CHarrell

What's the context you're posting this in? You made this comment hours after a mod gave the reason why this word was censored. Also, this forum isn't America.

How funny you say that as I typed out the opposite! 😂

Any AI algorithm trying to reproduce an improvisation like on a solo, would have to have enough randomization and variation to respond to the countless stimuli that can influence a musician's playing, such as a drummer responding to a pianist's phrase by mimicking it in a call-and-response fashion, and the pianist potentially continuing that in kind, a pianist playing a certain kind of harmony while comping, inspiring the horn player to play some different notes (or vice versa, maybe a horn player plays an outside line or note inspiring the comping pianist to change up their harmonies to lean into it), or a certain phrase from a player inspiring the dynamics of the group to shift...these are some very small, linear examples of that kind of real-time thinking and adapting. Which of course, as we know from scary self-driving car footage, seems to be one of AI's greatest weaknesses.

My CP4 is arriving today, I'm so excited!!! ...I just hope FedEx drops it off and doesn't miss the delivery because I'm not at home to sign for it. It's an 80something lb package so I do NOT want to pick it up from a FedEx location! 😅 The shipper sold it in a Road Runner hard case because he didn't feel comfortable shipping it otherwise--I've never seen more restrictive shipping on a "gigging" instrument. So many people selling a CP4 right now either refuse to ship it outright, or place limitations on where they'll ship it to. For example, there's a CP4 in great condition being sold online right now, and for a great price, but the catch: they won't ship it to Pacific time zone! This makes me a little nervous about the CP4's build quality, but I've been consoling myself by reminding myself that some of y'all have been gigging or had gigged with the CP4 for years without apparent issue.

Not sure on the timings of these, but I'm seeing a bunch of sold listings of $500+ USD. https://reverb.com/marketplace?query=k2500r&show_only_sold=true

I tried arranging some fun playdates with some other jazz musicians, but it got boring because they just wanted to swing.

I can't count how many times I've said about a musician: "I'm not a fan/I don't connect with their stuff, but they're an excellent composer/saxophonist/etc." Hell, to throw myself into a current related topic on here, I've never listened to anything that Brad Meldhau that's really resonated with me, but he's a master pianist.

Or you could just call out specific people and individuals for the over-the-line behavior.

A lot of them have been screwed out of royalties for ages already, especially with the increasing pressures and time crunches that have led to more and more of these studio teams. Sad stories abound of those team head honchos stamping their names on cue lists regardless of whether they actually did any work. On a related tangent: I did a movie about a year ago that played some festivals in Greece. I told my Mom, "Now your son's name will be glazed over and ignored by people across the world!" She responded, "Well I pay attention." "Who's the composer for the last movie you saw, Mom?" "I don't remember." "I rest my case." With more behind the scenes roles that take a certain anonymity, those are gonna be the ones most easy to replace and have to be the most diligently protected: I believe in the 60s there was a law or some kind of order passed that mandated that every television show had to have at least a certain percentage of original music as opposed to library music. Like the recent WGA and actor's guild movements, it seems that now would be a very opportune time to revisit and update those kinds of protections.

In composer production studios, I can absolutely see that being a more common procedure, and in our economic system, a way to stifle work and payments for the "underlings"--that's one of the main reasons many are scared of these technological developments, because our material livelihood and ability to secure the basics is dependent on our ability to produce.

I gigged with that one for about a year and half. It was a decent sound, and the built-in effects actually sounded surprisingly good, but there would be times where I would be plugged in, and it would just make a piercing, short flatline burst of noise, and stop working. I'd have to turn it off then turn it on again. I thought I had a bad unit until I was in a pro audio store a couple years ago and became friends with the keyboard department rep there and one day, apropos a general conversation about amps, he mentioned the same thing I experienced happening to a KDX.

As a general comment, I started making music electronically 10 years ago. The amount of quality tools and resources now compared to then is absolutely mindblowing, I love to see it!

As a left hander, I do feel a little privileged in having a stronger hand for stride, but it's been a while since I've had to play anything like that, and it's definitely a skill that atrophies! I've been embarrassed with how much I've been neglecting my left hand this past year, after determining when I was 17 to never succumb to "comp with the left hand, solo with the right hand" dogma. Those are great practice suggestions, Dave. For video game fans, there are also some really fun ragtime tunes written for the Super Mario series out there too! http://www.keeper1st.com/music/yoshiath.pdf

Yeah that's the number one flag that immediately pops up when I use TurboTax every year.

Sorry, I should have clarified: for performance royalties, it's a very simple--if tedious--process for me at this point in my career to gather info to report to ASCAP, but I wouldn't know what to do to report anything to a mechanical royalty publisher.

Mechanical royalties confuse me to no end, I gave up 15% of some of my tunes to have Songtrust administer all of that.

This has been such a great thread, I've read multiple articles on MIDI 2.0 but never grasped it as well as I have reading this thread. I also sweat when remembering Roland SE-01's filter stepping because of the limitations of MIDI and buying a big dumb CV knob dongle just to get smooth filter movement.

Thank you for sharing this insight and guidance. I would definitely seek representation if it ever came down to it--for anything--but I haven't gussied anything up, I haven't exaggerated anything, I've only presented the truth, which feels like the best backbone for a case that I could have.

I appreciate that they have a free version that can act as a perpetual demo, instead of the competition with timed trials, but I too have been confused by how they do things, to the point where I'd rather pay for another option. Of the VST hosts I've tried, so far Gig Performer is my favorite.

Not particularly, and I haven't seen cause to worry over the past few years, but as Nowarezman said, always best to consult with a pro. I was deemed low risk by Turbotax, but functionally, the area I claim--through careful measurements of my work area's dimensions--really just is used for work, so if an auditor wanted to investigate further, I feel like the truth will bear me out. As long as they don't find the bodies, I think I'll be okay.

I live in a studio as well and was able to get a home office deduction. I can't remember what I measured out specifically, probably my desk and keyboard area, which happens to form a convenient box (I have a Keylab under my desk, and a larger keyboard such as CP88 perpendicular to my desk). I've gotten this deduction for the last 3 or 4 years.

I've noticed this too, especially when using the Ivory piano expansion. Was playing in a band audition with it when I realized what was happening. 😅 I didn't think to turn off Internet or anything.

Sounds like it needs either a rubber contact strip cleaning or replacement, maybe one key replacement, and a new fader knob. The music desk socket is busted too but I don't usually use those anyways.

Bought a CP4 for about $750 incl tax and shipping! It's gonna need repairs, but I got a local quote and the repairs will most likely still keep just under $1000 total, with perhaps a stronger guarantee of a longer shelf life than if I bought a more expensive one in better shape and declined to have it worked on. The hardest part is gonna be the waiting.

Didn't know where to put this, but how feasible is it to put a keyboard into a gig bag that has smaller dimensions? Specifically, I have a CP88 soft case with the following dimensions (this might include some very easily removable insert pillows that are velcroed on the internal sides): And the CP4 dimensions: Just looking at the internal, it looks the width (using the CP4's definition) is about an inch short, and the height is about a half-inch too short. The case isn't super rigid so it could potentially stretch a little to accommodate.