SamuelBLupowitz
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Posts posted by SamuelBLupowitz
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Definitely interested in your experience; a power conditioner is a purchase I've been considering for awhile, especially given my penchant for 40-year-old electromechanical keyboards. These days, I record my Wurli at home instead of at my treated studio space at the office because it runs so much noisier at my work studio. Might have something to do with sharing power with the undergraduate biology labs...
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Before I dive into the new INXS episode, I just need to offer a counterargument to you two, David and Paul, and the AC/DC purism you espoused in the last episode, with.
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I'm a Logic guy, but again, it's because we have it at work (that's come in handy for me for some, shall we say, non-work-related purposes).
Audacity is one of the great resources of the audio world. I'm glad that open source software like that can still thrive, even if the communal vision of the net's early days hasn't quite panned out the way many predicted.
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Can't wait to listen! I was wondering who you were teasing at the end of the last episode...
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I won't say that goes without saying, but it goes without saying. :wink: I stopped looking for vintage Hammonds years ago because it was apparent we didn't have room for one anywhere, but I think an M or L series will find its way to our studio sooner rather than later, even if a B3 or A100 is a longer-term investment.and a B3/Leslie
Well, if you get into trouble and you need to stash one somewhere... you're only two hours away.I just bought one. I started moving in and moved the Leslie's first last night. I had to have Wes G here on the forum run the interference and told my fiance they are for him. Seriously good luck. Thanks for the encouragement, all! I'll keep you updated.
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Maybe it's OT, but honestly, a space where we can play music to our heart's content is one of the reasons we want to do it. Wish us luck. If all goes according to plan, we're putting in an offer tonight. I'm all aflutter.
If we get it, I promise I will use this thread to share studio photos (of course there's a studio space), and a picture of the spot where my wife suggested we one day put a baby grand piano.
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A great story and a wonderful piece of wisdom. Thank you for sharing it with us.He reminded us he was the only one at the gig dinner table on the Hippie wedding gig who actually had recorded with Dylan after Bob came up in conversation..He's on Pedal Steel guitar here (below) - from the 'Blood On The Tracks' album on 'Meet Me In The Morning'...he taught me a lesson - ALWAYS 'Dig In' on a gig , always, even if your gear isn't kicking back that day or the rooms acoustics..I was struggling with my rig and piano sound that afternoon on the band part of the gig and he knew it, he looked directly at me and he dug in hard to his PS strings and really got behind it...like saying - 'just dig in anyway'... RIP Buddy - I remember!-
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Bummer to hear that -- I'm a big fan of Paul's, and remember seeing the ad for that show and being very interested. Still would like to check it out.
Then again, I often do enjoy Ron Wood's show, depending on the guest.
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Perfect, everything I needed to know. Thanks!I'd use a small direct box to get the leslie signal into the mixer.The aux return of the KL is not suitable for FOH returns, because you can't prevent the FOH signal from going back out the main and monitor outputs and you'll get a loop. That is the reason I switched to the KL-8, which has a switch to remove the aux return from the main output.
In order to combine FOH with your own signals for your personal monitoring, you need an extra small mixer, or combine the signals in your P2.
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Yeah, I've learned that I actually enjoy the "puzzle" aspect of this sort of thing; I find it really satisfying to Give My Creation Life.Whew, that seems complex...
Right, I'm realizing that running an aux feed from the PA back INTO the Key Largo would create a horrifying Feedback Loop of Doom, and we don't want that! The effects send/return adds to the main stereo output; it doesn't work the way that a separate monitor in/out would.I used to run a submixer with a pre-fader send on it specifically to combine both keys and a FOH monitor mix (without keys) for in-ears. The KL wouldn't work for that since the send is post fader, not sure if that is the goal.
Yes, that's the situation I currently have with the P2, and it works fine. I was just keeping an eye out for opportunities to minimize little gadgets as I accumulate big gadgets. As I said above, I like the puzzle. :grin:Also ironically, I'm currently using the P2 as well, but I get EVERYTHING (keys and all) back from FOH. . . . It works well since we now have a digital mixer where I can control my own mix easily.
No apology necessary, this is exactly what I was looking for. I actually think the amp wouldn't complicate things too much because it has those XLR outs and quarter-inch ins, which means I could send the Key Largo INTO the amp from its Monitor Out if I wanted to merge it with the actual rotary speaker signal. I'd just be doing my final summing to stereo from the amp, not the Key Largo. Now, what would change that is if I decided to use an actual Leslie in place of the Motion Sound... but that's been discussed on another thread.Sorry I can't be of more help. I don't have anything like the amp you have in my rig and that seems to be the complicating factor. -
I looked at a few of the older Key Largo threads, but nothing quite matched up with my questions and my needs, so I'm going to lay it all out in a new one.
My gig rigs have become relatively modular, since I play a wide variety of venues from clubs to outdoor festivals to corners of bars that don't actually have stages. So I'm anywhere from "multiple amps, a combination of vintage electromechanical and modern digital keyboards, and a laptop," down to gigs where I just have a single board. But my Motion Sound KBR-3D has been at the heart of all my rigs for the past few years; I run organ into the rotary inputs, other boards (or sounds routed separately) into the stereo clean channels, and the output from my Macbook running Mainstage into the direct stereo inputs in the back. I love having one multi-channel amp for convenience that also lets me put an actual air-moving rotary effect on the organ, and it mixes everything down (including internal mics on the horn) to two XLR outs in the back, so I can just run a stereo pair to the board without any need for a DI or extra channels.
Now that one of my bands started running IEMs, and I've never heard myself (or the band) better on a gig, I'm thinking that I could happily stop hauling any amplification at all to some of the smaller gigs. Bigger shows I'd like to keep using the Motion Sound, if only for the organ.
I'm thinking about if I replaced the Steinberg USB Audio/MIDI interface in my laptop case with, say, a Key Largo, how I might be able to make that work both with and without the rotary speaker on my gigs. I'm pretty sure the Key Largo can handle the audio from Mainstage over USB, and it can also take a MIDI cable from my Mojo to control various software instruments the way I've been with the Steinberg. That would still leave me with three stereo channels for my hardware boards (room to grow!).
Not sure about how much jury-rigging I'd need to do to output a mixdown from a rotary speaker INTO the Key Largo, though, if I was trying to keep my output to FOH to a stereo pair of channels and not add yet another mixer to my setup. The only outputs from the Motion Sound are XLR, and the inputs on the Key Largo are all quarter-inch. Don't know if I'd want to really get into Adapter Land there, but I'm open to suggestions and brainstorming. On those gigs using the Motion Sound, I suppose I could output the Key Largo to the Motion Sound as well, using the Key Largo's stereo (?) monitor outs, and continue to use the XLR outs on the amp for FOH, rather than the Key Largo. So it would basically be the same setup I currently have with the Steinberg.
Also, do any of you utilize the send/return of the Key Largo to use as a feed from the PA to your IEMs, or is that not really what it's for? Just curious if the Key Largo would also allow me to ditch the Behringer P2 headphone amp I'm using to receive my in-ear feed. I'm currently the only one in the band running in stereo, because I called dibs. :wink:
Anyway, this seemed like the right place to talk through some of these ideas, and potentially get some feedback and thoughts that would occur to me on my own. Thanks all!
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Hopefully this isn't too OT, but since a lot of you are talking about recent purchases of the CP4 (and the OP wants to sell his), how is it working for you? Are you using it as a stand-alone stage piano? As a controller? There's something to be said for buying the newest, most up-to-date gear available, but as I keep an eye out for my back-burner desire to upgrade from my 2010 Privia PX-3, I'm wondering how the seven-year-old CP4 stands up against newer digital gigging pianos. I've always felt like "if it's good enough for Chuck Leavell to use with the Rolling Stones, it must be pretty solid," and he was still using it with them as of 2019, but he also can afford to upgrade whenever he feels like it.
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Is it that different than McCartney or Springsteen having a teleprompter for their three-hour sets? I much prefer to see the iPads than music stands or cheat sheets all over the stage.Anytime I see singers with Ipads and bands the first thing I think is disrespect. -
Ooh I have to catch up! Excited to hear my two favorite Aussie forumites talk shop. :grin:
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The debate rages on whether Nord's cowbell samples are truly superior to the competition, or if people just like the red color.Little known fact: originally recorded using a Nord Lead. -
Ah yes, nothing gets a groove happening like a little high-feedback slapback delay on a cowbell part.My band just played this with, I kid you not, 21 cowbell players. 19 of them were non-musicians and rushed like hell. -
It's not quite as cool as turning a Hammond off and back on to get a pitch bend effect, but in a digital world, there's something satisfying about a musical application for "turn it off and turn it back on again" (which is a large percentage of what I do in my day job).Love how you're workin' that power strip!+1. "Powerboard as performance aid" has potential as a revolutionary new movement I reckon.
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At my recording session this past weekend, we were looking for something a little offbeat for the organ sound, since the track we were working on featured a mix of Deep Purple-inspired heavy metal "rhythm guitar" organ playing, and some English prog-type sections that called for something more pastoral.
The owner/engineer of the studio we've been using had recently dug up an old Wurlitzer Spectratone rotary speaker (photo is attached; the quarter-inch jack is the "Put In," get it?)
Here's a video of some guitar players using one:
[video:youtube]
I ran my Mojo into an overdriven US-made Vox from the 60s with a little bit of trem on it, and that speaker output drove the Spectratone. It created a really cool overdriven-Leslie-but-not-quite sound that fit really nicely into both the heavy and ethereal sections of the track. I actually used a power strip as a "speed change" switch for the Spectratone, while the Vox functioned as a constant low "rotor." It was a lot of fun! Track is forthcoming, but below is a little video of us playing with tones for a section of the tune. You can't hear the coolness of the spinning effect particularly well, but you can see me kick in the rotary with the power strip a few seconds in.
[video:youtube]
Anyone else messed around with one of those speakers before? I think it must be pretty old; the few I've seen online are all from the 60s.
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It's really nice when the day gig actually gives you a lift, isn't it? Been there. Congrats.
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I wish I had EVER had those days. Of my high school and college friends who got excited to come to my gigs, only four or five weren't already in bands with me...oh to be back in the days when all your friends thought it was cool that you had gigs and would all show up to every single one!!!! -
When I got my first bass â a Rogue VB-100 Violin Bass, which should give you an idea of who inspired me to pick up the instrument â my younger brother had been playing guitar, and I"d expected I could just plug into his Laney practice amp. My dad was a little annoyed when it turned out he"d need to fund another amp purchase, but we went to a music shop and bought a used 75-watt solid state Peavey combo.
I still have both the bass and the amp (the former is in much better shape than the latter, but they still make sound, even if the gain knob on the amp doesn"t kick in until about 10 o"clock).
After my musical tastes expanded to include Led Zeppelin, the Red Hot Chili Peppers, and Rage Against the Machine, it became pretty clear I was going to destroy my little Beatle Bass if I kept tuning it to drop D and slapping on it, so I looked for something a little bigger and sturdier. Given my limited budget as a 14-year-old, I was looking at cheap knockoff Music Man type basses for awhile, but fortunately my love of John Paul Jones prevailed. A trip to guitar center put a standard Mexi Fender Jazz Bass in my hands and I knew that was it. It"s still my main axe, some sixteen years (and a few minor modifications) later.
In high school, I absconded with one of those giant three-channel Peavey keyboard amps that everyone had in the late 80s and 90s (my middle school was going to throw it away, along with two Rhodes Piano Basses that wound up in the back of the family minivan). That hilariously became my amp through high school (it was convenient for gigs where I doubled on keyboards, since it had enough inputs for a bass, a digital piano, and one of those Rhodes fellas). Then before I went to college, I got a little Line 6 studio 12 combo, so that I could walk across campus with a bass and an amp in one trip. That little thing still serves me well for pit band playing, small gigs, and rehearsals â it"s kind of amazing how beefy and loud that little 12' speaker can get.
It"s funny, since getting out of college, I"ve been working as a keyboard player so much more; my only rig upgrades have been from other bands" bassists unloading old amps and DIs on me (not a bad position to be in).
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I think you've identified the difference, and who it's better for: it's less for you to manage during the set (though it hasn't really been a big deal for you); it's making the sound guy's job easier, and your setup/teardown messier. Which isn't to say it's worse, it just depends how much you trust your sound guy!
I'll almost always submix my keyboards when we're doing our own sound, or just rolling up to a club -- I was in a band once that encouraged the use of vintage gear but played small clubs, and the drummer/leader was always going up to some underpaid teenage sound engineer and explaining to them how to mic a Leslie, and that we needed a fourth mic for the electric piano amp, and the synth needed a DI, etc. I didn't want to deal with that on my own, plus I trusted myself to balance my keys more than a rando who had never heard the band.
But when we play a show with our Sound Guy of Choice, I do whatever he wants, because I know he knows the music well enough, and I can trust him to mix properly, so balancing the synth leads with the bass pedals with the organ with the electric piano in the middle of a song is one less thing for me to be distracted by during the set. But that also means I'm bringing more gear. It's because I love him.
Also I love my gear. :wink:
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Yeah, it's like Jerry Lee Lewis and Thelonious Monk got drunk and got each other pregnant!The video in the original post missed the mark for me, but this one from SNL was genuine energy! Jerry Lee would be proud.
Seriously good luck. 
"Don't Fear The Reaper" -- Harpsichord Part
in The Keyboard Corner
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