SamuelBLupowitz
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Posts posted by SamuelBLupowitz
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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.
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It's a synth specifically designed for covering songs from the Encanto soundtrack.
No? Anyone?
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"It's time to free our music from this oppressive system... and build our own oppressive system." 😏
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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.
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On 2/19/2022 at 10:54 AM, Doerfler said:
it's been 3 years since Kofi's passing. As always, I am in the audience for the annual TTB residency at The Warner Theater ( had to miss one show, tonight is show #5 out of 6)
Thursday night Susan paid tribute to him, then they payed a 10 minute version of the Blind Faith song "Had To Cry Today", with Gabe Dixon on vocals.
They also played 2 songs from "Mad Dogs and Englishmen", Kofi favorites. Last song of the night was "Space Captain", fitting tribute to him.
Flowers on stage left in front of his Hammond B3, which Gabe still uses. RIP forever
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.
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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.
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26 minutes ago, Anderton said:
If this musician thing doesn't work out, you have a promising career as a writer
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. 😆
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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...
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On 1/29/2022 at 7:07 PM, MAJUSCULE said:
Dawes (Goldsmiths)
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.
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On 2/12/2022 at 3:27 PM, Dave Bryce said:
I added the Roland Handsonic and its two pedals to the big rig.
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You took that photo from the fly harness you use to lift yourself in and out of the keyboard enclosure, no doubt.
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13 hours ago, Dave Bryce said:
…and don’t get me started about guitars and basses through the Leslie… 🥰😎🥳
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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.
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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!
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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?
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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?
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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!
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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!
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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!
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On 1/22/2022 at 5:27 PM, BluMunk said:
@SamuelBLupowitz, why the thumbs down!? Dislike of the Loaf, dislike of Bittan, or disapproval at my formative concert experience? 😛
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.
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Heyyyy great to see you all again! Looking forward to seeing what happens in the new and improved forum.
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Josh, I think your observations regarding episode one (certainly the dreariest and most tense of the three parts) are all very on point.
But I just can't see it with the "this needed to be more organized, this needed to be shorter," any of that, no matter how many times I hear it.
All I've ever wanted since I was a kid just getting into music seriously was to be able to sit in a room with my favorite band while they worked. As tumultuous as this experience is, I cherished every moment. I will watch it again, and I would watch whatever additional material might eventually be released.
Honestly, if I have any gripes, it's how few full performances we get of any of the songs. I understand during the earlier episodes -- how many times do we really want to hear them rehearse I've Got a Feeling in its entirety, especially given that we get the whole song twice in the rooftop concert? But I think one full run-through of Let It Be in the entire nine hours would have been nice.
Then again, those complete performances have long been available elsewhere, so it's not like anything was left on the cutting room floor that we don't already have access to. But I do think the film asks the viewer to come to it with a certain amount of knowledge and experience, which is not necessarily made clear when you get the quick overview of the Beatles history from 1956-1969 at the top of episode one.
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Still though, as much as Billy Preston remains one of my All-Timers, one of the Big Three or so, it's hard to watch him and not think of the Michael Jackson stuff.
Kinda wish you hadn't sent me googling for that one.
This is probably not the venue for this discussion, but reading about the dark parts of Billy Preston's life mostly makes me feel sad for him. By all accounts, he was a very sweet, kind person, with a lot of damage and trauma and substance issues stemming from being a black gay man in a culture that was antagonistic to that (and of course, having suffered abuse himself as a child). Given what we know of the antics of most of the rock legends in their heyday, and undestanding that it doesn't excuse him of any of the pain he caused others, it's hard for me to feel anything but compassion for someone who was mired in shame and not allowed to be fully himself. He left us a lot of great music.
On a lighter note, my favorite Billy Preston story is from Keith Richards' memoir, where Keith cornered Billy at knifepoint backstage during a Stones show and threatened "dear William" with a stabbing if he didn't turn down the Leslie.
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My wife and I were getting more and more annoyed with his tone-deaf suggestions (wait until part two when he tries to tell Linda that he is more of a Beatles fan than she is, lol). It's interesting, because with all the stories and legends around the band, I only ever heard him spoken of as a neutral presence, sort of a fact of the proceedings, rather than anyone who had a positive or negative influence on them like Yoko, Billy Preston, Glyn Johns, etc. But I thought it was a really telling example of the kind of unbearable pressure the band was constantly under. You can hear Paul and George actually in agreement about wanting to do an intimate, possibly even surprise, performance -- in a nightclub, in a dancehall, smoky lights, maybe don't tell anyone it's actually the Beatles playing. Then Lindsey-Hogg constantly tries to steamroll them for the sake of his film -- "no! It should be huge! It should be for the whole world! It should be in an amphitheatre in Libya!" Like, give them a BREAK dude! The last time they went out on tour the Klan tried to murder them! No wonder they couldn't take it anymore.And Michael Linsey-Hogg makes me wanna puke, one idiotic idea after another. I gotta think part 2 and 3 will be more tolerable to me. -
This was the moment when I realized just how special this documentary was going to be, rather than just a long rehash of the Let It Be footage I'd seen. To sit there and watch Paul write the beginnings of a hit song in real time while George and Ringo yawn... incredible.I found it fascinating to watch Paul conjure up Get Back out of nothing. First it was just a vague vibe, but he nurtured it along, developing it into their next hit single. Impressive. -
As much as I've been an amateur Beatles scholar since I was 11 years old, watching this has been a thrill and revelation. One of those revelations was exactly how much Billy Preston brought to the table. It really took hearing them slog through I've Got a Feeling, Don't Let Me Down, and Get Back a dozen times with increasing interpersonal tension and disinterest to appreciate how he brought them -- the friggin' Beatles -- to a new level of polish, professionalism, energy, and enthusiasm just by sitting down at the Rhodes.And when Billy Preston started playing with them, it was like The first things he played were exactly right for the tunes and pretty much what ended up on the record. Why wasn't he asked to join the group? As Paul said, "it's bad enough with us four!"
The first things he played were exactly right for the tunes and pretty much what ended up on the record. Why wasn't he asked to join the group? As Paul said, "it's bad enough with us four!" 
Not OT: I just got a Valente. Ask me anything.
in The Keyboard Corner
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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.