SamuelBLupowitz
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Posts posted by SamuelBLupowitz
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I did not know this and it is hugely helpful information. Thanks for sharing.Many VSTs can't divide their work across multiple CPU cores. That means that on a quad-core CPU like yours you can't get close to 25% usage without gaps in audio resulting in the kind of crackling you're hearing. It's often confusing because a lot of tools that show CPU usage will show that each of the four cores is at 25%, which would seem to suggest that you could use more - but that's an illusion. In practice, one VST's work is being handed around round-robin style so that only one core at a time is doing any work (this is done to spread heat production around which helps the CPU stay running at higher clock speeds.) -
Please keep us posted on how the shows are!
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Yes, thank you for sharing. Since most of my time playing jazz in an ensemble was as a bassist, how jazz piano 'works' has always been somewhat mysterious to me. I know how Paul McCartney voices a chord at the piano, or even Ben Folds, but I"m so rooted (no pun intended) in that pop style where the melody is in the vocal and the left hand is hammering out the bass notes that I often can"t break out of my box. I loved this.
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Horace Silver might be another good one for him. I wouldn't say he sounds like Vince Guaraldi, but there's a similar emphasis on sparse, rhythmic playing.
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To that end, I wonder if anyone has had the chance to compare the feel of this board to the Kawai VPC1, as long as we're discussing using it as a controller for software pianos.Is this same Kawai/Nord action in any of Kawai's other products?Not exactly... apparently it is some altered version of what's in the MP7SE.
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Yup, it's a Block, and I'm very curious to see how I like them as a Frankensteined half-synth-action, half-Seaboard controller. But given the L-shaped layout of most of my live rigs, two separate two-octave controllers will be equally handy.You didn't say what kind of Seaboard you have; if it's a RISE, that's one thing, but if it's a Block, you could connect the LUMI to it seamlessly, allowing for some fairly interesting splits... -
They were outlawed as part of the treaty that brought an end to the (Hammond) Clone Wars.I guess they did solve for electric power over Bluetooth, though. No wall wart in the 24th century. -
To quote Worf, "it is a good day to die."That is hilarious!If we aren't banging on old remnants of steel dumpsters in our post-apocalyptic society by then, I figure there's no way there will be actual musicians at that point.
Audiences already don't care if most of the music is canned.
AI already is able to make (and even sing!) pop songs that are at least as good as the dreck on the radio.
Give those two trends several hundred years? Yeah....
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Yeah, that is completely unacceptable. I've seen murder in the eyes of my guitarist on the more than one occasion when people have just moved his amp without talking to him first. Once, we were chatting at the bar while the other band was setting up in front of our backlined gear, and the other band's keyboard player must have decided he needed more room, because we heard the telltale sound of a spring reverb being jostled. I've never seen my bandmate move so fast.I have no patience for people (drunk adults. curious children, oblivious passers-by) playing the gear without asking us. This has happened increasingly frequently. I used to be a little more meek about it, not to upset clients or bandleaders, but not anymore. Unless I know you are a respectful, professional keyboardist, or you have ASKED me to try the gear. you get a death stare and "no" in multiple languages.Touching other people's equipment without permission is a breach of decorum, full stop. It boggles my mind that people would think it's okay to play your gear.
Tangent, but that reminds me of the time during the Monday night piano bar gig that I had one summer in high school that a drunk woman sat down next to me on the piano bench and started plunking out notes. I was 17 and didn't know what to do about that. There were only two or three other people in the bar. A few minutes before, the same woman was shouting at me "PLAY SOMETHING WE KNOW" in the middle of a song.
I was playing "Brick" by Ben Folds Five. I guess she hadn't turned on the radio anytime between 1997 and 2004.
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Hooray! Proof! One of my favorite tricks that I"ve been working on is playing a 'dueling' solo with myself â my funk band has a song where I trade licks on organ and Seaboard (in A minor no less!) and I"ve really been enjoying learning to work out some faux-Bach improvisation between my left and right hands.
But my boards aren"t nearly that heavy!
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There have been a few threads about this amp over the years, but nothing I found that's dedicated to how to make the most of the many options it offers. Since I got mine (heavily used but in great working condition) about a year and a half ago, it's become a key to my live (and often studio) rig, and a fantastic compromise between authenticity and pragmatism. Sure, I'd rather have a full Leslie and a dedicated amp or DI for every board, but I love that I can bring one box that can handle all the synths and pianos and still give me a real spinning horn plus a crossover for the low rotor sim -- and I only need to ask for two XLRs from the sound engineer.
I've covered left-hand organ bass with it, too -- I hardly ever turn the sub frequencies on the rotary channel up past one, and when I do, the low end kicks like a mule. I mean, I've plugged bass guitars into the clean channel in rehearsal in a pinch; I have a sneaking suspicion that with a SansAmp in front, I could bring it to a trio gig where I double electric bass and keyboards and it could be my only amp.
I'm interested in the handful of other folks who use or have used this amp on the forum, and how you like to set it for different organ and non-organ instruments. I love having full control over the amount of low rotor volume, plus the amount of the digital rotor effect (though I've never found a use for that anywhere other than fully off or all the way up), but I've often wondered if there's a sweet spot that's more authentic to a Leslie. This goes for the slow/fast speed and acceleration adjustments as well, though I know those are more a matter of personal taste.
Also curious about your use of the stereo "expander," and any tricks for how to set the EQ in the clean channel for various instruments, since the EQ boosts and cuts frequencies more dramatically than some other amps I've used. And I haven't done much with the horn mic balance controls, or ever used the line level inputs in the back of the amp (would that be better for the output of my laptop interface for gain staging purposes and a flatter EQ, I wonder?). There's a lot going on.
Anyway, sometimes with tools with this many options, I figure out something that seems to work for me and then never explore any further. I love a good knowledge share.
(Oh, speaking of the speed adjustments, don't you just love taking this thing apart to make them? My engineer friend who has helped me do some work on the amp calls this "a textbook example of bad practical design." When I pointed out how the Pro-145 has those knobs on the front panel rather than hidden deep inside the cabinet on the circuit board, he said "maybe because a disgruntled amp repairman shot the original designer.")
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Playing with drummers who are inconsistent with their feel or (heaven forbid) time. Not something you want in any musician, but I've spent enough time over the years fighting mediocre drummers that it's one thing I feel comfortable saying I've graduated from and won't tolerate anymore, no matter how informal/hobbyist the musical endeavor is.
To be clear, I'm not talking about the occasional flub or error in a fill or a part -- we all have our "special moments." I mean players who consistently can't keep it together, and make everyone else's job harder as a result.
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I loved a lot of my dad's music growing up, but Bruce didn't connect with me until college (it was the dual piano and organ in the band that really helped me find my way in, especially in the Born to Run/Darkness era). Absolutely one of the great songwriters American popular music offered up in the second half of the 20th century, and he's a down-to-earth, intelligent, thoughtful man of integrity, despite what some caricatures of him might imply. Glad he's still giving his all for us.
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I got one of the LUMI boards myself â I may or may not outgrow the Seaboard, as you say, but regardless of my software frustrations I adore playing the thing. It was a semi-practical purchase since I wanted to do pitch bend and modulation on synth lines while my hands and feet were all occupied doing other things, but it"s lent itself to so much more than that for me.I am getting a pair of Lumi keyboards on the Kickstarter because they look like they'll be completely stupid, which is what I want... but I am not a fan of ROLI in general, and tend to be very cautious around their products. Good for you for getting into MPE, but don't be surprised if you outgrow the Seaboard at some point.
That said, I realized there are certain 'typical' keyboard gestures that are a lot more difficult on it, so the LUMI seemed like a logical way to keep up the 'small-footprint Bluetooth MIDI controller' situation, but play glockenspiel parts and synth arpeggios in tune. Plus, you know, flashing lights and stuff.
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I want that on a t-shirt!
A more succinct version of the above, but it doesn't have any Charlie Parker in it.Get the most out of the gear you have today. You'll know when you're ready for something better. If you think, "I suck until I can get X," you're wrong.Charlie Parker says, "If you think, 'I suck until I can get the new YamaKorCasNorLand,' you're wrong."
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I appreciate this resource; I utilized very little MIDI (or, really, computers at all) with my stage and studio work until I bought a Seaboard -- now it's a major part of my setup, and I love it, but it's been quite a learning curve.
I do wish ROLI would bridge the gap a bit between their bedroom producer/hobbyist iOS apps and their more professional desktop synthesizers. I wound up with a Macbook and Mainstage in my live rig because their Noise and Seaboard 5D apps are such inflexible, MIDI-proof demo versions of Equator, even though I fell in love with using the Seaboard to control third-party iOS apps like the Minimoog Model D and VOLT. Either way, making the most of the Seaboard's MPE while still using it to control more "standard" MIDI sounds has been a challenging (though rewarding) experience.
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See, the vocoder makes me think of Dogs! :grin:I agree. Of the whole canon, this is the one that has the most nonsense (non musical chores) with patch choreography, the little bass lick, the vocoder.....ugh -
Well, sure. But have you seen the axes HE gigs with?I am often reminded how certain instruments get comments here such as ,"it is really difficult to play well on the board, I don't like the action"To which Cory Henry says, "Hold my beer," and proceeds to burn down the house on said keyboard
Yup, the King Korg which is hardly a forum favorite, from the sound standpoint or the action/keybed standpoint.
Also a keytar.
To prove your point, I'll say I've never played, nor heard talk of, the King Korg, outside of seeing Cory Henry play the Lingus solo on it. Therefore, I assumed it must be an amazing piece of kit (as the British say).
And you gotta not only have chops, but a certain je ne sais quoi to pull off a keytar. That's not at all a dig at our keytar-slinging compatriots on the forum -- I just mean Herbie Hancock seems to wear it better than, say, Peter Gabriel. Hopefully that's not too controversial a stance, as I love both.
My message was just that Cory gets a B3 and a Moog and a Rhodes onstage when it suits him. If anyone has earned the right to have the good stuff on a gig, it's him!
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A favorite reference of mine. Thank you for the heads up... the IT team at my day gig are all gearing up for this as well, but it's good to have some folks who are specifically concerned with how the OS will affect music-making.To quote Mad-Eye Moody, "Constant Vigilance!" -
Saxist Phil Woods talking about how he hated his gear and then he played with Charlie Parker and his whole attitude changed ...
[video:youtube]
Magical. Thank you for sharing.
A more succinct version of the above, but it doesn't have any Charlie Parker in it.Get the most out of the gear you have today. You'll know when you're ready for something better. If you think, "I suck until I can get X," you're wrong. -
Well, sure. But have you seen the axes HE gigs with?I am often reminded how certain instruments get comments here such as ,"it is really difficult to play well on the board, I don't like the action"To which Cory Henry says, "Hold my beer," and proceeds to burn down the house on said keyboard
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I like to think of your gear as your work clothes. As long as you're dressed appropriately for the job, it doesn't matter how fancy or expensive your outfit is -- it won't make you better at what you do. But dressing up a little more can certainly make you *feel* better, which can inspire you to do your job with a little more panache!
I could do 90% of my gigs with one keyboard and nobody would notice or care (sometimes, when I'm feeling really burned out or I know I'll be playing an, uh, emotionally underwhelming gig, I'll do exactly that). Every now and then, I'll get some compliments or make an impression because of the gear I bring to the stage, but that's not really making a difference in the performance -- I bring extra/better stuff out for me, not for the audience. The way I feel when I'm surrounded by fun instruments affects my mood, and can inject extra passion into my performance.
To return to my clothing metaphor, sometimes you need different clothes for different tasks. Even a non-guitarist knows that a Les Paul through a Marshall is appropriate for different settings than an ES-335 through a Fender. But different tools in the toolbox don't change the core tendencies and abilities of the player. I'd rather paint my house in a t-shirt and sweats than slacks and a blazer, but I'll wind up doing the same job either way -- the latter might just leave me feeling a little messier at the end.
New toys don't replace time in the woodshed or rehearsal room, that's for sure. But I'm trying not to guilt myself for enjoying different instruments when the mood strikes. I just have to be realistic about the difference between being more prepared for the task at hand, and some magical quick-fix for my deficiencies as a player!
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Love a good stack on a Wurlitzer! Got some cool stuff at your feet there, too. What"s for the Vox and what"s for the Wurli?currently this is my fav -
Yeah, okay, fine, I guess that's an acceptable reason to leave the band...The person actually playing bass on the track is our original bass player, Matt Bissonette. He had left the band to go play with Elton when we shot the video.
Turned out to be a perfect tune for my new Mojo... rather than the synths of the original, I'm padding on the lower manual, and playing the hook on the upper with 2nd percussion. Works very well for our classic R&B leanings. Gonna give it a little bit of 80s flavor with my Seaboard in a few spots though, I think.
One of mine, as well...certainly one of my faves to play. Makes a nice solo piano tune as well.Put together an arrangement of 'Drive' at my band rehearsal last night, to play this weekend.My favorite Cars song.
It's Halloween avatar time again.
in The Keyboard Corner
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