SamuelBLupowitz
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Posts posted by SamuelBLupowitz
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Agreed, a great little hack! I do something similar with my Behringer X-Touch Mini and my Mojo XT; usually the X-Touch is a control surface for my Mainstage rig, but it comes in handy as a quick way to tweak the Mojo deep-editor parameters in rehearsal.FYI: An Easy, Cheap real-time extended editing panel for your Mojo61: . . . I thought this was pretty cheap and easy way to add some flexibility to our Mojo61's, w/o having to mod anything. You can always use the NK2 on something else, or disconnect it at any time. I would think you could hook up 2 or more NK2's through a powered hub for even more controls, but I have not tried that yet. -
How many people see the humor in audio production jokes? Sum.
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I would certainly love to listen to, and hopefully be a part of, one of these. I've heard them talked about on the forum, but they all predate my hanging around here by quite a few years.
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Al, that's beautiful... and I'll be stealing some of those left hand voicings from you, to be sure!
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Ah, yes, we then-old-timers can regale the kids about how many modulation options were available in the Covid-19, and they'll roll their eyes and return to the built-in emulation in their space ships.Years later, someone will assume the title thread is about a synth -
That's something I'm going to keep in mind. I've found that my playing style (and my penchant for Wurlitzers) really lends itself to a nice buttery upright action, and I prefer my $90 home piano to some grands I've played... consequently, some of the most beloved digital piano actions feel a little too heavy for me.I've had my Korg Grandstage for a month, and although there are a few things here & there, I'm very happy I chose it.The action is EXACTLY what I've been looking for â comparisons in well-known instruments would be somewhere in between a CP88 and CP73. Light, responsive, not mushy. Almost that of an acoustic upright, including brushed blacks and not-glossy whites.
One of these days I'm going to come check it out, Jason! But not for at least a couple of months, to be sure... :wink:1962 B-3 -
Yeah, live Hornsby is my jam; the studio stuff is tougher for me to get into. Even his more modern stuff has an 80s Adult Contemporary aesthetic which has never particularly appealed to me. Even as I've come to appreciate synthesizers more and more, he really likes those mellow Korg pads that just feel antiseptic to me. Much like the other Bruce (that's Springsteen, Spider76, though I'd be interested in what the lane is between Hornbsy and Dickinson....) during his late 80s/90s period... but he got over it eventually.Oh man, the Hornsby talk brings me back. I remember how with every album he'd do all these interviews saying this one was different, they all played live, no drum machine, just live vibing off each other, this one was going to be a whole different sound...and then it would come out and I'd buy it and it would sound EXACTLY the same as the previous ones. There was one I remember playing a lot, some time in the 90's, that had some cool writing and playing on it. But it still sounded like the previous three or four, really. Just better material.Anyway, I COMPLETELY changed my tune on him after seeing him live at the Blue Note some time in the early 2000's.
But the live stuff? There's a killer band taking some RISKS! The live "Here Come the Noisemakers" from the early 2000s is a favorite of mine; I recently bought its follow-up, "Bride of the Noisemakers," and that's cool too.
I've heard Hornsby felt very self-satisfied about how he got a chorus of jazz improvisation into his big Top 10 pop hit. Made him look real good to his fellow University of Miami alums!I remember the moment I first heard The Way It Is â in my car on the way to a gig. I thought it was Jackson Browne, then no... who? wha? I pulled over, feeling like a guitar player who'd first laid ears on Jimi Hendrix. Tears of joy. No blue notes, ever. He's a bluegrass piano picker. A game changer. -
Okay, this is cool. I'll have some quarantine fun with this for sure... perhaps triggering it with my Roland pedals, hmm? Thanks for sharing!
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Guido, good to hear from you! Are you and yours holding up okay?The Mojo 61 does not send high trigger midi.
It's not what the user's manual says (page 31).
And you also missed the GSi DMC-122 from your list, which is probably the only dual manual organ controller around.
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A band for keyboard players horsing around. :wink:and am a good "glue player"...meaning hopefully I help bring the song together.I love this term - I now have a potential strength as a player as that's what I think I bring to a lot of songs
You sound like brothers from other mothers. I"ve got a name for our band: The Glue Factory.
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Not to keep bringing up Bruce Hornsby, but I feel like he took advantage of a similar "best-case scenario." He was relatively old for the pop world when his first record with the Range came out, and The Way It Is has certainly outlived his 80s pop career. But I've always respected and enjoyed that he took the influx of money and fame from that big hit to spend the rest of his career doing whatever the hell he wanted, going deep into esoteric improvisational territory, touring with the Dead, and following whatever weird muse spoke to him at any given time. Not everything he does is to my taste, but what *is* to my taste tastes like a fine wine or unusual small-batch spirit, whereas he could have settled for being more of a Diet Coke, you know? He's certainly never phoning it in.But what I was thinking was, what a great legacy. If you're going to be a one-hit wonder, wow--have that be your hit. What a treasure. He seemed like a regular front-line guy who wrote a fantastic song and had it break, and that seems like a best-case scenario in a lot of ways.I haven't investigated Cohn's catalogue beyond "Memphis" and "Listening to Levon," so I don't know if he's in a similar boat, but I think it's an interesting topic of discussion.
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Wondering if this thread is the right spot to chat about challenges with, and strategies for, combining MPE and traditional controllers for playing the same sounds.
Now that I've augmented my Seaboard Block with one of Roli's LUMI Bluetooth controllers (Dr. Mike, I'm wondering if you got yours yet, or if you're one of the furious throng who got bumped down the queue), it's mostly been a handy way to divvy up my more expressive patches and more "traditional" patches between controllers. I love the Seaboard for playing a bendy/modulating synth part while laying down a Hammond pad with my left hand, but It's a lot easier to play a glockenspiel part when you don't have to worry about accidentally bending the pitch in an inorganic, non-musical way.
But every now and then (as we discussed earlier), I'm using the Lumi to extend the range of the Seaboard, and it leads to some interesting challenges. Because the Seaboard is always transmitting some degree of channel pressure, it can be tricky to utilize the Lumi's aftertouch for modulation, because as soon as my sound source is set to respond to an acceptable degree of aftertouch on the Lumi, moving over to the Seaboard has the sound modulating all over the place. Same goes for pitch bend: I've got some accessories for triggering traditional pitch bend on Lumi notes, but if the bend range of the sound source has to be set to 48 semitones for the Seaboard, all of the sudden I'm doing Whammy-pedal divebombs when I just wanted to bend a whole step.
There are a lot of places to adjust variables, too. There's the poly aftertouch/channel pressure switch in the Roli Dashboard, and then all the potential places to adjust and adapt MIDI information per concert and per channel strip in Mainstage, and let's be honest, I'm not that great at this yet; I've got less than a year and a half logged as a heavy Mainstage user.
Just wondering if the good doctor, or anyone else on the forum, has some tricks for moving fluidly between these two kinds of control surfaces on the same sound source -- other than, of course, "set up two identical-sounding patches and tailor them to the needs of each controller," which seems practical other than when I'm using the MacBook to connect to external sound sources.
That's a lot of detail that's maybe too specific to my setup to be useful, but hey, we're all in quarantine right now anyway, right? :wink:
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Isn't it great when technology helps with creativity and inspiration? Glad you're having success!Update: Got the camera connection kit. Using AudioKit Synth One & D1, Alchemy and Moog Model D. Assigned all the parameters I wanted to the electro. Pitch/mod can be done if the iPad is on the keyboard, takes a bit of getting used to but I"m pretty fluent with it now.My Nord Electro has suddenly become a Moog Model D and a Digital/VA synth. Layering the sounds with my favourite Nord upright pianos is a dream. Started recording ideas and stuff into GarageBand and my creative juices are flowing again. This is freaking great. Thanks everyone for your input.
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Very cool! Reminds me of what Page McConnell has on his Hammond and grand piano with Phish.
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I remember those, and I loved them. This KaraYoko is making my day like you wouldn't believe.Having trouble running down my previous favorites, "Jim Morrison Simulacrum," and "Diamond Dave's sound dashboard." Ah, the days of Flash apps.Also reminds me a bit of "Week Music" by Nate Fernald, which is one of the funniest things I've ever come across.
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You're telling me, that's why I go out of my way to arrange them the other way around!Left hand -> piano. Right hand -> organ. That'll keep you busy. -
Thanks for sharing this, Dan. I have had very different experiences that still parallel yours. I've also had to learn how not to be a "fixer" in relationships; I was in a few fairly toxic relationships when I was younger (some with some really nice girls who just completed a "perfect storm" like you said, and one or two not so nice...) that I stayed in because I felt validated by being supportive and helpful when other people would run. I stayed with my last girlfriend (before I met my wife) probably about two years too long; I was willing to put up with a lot of emotional abuse because I wanted to make good on my promises, and to show that I wouldn't abandon her like her father and stepfather.
I would also try to fix things when someone didn't *want* to be in a relationship with me. I would try to make changes in my behavior as if it was a game I needed to improve my strategy to win, and then I would get frustrated with the object of my affection when it didn't change anything. Like it's her fault knows what she wants, and she's not interested? But that's not what I learned growing up (and I imagine a lot of other guys didn't learn that growing up), and I drove myself crazy trying to figure out how to get certain people to like me more, instead of just moving on and finding the right fit.
Boy, this quarantine stuff does force you to do some self-reflection, doesn't it?
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I also prefer playing to an energetic crowd, but lord knows there have been plenty of times where I've hauled all my gear out to some bar and realized mid-set that I would have better off keeping my gear set up at home...I don't get the live stream thing. I can't see doing two sets of music with my band in a living room. Part of the whole thing is crowd and energy. No thanks.Several of my original-music projects have been talking as we planned for the year about how we can minimize the number of gigs-for-gigs-sake (no money, no crowd, no fun) and still keep moving forward and being creative and performing our music. As some folks have said above, this crisis sure is forcing us to put our money where our mouths are... though I will say, being separated from my bandmates has been one of the big emotional tolls of quarantine. We're trying to work on studio stuff remotely, and we're all doing some online videos and livestreams on our own. I will say, I enjoy "eight friends from all around the country are watching and reacting" in a virtual space more than "the same three friends are here watching while the rest of the mostly-empty bar ignores us."
But I'm looking forward to once again having the option of the latter, as I know we all are.
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Man, that is just my favorite style of tambourine playing. If I knew someone who could do it, I might never hire a drum set player again...I have a feeling this thread will become pretty populated over the next couple of weeks and months...Back in January, I was in NYC for the APAP conference and hooked up with my percussionist mentor & friend, Scott Kettner. I figured we'd shoot a couple of low-key videos, but he called his videographer neighbour to come over â who happens to be from the same suburban neighbourhood as me, originally! Here's one of the results:
Oh, right, keyboard forum. Great piano playing too! :wink:
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Like my mom always says, 'it"s just like riding a bicycle: you forget how to make the LFO do what you want and can"t get the decay and release to sound right, and eventually you give up and look for a preset.'You should give this guy a call:[video:youtube]
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Don't get me wrong, they're my favorite band, but if I had to listen all the way through the Beatles' "Birthday" every time I wash my hands at the current rate, I'd be praying for the virus to take me by Wednesday!I keep hearing that you should sing the Birthday song when washing your hands.Seems like the 2:42 it takes to go through the Beatles' Birthday is a bit excessive.
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Had some fun playing around with this one this morning. Hoping I can figure out a way to apply it to some songs here or there...
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Josh, that is SO cool. I do hope you can demo it for us soon. I"ve been really enjoying this sort of out-of-the-box application of MIDI and software for performance lately, and I"m looking for continued inspiration as my wife and I try to be creative while isolated from our band mates.
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I remember standing early on doing my first keyboard gigs, but since my early influences were piano players like Elton and Billy, it just felt more natural to sit. I always preferred to feel like I was sitting at a grand piano, even if what I had was a bad DP on an X-stand...
As I started adding more boards to my world, I looked to Benmont Tench and Kofi Burbridge for my cues, so I"ve continued to sit (and occasionally jump up and down).
Diversion - Peanuts kill Frampton
in The Keyboard Corner
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