cassdad
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Posts posted by cassdad
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6 hours ago, drawback said:
This is a known issue with Motion Sound amps from the beginning. I had a KS 200 approx 25 years ago that dropped knobs all the time; awkward carrying position didn’t help. I contacted the company, they sent me free ones with a note that I should use Shoe Goop to glue them on. My thought was “then why don’t they do that in the first place?” Sheesh.
Good Point! To further this story - I recently bought the Motion Sound KP-612SX, and it came with 2 extra knobs! Yeah, one would think it’d be easier (and cheaper) to just make sure they are secure at the time of manufacture. Go figure.
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2 hours ago, hrestov said:
Yes, but also if you use stereo a 30% of crowd will listen only L and 30% only R, because you mainly listen the nearer speaker. A 40% listen both, but I think only 10/20% could listen both in a good stereo sweet spot. (Obviously it depends from the gig and the speakers position).
So finally the question could be not which is the best way to get a mono good sound, but which keyboard have a good sound also if you listen only one side, because most people will listen only one side.
For me nord pianos is not good if you only listen one side. They are too much wide. Yamaha is less wide. Roland and Korg and other I don’t know.I respectfully disagree. Although I understand this whole thread is going nowhere (not sure this is only one answer), allow me to throw this concept into the mix:
My personal stage amp is a combo unit, with stereo left and right coming out of left and right speakers, but angled a few degrees, thus “spreading” the stereo left and right (as opposed to simply straight forward). Even when I was using 2 separate PA amps (DXR-10’s), I would try to angle out the stereo spread (left and right).
My point is: For the most part, once you create a really good sound, well…. you have a good sound that can be heard far greater than just left or right. Add in acoustic reality, ie. each channel’s sound inevitably gets to bounce off walls and floors, thus just the stereo sound is actually heard in a much greater space than just the “sweet spot”. The stereo piano samples get me to the “good sound source” part…. then that sound, somewhat akin to an acoustic piano soundboard, spreads throughout the venue. YMMV.
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Frankly, I truly wonder if the only one whose access is being slowed down is me. Regardless of all the access antics, the crooks still seem to be able to get access. Seems all these access antics are doing is “keeping the honest people honest”.
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MIDI for Dummies is a great start. MIDI is actually very straight-forward. It is very flexible, and can be used very simply (just plug it in and it works), or get quite complex (using it to make various adjustments and selections electronically). For me, learning how to use it was time well spent, and has served me well through the years. It really can make musical life much easier.
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34 minutes ago, obxa said:
Thanks again everyone. Going to try to schedule soon.
I also have vitreous detachment, first just one eye for the last year, as of last week now both.
Causes full-time floaters and spider webs. Not sure Cataract surgery will help that too. It's now more annoying than anything else as I swat at imaginary gnats. There have been some Japanese studies that Bromelain can minimize it. It's basically pineapple. You might want to give it shot, as it has other benefits too. I take it 4 weeks on and 2 weeks off- and it does seem to help. The word from my Doc is that gravity will eventually help settle them too.
Also started taking something called Preservision areds 2- which helps in the prevention of macular degeneration, and overall eye health. This (or the cheaper Lutien) has helped a little bit with night driving. But I know now that's more Cataract related.
Turns out one of the brochures eye doc gave me was for the light adjustable lens Cassdad mentioned.. The strength apparently can be changed (by UV light) but not sure if this is the same as a muli-focus? I'd rather have a fixed strength, but with option to change or tweak.
As mentioned, I'm one who hates progressives- tried hard to use them for several weeks. Could never make it work. Be it walking, or driving. When doing my church organ gig - trying to read a chart, work drawbars, and look at both manuals it was a failure.
So sorry to hear about your brother in law. I've recently also heard: "everyone gets to be young, but not everyone gets to be old" and try to keep that in perspective.
Been cathartic hearing from you all. Thanks again!
The “light adjustable lens” is a fixed strength. It is NOT multi-focus.
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I had it, piece of cake, wonderful results. I had “light adjustable” lens installed (they can adjust the vision prescription AFTER the lens is installed in your eyes) - thus I got to choose what strength / vision I wanted. I chose to see from 19 inches to infinity so that I could read my iPad without glasses. Turned out I can also read close up to some extent. So was win/win all the way around. As you have to wait a week or so between “adjustments”, each eye ended up taking me about a month. But the vision improvement has been life-changing for me. I have no stake in the game, just conveying my experience. Here’s the web site that tells all about it if you want more info: https://rxsight.com/patients/
Oh, P.S. - it’s expensive, and medicare or insurance likely won’t pay for it. But, for me: “What is my eyesight worth?”. I paid the money, no regrets.
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I don’t think I’ve read anything in this thread that I can’t do with forScore, plus forScore does lots of other things also. For me, having one program for all my music AND my set lists is very efficient.
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My issue with headset mics is that much of my singing style involves moving closer or farther from the mic as I sing = hard to do when the mic is a fixed distance from one’s mouth, I think.
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I used the search engine, does not return anything about this on this forum. Just FYI. Is this something old, or something new?
(My guess is “old”, but never heard of this before…)
UPDATE: Further research seems to show it’s “old” - just never heard of it before. Just for interest.
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11 hours ago, Stokely said:
mic boom adapter is a requirement for any stand I use. I have one on the two stands I tend to use (both K&M) and an onstage adapter that works on most open-tube stands, but just in case yeah I'd be interested to see what you did
If I have to bring something that doesn't fit in my main case (like a mic stand), it's only a matter of time before it either gets left behind or left at a gig.I also have wanted to eliminate having to carry an extra mic stand. However, when I connected the mic to my K&M stand (using their accessories), every “hit” on my keyboard came through my mic - it was terrible and unacceptable. I could not isolate the mic to an acceptable level no matter how I tried.
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17 hours ago, PianoMan51 said:
Of course it’s the total schlep. Which is why the K&M 18880 at 3.2kg is popular here. Expensive, yes…
Is it rock stable? (Have you ever used the 18820 for comparison?)
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19 hours ago, Stokely said:
I prefer a heavy stand and at least a somewhat weighty keyboard--20 pounds or so. I did one windy outdoor gig last year with my Modx7 on an X stand where I had to 1) weight down the feet of the stand as the wind was tipping the whole ensemble and 2) wrap something around the Modx7 to make sure it wouldn't get the wind under one end and tip off.
My current Omega Pro stand isn't perfect but it folds up pretty nicely especially in single tier mode. Certainly not ideal for loading on a cart though.
Form factor/shape is more important to me than weight. A lot more important. My Moxf8 at 30-ish pounds was much more awkward to move around than my Forte7 at 41 pounds. The chassis on the Forte was easier to grab, and it was more compact by a lot (fits into a 61-key case). That compactness matters when taking it to the car, loading in and out of the car, and on tight stages it's nice. It means a lighter case too.
I have a cart which can handle weight; but if something has an oddball shape or is really big, the cart is going to be difficult to maneuver, especially if you have to deal with elevators.
I was highly impressed with the Montage M8x I played, but at 62 pounds and a ginormous chassis which needs a big case, that will mean a lot of banged-up doors and torn-up car interiors. As I said in a Montage thread, if I owned a van my thinking might be different.Great points, thank you. Just FYI - I do have a van! The seats all fold down into the floor, access is low to the ground, and with wide side and rear doors, it’s perfect for transporting music gear (and for soccer Moms)!
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Just thinking out loud, but reading about the weight of the new Korg GrandStage X triggered this: Obviously - the real weight of a keyboard is the keyboard itself + the transport case one is using + the stand to place it on (+ maybe the bench if one plays seated).
I’m not sure there really is any easy solution, but I wish there was some easy way to, when analyzing a keyboard choice, all these variables could be easily considered / summed. In actuality, I know I consider all that (just adding up all the weights).
My point is: Some designs really favor a reduced shlep, but don’t seem to readily get credit for it. For example, this new Korg being discussed has “legs” on it = a design I always loved because it meant I didn’t have to carry a separate stand (although yes, one has to carry the legs, and then assemble them). But my K & M 18820 stand alone weighs some 21 pounds! My Yammy MOXF8 weighs some 31 pounds. And the plastic SKB roller case I use for the keys weighs some 32 pounds. So, the “real life” shlep weight for my 31 pound portable keyboard = 84 pounds!
I agree with many that a 50+ pound keyboard is a non-starter, but if that weight included the legs, and/or eliminated having to shlep a 21 pound stand, perhaps the real life total shlep weight is in practicality more reasonable.
I’d also add that, for a portable keyboard, I’ve always like the “suitcase” design whereby the keys themselves comprise the “bottom” half of the case, and a separate (removable) “top” just clips on, thus eliminating the need for a separate case. Add in that if its “legs” were stored in the top / cover, the total real life weight might be less than all separates. However, I also understand that one can only lift so much weight at one time, thus there might be a transport advantage to all separate components.
And then there are other intangibles to consider, such as how does the shape impact ease of mobility, or handle locations, etc.
Just thinking out loud as I get ready to shlep it all (add in the amps!) to the next gig!
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The guitarist in one of my bands in grade school had one. As cool as the “finest tufted vinyl look” was, what we all really loved the most about it was: 1). the on/off light in the front center of the amp head was replaceable with different color prism glass, and he would change them at will; 2). most cool = at a loud volume, that light would dim …. so when he hit a short chord, that light would dim (as if the power going to the speakers was sucking electricity from that bulb)! We loved that!
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Well, just a suggestion…. but in order to try to isolate the problem…. could you try just using XLR cables (both male and female ends), and try it on XLR inputs in your mixer (just to see if the level is then correct). If the XLR all the way works, then you know the problem is the conversion from XLR to 1/4 inch (or those 1/4 inch inputs). Just a suggestion.
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Yes - I understand the argument FOR insurance; seems to be the general consensus here. However, I was raised differently - with the applicable motto being “don’t be insurance poor”. It’s easy to get caught up in the game of playing it safe, “peace of mind”, and spend, spend, spend on insurance. That’s why insurance companies are so profitable. I guarantee you that any insurance offered takes in more money for the insurance company than they pay out.
My Dad sat me down one day, and we ran the math looking at it over let’s say a 30-year time period: “How much do you spend on XXXX (house insurance, car insurance, etc)?” And then: “How much has it ever paid you?”
He always self-insured on everything. (And yes, for example, if you check with your DMV, self-insuring is an option for auto insurance. You simply basically pledge some bank savings as a “bond”.) Even after having a fire in his bar business - it was always, LONG-TERM, less expensive to just take the hit and pay for the damage himself as opposed to the cost of insurance.
Of course, one can cite a situation where insurance was / is a life-saver. We each have different tolerance levels for risk. I’m just saying that after many decades of owning musical equipment, knock on wood - in my case I’ve never had any expensive equipment stolen or damaged. Just lucky I guess, and yes, that could change tomorrow. But perhaps, being able to bank that premium money myself over all those years allowed me to afford new equipment. Just giving another perspective. YMMV.
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Played one with a band locally - it was a bash and 1/2! Packed, people dancing, loving the band / music. Classic rock. I have to admit it was a lot of fun.
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Nope - I do it the other way around: I use forScore for my charts, and then use the MIDI programming in forScore to bring up whatever patches and/or keyboard settings I use for that song. And in the forScore chart, I can write (or record) any notes to myself for that particular song. See - I often use the same patch for several songs, and sometimes in different ways. So, for me, it would not make sense to put one song’s information in a patch, because then that patch would be inappropriate for a different song. I’m hoping this makes sense…
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2 hours ago, Reezekeys said:
The Key Largo' XLR outputs are transformer-coupled low impedance - is there an issue there I'm not aware of? Do low-impedance XLRs have to be mic level?
I do not know, way beyond my level. Hoping someone knowledgeable can help.
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5 hours ago, Reezekeys said:
Why would a signal be "less than optimal" because it's line level?
I think the issue is “impedance”?
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Hmmm…. (or hummm?): I have 2 stereo boxes that in the past I’ve used as DI boxes, but now I’m questioning whether that is correct or not! They are “Ebtech Hum Eliminator” stereo boxes. I can use them to switch from 1/4 inch to XLR and vice versa. Soooo…. do any of you know:
[Short Question summary: Can a hum eliminator box serve as a “DI box”? And can the line outs from an amp serve as a “DI box”?}
1). Can a “Hum Eliminator” adequately serve as a valid DI box?
2). Does anyone know if the specs are any good on these Ebtech Hum Eliminator boxes? (I think maybe they are now made by “Morley”, they look identical).
Anyone know?
3) Also, one more related question: I recently purchased a new Motion Sound KP-612SX amp, which, among other outputs, has “Left Out” and “Right Out” (both XLR line outs). I went back to Motion Sound and asked them if phantom was accidentally turned on, would it hurt my amp. Their written response was that no, it will not hurt the amp. Accordingly, I intend to use those as my “DI” outs. Is that a correct usage?
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PS: Jazz+, thanks, again - these are some GREAT arrangements, easy to play, and some great chords and chord changes - love ‘em!
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1 hour ago, AnotherScott said:
You don't even have to use AUM. On the iPad Pro, you can use the standard Stage Manager feature, and B3X will open in its own horizontal window within the iPad's portrait orientation.
Oh, WOW - You know what - I think you’d mentioned this before, but I didn’t know how to get it to work. I just searched and learned, and you are indeed correct! Using Stage Manager, I can view them (or apparently any other program) in either mode. I do lose a small amount of screen real estate, but it sure does solve my problem - THANK YOU!
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Thank you! It took a while to format them so I could import into for/Score, but done successfully! Thank you for the Christmas presents!
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(My guess is “old”, but never heard of this before…)
Motion Sound Knobs
in The Keyboard Corner
Posted
Maybe so, however, the knobs feel just fine on the KP-612SX I recently purchased. And I’ve played out with it / transported it a dozen times since purchase, no problems yet. Knock on wood…. YMMV. (Note: I do use slip-on custom covers to mildly protect the amp / speakers.)