time4jazz

I like the concept of the layout of my CP73, but I think it could have been executed better. When I look up at the control area, there is a sea of buttons and switches, which requires some hunting around for the right control. There’s not enough delineation between sections. And what little there is, like the shades of black and dark grey, gets lost in less than ideal lighting. I’ve been wanting to use thin, white pin stripping tape to delineate the sections, but haven’t gotten to it yet.

I write it this way too, though thought of the accidentals as relative to the major scale starting on the same note (so C major in this case). It works out the same, but I like the idea of thinking about it as intervals, which is cleaner.

Indeed! He not only kills on every keyboard part, he does some pretty convincing (and entertaining) singing.

Yes, I went through a similar thought process and ultimately chose the 520. It also provides more control over effects than the 120. And although the 920 has some additional advantages, like readily available EQ, I didn’t want the increased weight (~38 lbs vs 520’s 32 lbs). The 520 is in the sweet spot. And I think its action is really quite good, especially compared to other similarly-sized keyboards, like the P-125.

I have the ES 520. It does have 5-pin MIDI in and out. And the action is quite nice.

Nah… just couldn’t resist the setup … 🙂

Perhaps the answer may be embedded in the question… 😁

Likewise, I don’t understand why a number of bands even want keyboard players when they bury the keys deep in the mix (they say the keys are “too loud” merely because they can hear them!).

I wish I stayed away from the exceedingly loud bands. Or at least used excellent ear protection at all times with them, even though that resulted in significantly muffled sound. This would likely have spared me from tinnitus. There’s nothing at all I can do now to make up for that.

Sher Music has a good collection of Jazz Method Books with some novel approaches. A couple of these books have been mentioned above.

The only time I really have a chance to just listen is while driving. Commercial, over-the-air radio was unbearable. I ended up signing up for satellite radio, and for the most part it works quite well. Great variety of old and new stuff.

I can see retirement (from a technical job not related to music) on the horizon, and one of the major things I look forward to doing is continuously improving my ability to play jazz. I’ve played piano on and off for much of my life, though unfortunately never had a lot of time to do so. For over a decade I’ve been playing keys in blues and classic rock bands. It’s been fun, but the insane volumes combined with the never-ending fight to be heard finally forced me out of that world. I’m somewhere between a beginner and intermediate jazz player, and look forward to (hopefully) a few decades of significantly improving my skills and making music.

I have a Tascam (DR-40, I think) which has stereo mics as well as 2 XLR/line inputs, which should work for this application.

Nord just released this good tutorial.

Sounds like rock band heaven!

Yeah, it’s hard to believe they didn’t account for such an obvious use. And to get something similar but 3 inches shorter, one has to go to the K&M 18880 at ~$240!

This stand does look great, and I’d like to get it myself. But the min height appears to be 27.5 inches, which would put the keys a little high when playing sitting down.

Unfortunately, most companies, like most people, don’t change unless circumstances require it. Thank god for the innovators!

Sorry, I should have included a smiley face! My point was just this:

Times must be tough for Steinway if they have to resort to this!

Sorry, too abstract…🙂 https://www.cnn.com/2023/07/27/entertainment/taylor-swift-seismic-activity/index.html

I remember a 2.3 magnitude earthquake in Seattle near the end of July that was caused by …. …. oops, never mind

Did he use mono or stereo outputs?

In the quieter, organ-only part of the song near the end, hearing and watching the way @Jim Alfredson shaped the sound using the drawbars, expression pedal, and Leslie was awesome, and inspirational.

This thread: