for the first time in years. I love it. I purchased mine lightly used from Outkaster!

I'm loving all these suggestions and opinions! Y'all are brutal. 😆 The DX7 used to embody everything I hated about 80s keyboard sounds, but it's grown on me as I've become less cantankerous in my 30s (and it's started making a resurgence the way these things do). I like having instruments around the studio with some "ooh" factor, but space is limited and the gig money hasn't exactly been flowing for the last, um, six months? Two years? The friend who offered the DX7 is the same one who gave me his grandfather's Gibson J101 combo organ on extended loan, speaking of instruments made largely irrelevant in the digital age... but I do love having it when I need a different vibe for a track, so, I'll keep thinking this over. In the meantime, please feel free to continue sharing your DX7 love and loathing!

A friend of mine is helping to sell off a late relative’s possessions and asked if I’d like to make an offer on a DX7 in good condition. I’d love to have one for my studio, just to play around with, since it’s a classic. But the 60s and 70s axes are more my bread and butter so I don’t really know what I’m dealing with. A quick look online caught me off guard with what a reasonable offer might be — looks like a few hundred rather than the few thousand I was expecting? But I figure this forum is full of folks who lived through the original heyday of the DX7 and can let me know your thoughts. Thank you!

Yes, glad that got fixed -- I definitely wanted to give props to your Roy Bittan appreciation. Put Bat Out of Hell on while I was making breakfast yesterday -- it was in heavy rotation for me in high school but I hadn't listened in a few years -- and Roy's piano parts are such an iconic part of the record, even with the layered, larger-than-life guitars. The intro to the title track alone makes Roy indispensible to the sound.

Heyyyy great to see you all again! Looking forward to seeing what happens in the new and improved forum.