SamuelBLupowitz

Keep me posted on how things develop for you! I'm interested in how other people are incorporating the technology. Quarantine time has led to more playing around with virtual instruments and MPE controllers than actual performing, recording, or writing for me, and I'm just rolling with it and enjoying it.

You seem tense. Perhaps you need to... take it easy. :grin:

Enjoying this... please keep updating us on your progress!

I have a pro account through my day job, so I get the perpetual meetings without having to pay out of pocket. I think that's how I wound up being in charge of this (though I posit that Joe Muscara is the real mastermind; I'm just doing my humble best to execute the vision)! The only reason I wouldn't set up a permanent link is that even with the pro account, Zoom only allows one active meeting for a host at once. So, I don't want to be hosting a meeting for work, and then get an error because a couple of folks pop into the KC Virtual Pub (the behavior is unpredictable and could lead to errors in either or both meetings). So for now, the best compromise is an ongoing meeting, but with guidelines about when folks should sign in over a particular day/time range, so that it doesn't conflict with my work needs.

dB, are all your keyboards running into a mixer (that little one on the Seven)? Do you have mics in/on the piano generally, or not at all? Very soon, I'll have a place in the house to set up all of my boards for the first time in my life, so just looking for inspiration...

Or, we could make it a one really long session. I mean, the way Sam sets these up, they're open until no one is on, he checks it, and he shuts it down. For all I know, Friday's session might still be open. I think the big issue with doing it like that is that people expect to see a start time. If the start is a time they can't make, they often don't bother. We could try it, though. If the thread title gives a day, and in the first post we say something like, "what time does it start? Whenever you're ready where you are." Or something like that. Does that make sense? Does it seem like a good idea? Someone could make an effort to post in the thread that it's still going on, who has joined from where, etc. so that more people see it's still active and can join. That's actually a pretty great idea, IMO. That would probably lead to smaller groups and the abiliy for more people to be able to converse with each other - with so many people all on at once it seems mathematically clear that less people have the ability to be heard. I think it'd be coolto have people be able to wander i an out over a longer period of time. I'd love to be able to chat with the folks in Europe in the morning, and the Aussies in the evening. Sam, how doable is that? dB Good lord, I spend the last three days painting and such in the new house and I come back to a thread about Happy Days. I can set the meeting up to start and end at any time. I think what generally happens is after a certain period of inactivity -- 45 minutes? -- the meeting closes out on its own (Joe and J. Dan were still talking when I went to sleep on Friday, so I just left the meeting open, and it had closed itself out by the morning. But if I set it up properly, someone could still join the meeting anew even if it had been inactive for awhile. I bet the link for last week's meeting would work if someone tried it right now. So I'm all for this idea. I think we should still force Holloway to join us during his morning hours though, just for fun, so nobody tell him! :wink:

I was using the Spacestation 3 in one rehearsal space before we all moved to in-ears. But the Spacestation 3 was also running the vocals, and the room was very small and loud, so I can't say I got the most out of it. Moving the rehearsals to in-ears was a godsend. Actually, I've started using my in-ears at all of my rehearsals, even for the bands that don't generally gig with them, and grab a feed off of the PA's headphone jack or one of the monitor outs. Even in the rehearsal spaces where the drums, guitar, and bass aren't mic'ed up, enough of it leaks through the vocal and horn mics (or resonates through the floor) that I can hear everything much, much more clearly than with amps and my usual custom earplugs.

Yes, and here is the info again so y'all don't have to scroll back and find it! I'll see many of you soon.

Huh, interesting! I remember taking note of that model when it came out, and that wasn't too long ago. That's why it's smart to not pull the trigger too fast sometimes...

Following this thread with interest.

Interesting update: if I unplug the footswitch (with the FC7X-ii) and plug it back in while the Mojo is turned on, it seems like the Run function will turn on from the control panel. Then the footswitch works as designed. It requires double-taps to change functions, but that still requires less rewiring of my brain than angling my foot differently.

I've been seeing them advertise the RD-88's Mainstage integration (via the built-in interface) a fair amount, so I think the demo performances are all meant to show off the seamless switching between the built-in and outboard sounds. For me, if I'm bringing a laptop to a gig, I don't need your built-in piano sounds, but hey, horses for courses.

What, you now want understandability? So demanding Yeah, I mean, Eric's interview in French is one thing, but I might need subtitles for an all-Aussie interview.

What is time, really? Ticking away, the moments that make up a dull day...

I'm still gonna keep an ear to the ground (I guess the ground is "the folks on this thread"). I'm realizing that with my Mainstage and iOS gigging setups, even one of these would let me leave my interface at home in most situations.

Hey, thanks everyone for hanging in there with me... I needed that space to vent. Thrilled to announce that we're officially closed and that house is ours. We're going to start painting the studio tomorrow. :grin: The moving process is going to have to be gradual, at least until we're able to maybe hire some movers... the upright piano won't fit in my car. :wink: But we're looking forward to having some time to get the new place ready before we dump all of our stuff there anyway. I'll happily raise a glass with any of you who can join the KC Virtual Happy Hour tomorrow!

All right, well, since I'm not going anywhere for a bit, you convinced me to give it a shot, finally. Looking forward to spending some time sorting it out, it's a pretty deep app, and I haven't quite gotten to the bottom of the best way to make use of onscreen controls as well as map expression to the Seaboard. My best advice is to actually take a few days just playing it directly on the iPad. It will give you a good idea of how the expression was originally intended to work, and from there, mapping stuff to the ROLI will be easier and more rewarding. Yes, I'm having a lot more fun doing that than I anticipated! My wife has been playing a lot of Animal Crossing and I've been jamming along with the soundtrack, which she's actually found amusing, which is why I haven't been found dead yet. Just wish my iPad had 3D touch. I might see if I can make it work on the small screen of my iPhone 7 just for fun. Regardless, I'm also remembering that one of the things I liked about using iOS as a sound source early on is having an additional touch surface for modulation... between Geoshred's controls and Keystage's XY pad, I'm excited by the possibilities. I wasn't clear; the LinnStrument isn't the problem, I can't get VOLT set up to do what I want. Some buried function or another that I haven't found yet, I suspect. Yes, I was mostly commenting on VOLT's idiosyncrasies, not the nature of the LinnStrument particularly. I just know that VOLT's developer is a Seaboard player, and I thought that there might be an added layer of complexity for other MPE controllers that I haven't had to contend with. But anytime I'm struggling with an app or VST, there's a long list of knowledge gaps that could be causing my problems! :wink: That is a noble goal and not all that far out of reach. I only took my 11" MacBook Air with me when I flew to Finland a couple of years ago because I wanted a backup for my iPads (and I needed it to do work while I was away). Exciting! I'll keep this forum updated. I'm glad there are folks who find this as fun and engaging as I do.

I've been using OBS, which is open-source and therefore the "ultimate price" (free), for my livestreams, and I've been successful with both Facebook Live and YouTube. However, while I am using an outboard mixer and an interface, I'm not doing any additional audio processing or software instruments within my computer. OBS is a little bit of a head scratcher too, but if you can't figure out the source of your issue, it might be worth trying that to see if you get the same issues or not.

I wanted to follow up on this thread as I use some of my QuaranTime to experiment a bit more with an iPad-based rig, and look for ideas about my particular output needs, wants, and fun puzzles. Here's my situation: the core of my rig is a dual-manual Crumar Mojo XT, which I use for the built-in organ, and as a controller on one or both of the manuals depending on if it's a gig where I want to be carting a stage piano, clavinet, and/or Wurlitzer. I've used the Mojo this way plenty with my Macbook and Mainstage, where I'll supplement the built-in organ with Mainstage instruments (clav, electric piano, synths), plus Pianoteq and Equator. Equator is mostly for the Roli gear that I connect using Bluetooth MIDI to control synths, strings, pitched percussion, and the like. Between Model D, Volt, Noise, bs-16i, M3000, and Geoshred, I've got close to everything I need to cover all of those sounds purely on iOS (though I'm eyeing Neo Soul Keys too). I do have an interface that I really like for my live rig, a Steinberg UR22mkii, which I chose in part because it works well with iOS (plus it has DIN MIDI, which I didn't know I would need but has come in really handy). It has a useful mix knob that lets me listen to the analog inputs with zero latency while monitoring the iPad audio... but it's a mono mixdown, which isn't ideal for the organ, which I prefer to run in glorious stereo. So I can run the Mojo through an audio channel in AUM and get the stereo, no problem! But the bummer there is the latency. It's subtle, and close to a non-issue with the buffer set to 512, but that buffer setting takes me up to the lawless borders of CrackleTown, and I can still feel the difference in my playing when I switch between the analog monitoring of the interface and the AUM output. Killer slapback delay when I turn the mix halfway between input and output monitoring, though... :wink: Turning the wifi off doesn't seem to make too much difference, and I need to keep Bluetooth on for the Seaboard, so I can't go full Airplane mode. Wondering if there are some other things I can do on iOS to manage CPU a little better. For now, with the Steinberg, as I see it, I could settle for four lines to the mixer instead of two, or settle for mono organ, or put up with a little bit of latency on the organ stuff. But wait, there's also my talkbox to consider! When running Mainstage on my Macbook, I leave the talkbox on all the time, and route talkbox patches out of the built-in headphone port on the Macbook rather than the interface. That way, I don't have the talkbox anywhere in the chain of my regular stereo output, because if I were comping on organ while taking a talkbox solo, I would be sending one side of the stereo signal through the talkbox as well, and that's not what you want. Now, all that said: are the iConnect Audio products the thing to look into if I decide to step up my game here? It seems like those can deal with iOS and/or desktops, mix audio inputs directly (bypassing connected devices), and custom route to multiple outputs. Or is there a simpler solution to any or all of this that I'm overlooking in my quest to play around with gear? I leave it to you good people!

Pink Floyd"s Richard Wright also used one on 1975"s Wish You Were Here album (no whammy). Right, of course, he brings it in on Have a Cigar!

Grey, on the full editor, you should see a button that looks like a little blue square (see attached image). That gives you an option to embed a video from YouTube (or a few other, shall we say, less contemporary sources).

SUPER cool. That guy reminds me more than a little bit of my composer friend Josh Oxford, seen playing Model D below: [video:youtube]

Very helpful, thanks Mark and Bill! I'll see if I want to dig in deeper... or just suck it up and flip the footswitch around when I'm using the built-in sim. Slightly related, I learned a great German word from a colleague the other day: "verschilmmbessern," which roughly translates to "making something worse by trying to improve it." I'm wary of verschilmmbessern anytime I deal with anything vaguely electronic, particularly since that one time I lubricated the sticky key action on my Wurlitzer and wound up shorting out the amp so it stopped producing sound.

Here's the Zoom join link! Those of you joining us who have had the luxury (?) of not needing to use Zoom before, clicking this link should prompt you to download the application. You may want to do a test run (I've set the meeting up so you can join anytime). You will also need a password to enter the meeting. As it was last time, the password is "Nord Lead," one word, capital N and L, and instead of the letter O, the numeral zero. That's to keep the riff-raff out. [wink] https://cornell.zoom.us/j/92065185969 I'll post this again tomorrow before the meeting. See y'all then!

I've been using the two-button stop/run & slow/fast footswitch for my Motion Sound KBR-3D as a footswitch for the Leslie sim on my Mojo XT during rehearsals (back when I was having band rehearsals). The only catch is that the way the Mojo receives the pedal signals over the TRS cable, the sim swaps the button functions, so that the slow/fast button stops the Leslie, and the stop/run button changes from slow to fast. I've been doing some pedalboard rearranging during quarantine, and it's a physically improved layout now, but I would love if I didn't have to swap my brain around when using the onboard sim, or flip the footswitch upside down during rehearsals, becuase that changes the way I have to run the cable. Someone over at the Crumar/GSi group on Facebook said I just needed to swap the tip and ring. I have one of the old Ashby Yamaha-FC7-for-Roland-keyboard adapters hanging around from my days of gigging a Roland VR-760, and I thought that switched the polarity by swapping tip and ring... but when I use that adapter, the "slow/fast" button does change the "slow/fast" light on the Mojo, but the Leslie is always stopped, no matter what footswitches or buttons I press. The Leslie only runs if I hold down the "run" button on the Mojo control panel, which, obviously, isn't a real solution. So I guess I have two questions, with the more crucial one being the first: 1. How do I flip the signals from the Motion Sound pedal so that the Mojo recognizes them correctly? 2. Does the Ashby Solutions FC7X-ii adapter work by swapping tip and ring, or is it doing something else?