Paul Woodward

And yes, I am a musician. Spent all my working life in pursuit of academia and professional status as a designer and educator, convinced that music would only be a hobby and the ‘clubs’ had no future. Maybe that part was right, but the real joy in my life is in playing music and I have reached an age where I have the house, car, pension fund and a decent bank balance and salary. I just want to enjoy my life to the fullest and have a wide variety of experiences while I still can.

Regardless of my original questions, I am loving reading your thoughts. As obxa said, it’s cathartic to read that others experience the same. I posted on a grey, cold and wet March morning after an uninspiring rehearsal. Today is warm and sunny and talk of playing summer gigs at pubs or festivals has cheered me up. The singer, who I have done all the arrangements through, knows what I’m looking for even if he hasn’t relayed that to the band (no idea on that one). Way I see it (after all the awesome advice) is that I owe them nothing as they are not paying me for it. I have no investment in the songs either so I can pop along as I wish for a jam. I already bought the gear and learnt the songs so not much more I have to do. When I’m at a rehearsal, I am trying out my boards and sound system, tweaking sounds, improving my playing and ‘oiling’ the old fingers. All better than sitting at home. If they want to rehearse and there are no new songs, arrangements or gigs on the horizon, I can just decline. Treat it like a session to help a mate out; something you do if you want to. If they feel more commitment is necessary then they can find someone else, but I know they haven’t been able to find anyone at all in the last year. I’m not being a diva at all, but there is nothing here for me but a jam with musos and I’m not giving up other aspects of my life for that. If another musical pursuit requires more of my time and effort, then that is natural selection and fate will do it’s thing. I kinda hoped that getting into studios and rehearsal rooms would open up a world of musos to meet and talk to, but not so far but I will keep my options open and see where it takes me. As I mentioned, I have already put out a call for people to collaborate with on my own stuff and to develop new stuff with them so it will take the course it’s meant to. And one more thing I may have mentioned, I think they have gone so long without keys that they have written and arranged so they can get by without one. Sure, a few songs are better for a smooth buttery rhodes or screaming hammond, but they have not been written round keys. Just like my stuff is written around keys. I think they will be just fine without keys and pretty sure they would stick with a smaller setup if they were paid and splitting the money. That pretty much sums it up for me. Thanks again for the advice, and the hang 🙂

I have to agree. I made my decision in my early 20’s to pursue a career in art/design then education and music then became a fun past time with the odd gig with old bands, jams with friends etc. Returning back to the UK, I’m reminded how great my life overseas was and my day job is not the most exciting so I hoped returning to music would energise me. So far it’s not really doing that, but I’m aware that I have been ‘off the circuit’ for many years and, to a younger crowd, I probably look like Santa on a piano. There seems to be nothing around my parts between indie pop/rock with teenagers and old guys playing Shadows. Probably why I jumped on these guys as they can play and the music isn’t bad. But yes, it’s tricky at this age 🙂

I am equally puzzled, unless he was implying there is no money for the musicians (who are “in it for the love of music”) because any earnings will be for the ‘songwriters’….who knows. Either way, he made it clear that was the plan so I am going with that. Already looking at other options.

Well, I had a few responses to posts looking for someone to develop stuff which is probably better for me. They want a taste of what I do and I have this mix of electronic/techno stuff and more 'traditional' stuff (that would be live band focused). Any thoughts on how best to describe the style(s) you hear to a prospective collaborator. or should I just send over the 'band' focused tracks. All the stuff here is just me and a DAW. https://drive.google.com/file/d/1F-DbiBJQ5titj9fXRV253__eyKpMSPyp/view?usp=share_link This is the stuff I really enjoy doing but don't want it just as a bedroom hobby.

Thanks again for your comments. A few things are a little ‘off’ about this band, but maybe it is just me. I am quite dominant and like to lead (I have been MD in a few commercial cover bands, and a head of department in education). The two brothers have a history of creating bands that get some interest but no deals. Their last single (many years ago) was produced by the same guy who made the Artic Monkeys’ first album, they have supported at some big venues, but they never seem to get past that and they are all getting older now to be in the teen pop/rock market. Singer made it clear yesterday there was no money in this unless they got real lucky and this means free gigs where I’m paying to get there and back. Even if there was some cover charge or sale of songs for example, pretty sure the two brothers would want the main cut as songwriters. When I first met them I joined as I could see some of my stuff fitting in (same rhodes/hammond funky rock vibe) and shared an albums worth of songs. Lead singer said ‘great’ we can look into that once we get this first albums worth of stuff done. Several months later, I don’t think they even listened and we are rehearsing the same 5 or 6 songs to death. Also, we are gregarious folk here in Yorkshire yet, despite some of these guys living within 15 miles of me, there has not been a suggestion of a get together socially, at a home, pub etc. This further reinforces the feeling that I’m a live backing track for ‘songwriters’. They are nice guys but maybe not who I would choose as friends. I appreciate they got me back into playing in a band, which I am enjoying, but slow progress and all of the above is leaving me frustrated. Nothing to be gained by just leaving at this point, but I think we all knew the inevitable outcome from the first post. Will drop them a line but I suspect the singer already knows this is coming from my questions of late. Thanks again all, and please continue to share your thoughts, they are refreshing to hear.

I have been creating my own music since the 80’s and, as I mentioned, had a band where me and the singer/guitarist absolutely nailed a shared vision with some great tracks for the time (IMO). Reviews of our demos were good and we had some good gigs. That was Birmingham and we kind of went our separate ways when I moved back up north. What I really need is the same thing locally (big ask I know). I would love to co-write, record and produce, but it’s so hard to find someone on the same wavelength intentionally. Usually that happens as you spend time with someone and realise you are just sort of ‘right for each other’… Still, I have popped up a few ‘ads’ to see if a I can find that collaboration.

I do love this place, it’s like chatting to a bunch of smart minded musos in good old music shop.

Wise words indeed guys, I knew I would get sound advice from here. The first bunch of tracks were great and I was hooked, keys really enhance them. Now feels like they need to get an ‘album’s worth’ of songs and the recent ones feel very cliched and boring with keys providing little benefit, nor can I find anything ‘exciting’ to add. Think songs with just 5 or 6 different chords throughout verse and chorus (and not in a blues way either). Lots of 6th and 9th chords trying for a jazz/funk vibe. As a I read your comments and my own words, I suspect there is only one outcome really. Maybe time to get my own band together and find a co-writer/guitarist.

Keyboard players (professional quality anyway) are pretty scarce in the area, but it seems many have either managed without them or used backing (in the case of club/wedding bands). Despite the boredom of my job, it pays well and all expenses are covered so I don’t need an income from music. It also means I can twiddle with gear/ songwrite/practice throughout the day when I am not travelling. I don’t resent buying gear, it was my choice, but the multiple boards, stands, amps etc. are purely for gigging and I’m struggling to justify the cost at the moment. As for collaboration, I think they want me to believe it’s likely but I suggested a some child changes which the band loved, but the guitarist (main writer) seemed a bit put out by this and, several rehearsals later, he still skips the change then asks for another reminder of what the chords are like he can’t be arsed. Maybe I’m reading too much into that but it’s my gut feeling.

Okay, having a bit of a change of heart about playing so just reaching out for some of your thoughts. Some background first. Started touring the clubs of England from the age of 15 and really do love music. Done session work, piano bars and the like to pay my way through Uni, had my own originals band but then 30 years as a teacher (design, not music) and kind of stopped playing live. Always had nice keyboards and a little studio, love songwriting, but can’t play guitar or sing so mostly make instrumental stuff or electronic. This I really do enjoy. Returned from teaching in Thailand last year a struggled to adjust back to life in the UK, bought a stage piano and thought music might be something to get back into (I’m 53 now). My new job involves a lot of working from home and training teachers. It’s a lonely job. Found an originals band with guys near my age, laid my keys over their studio demos, auditioned and loved it. Full of vigour I spent a few grand on new gear and felt good… Months later, it’s not moving on much and I have accepted that there is no money in this. I am also aware that the two brothers who set up the band are the main songwriters so I (and the rhythm section) are essentially unpaid backing musicians. The others do it for the love of playing but I worry that resentment at playing someone else’s stuff at my own expense will creep in. No one else seems to want to write so, although they said we can look into it later, I sense it will always be their stuff. Where I live there are few musical opportunities and I just can’t go back to clubs/pubs doing covers. I also consider myself a good player so I don’t want to join a hobby jam band either (I know that sounds awful, but better to be honest). So, fed up and disillusioned today, I thought about just selling it all today and keeping the stage piano for my own fun/practice/DAW controller. At my age, if I retreat back to the bedroom studio, that will probably be it. Any thoughts or advice welcome, I’m just having a moan really, but no one else I can chat about music with really.

I don’t mind dragging upwards of four grands worth of equipment to a studio or paid gig with audience, but not so keen doing the same down a cold dark alley to a rehearsal room for a few hours just to practice arrangements/parts etc. Will be trying the VR09 this week in place of the YC. I know it won’t sound quite as good, but it’s close enough for rehearsal. However, I can imagine these new boards would be ideal for rehearsal and gig.

Those short drawbars though…

Agree, if my VR failed and at spotted one of these going cheap, I might be tempted but the YC61 is hardly heavy to carry around. Not worried at all about a new board, just want to know the YC is still being supported with improvements/updates

I just bought a s/h VR09 but it was only £300 so I’m not comparing to the CK61. It was just a cheap board for rehearsals to replace an A800 and iPad. I already have the YC61 and a Korg Grandstage so nothing here I want, but interested to see if any ‘new’ features from this make it into the YC and, more importantly for me, if Yamaha release a new update for the YC to show that the YC/CP range are still the flagships of the stage keyboards. On a different note, I actually prefer the VR09 action to the YC61. Much higher trigger point. Neither are great for piano work, but the VR is much faster to play. True that Roland will need to release something new now if they want a share of the market other than the second hand market.

Not sure what I think of the design…

I just hope the YC continues to be supported with new features. New boards with similar features (and a lower price point) can see more expensive boards like the YC series left in the dust. Yamaha already reneged on their promise of ‘regular updates’. Been over a year since the last one.

Roland A800 Pro and your choice of sound module or iPad…not an all in one solution, but a modular approach that can be changed to suit your needs.

Part arrived today, all good.

Just got a VR as a practice board and I’m quite impressed, will be sure to have a play with this when it’s released. Thanks

Well, a Spanish company had one white one left for the princely sum of 80 pence. £7 shipping but can’t grumble at that.

Fair point, I will be happy with a black one. £18 shipped is best so far

Cheers Mike, seller in the US confirmed the same, looks like black then… I can get a black one shipped for £18 but, ever the optimist, I hope I might find someone selling an old one for parts at some point.

Thanks, that’s where I got the service centre contact. Will try a few of them. Original owner is also going to check it’s not floating around the house.

Anyone know of a reliable source of parts for the original Roland VR-09 (not the B)? I am missing the red drawbar knob and can't find one anywhere I have looked. eBay (and Syntaur) dont have this colour and even a white one (only one in stock) will set me back around $40!! Wondered if anyone knew of anywhere, ideally in the UK. I have reached out to a local service centre so fingers crossed.