ITGITC Posted March 28, 2007 Share Posted March 28, 2007 Very well. I mean the Kurz enthusiasts on the KC no harm, I was joking around, as you did notice. But if I;ve crossed the line, then I do take it back. My mistake. Thanks Clifton. "Music expresses that which cannot be put into words and that which cannot remain silent." - Victor Hugo Link to comment Share on other sites More sharing options...
StillFightingIt Posted March 28, 2007 Share Posted March 28, 2007 With regards to Keane, you guys have to remember most of their songs have the real CP70b in them. The only other sounds he uses are rhodes (and the NL3 - to replace the ARP he used to use), so why would he need have to access the controls of the s90 if all he uses on it is a rhodes sound??? The s90 would have to stand up visually next to the cp70b too so I can see the reasoning behind the shells. My Band: www.myspace.com/fergusband Link to comment Share on other sites More sharing options...
burningbusch Posted March 28, 2007 Share Posted March 28, 2007 With regards to Keane, you guys have to remember most of their songs have the real CP70b in them. The only other sounds he uses are rhodes (and the NL3 - to replace the ARP he used to use), so why would he need have to access the controls of the s90 if all he uses on it is a rhodes sound??? The s90 would have to stand up visually next to the cp70b too so I can see the reasoning behind the shells. So if all he needs is the Rhodes sound why did he replace a fully authentic version with one that sounds pretty good, but has very noticable velocity switch jumps given that it only uses three velocity layers? I am continuously amazed by the mind of the modern keyboardist. Busch. Link to comment Share on other sites More sharing options...
ProfD Posted March 28, 2007 Share Posted March 28, 2007 So if all he needs is the Rhodes sound why did he replace a fully authentic version with one that sounds pretty good, but has very noticable velocity switch jumps given that it only uses three velocity layers? I am continuously amazed by the mind of the modern keyboardist. Busch. While I certainly will not attempt to speak for them, I wonder if cats dig the vintage stuff for the basic sound primarily i.e. not really looking for the experience or aesthetic of "playing" it. Just a thought. PD "The greatest thing you'll ever learn, is just to love and be loved in return."--E. Ahbez "Nature Boy" Link to comment Share on other sites More sharing options...
StillFightingIt Posted March 28, 2007 Share Posted March 28, 2007 So if all he needs is the Rhodes sound why did he replace a fully authentic version with one that sounds pretty good, but has very noticable velocity switch jumps given that it only uses three velocity layers? I am continuously amazed by the mind of the modern keyboardist. Busch. Well, I can't really speak for him, but my initial thought would simply be for maintenance reasons, but hey, he's lugging around the CP70 so I guess that's not really a reason. My feelings are though, that through a large P.A system at the type of venues that they play, the audience isn't going to hear any difference between the s90 and a real rhodes. I'm also thinking the digital patch may be more reliable for the sound man... They use a real rhodes on their recording... My Band: www.myspace.com/fergusband Link to comment Share on other sites More sharing options...
Jazz+ Posted March 28, 2007 Share Posted March 28, 2007 Many a time I have had a hard time hearing a real Rhodes in large venues in loud bands, Jeff Lorber comes to mind. The Yamaha S90ES Rhodes has a different character and can often times cut through a mix better. The action also can be more comfortable. Find 660 of my jazz piano arrangements of standards for educational purposes and tutorials at www.Patreon.com/HarryLikas Harry was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book." Link to comment Share on other sites More sharing options...
Jazz+ Posted March 28, 2007 Share Posted March 28, 2007 How often does Keane feature the Rhodes sound? I thought they featured the acoustic piano sound. Find 660 of my jazz piano arrangements of standards for educational purposes and tutorials at www.Patreon.com/HarryLikas Harry was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book." Link to comment Share on other sites More sharing options...
StillFightingIt Posted March 28, 2007 Share Posted March 28, 2007 Well from there 2 albums, I think there are probably 3-4 tracks from the two with a rhodes used in them. The rest are CP70 and Synth... One track off there new album used a real piano instead of the cp70. My Band: www.myspace.com/fergusband Link to comment Share on other sites More sharing options...
Bill H. Posted March 29, 2007 Share Posted March 29, 2007 Has it really come to this? I mean, putting a digital piano in an acoustic shell is one thing (the first time I heard about someone doing this was Prince putting an SGX1D in a grand shell almost 20 years ago), but this is the vintage craze taken to an irrational level that borders on insanity. The money they spent gutting those Stage 88s could have been spent reconditioning them, and working on them until they were perfectly customized to the player. I'm sorry Keane, but this is nuts! At this rate, it's just a matter of time until we see an Electro in a B3 shell. Unless it's already been done. Link to comment Share on other sites More sharing options...
ProfD Posted March 29, 2007 Share Posted March 29, 2007 At this rate, it's just a matter of time until we see an Electro in a B3 shell. Unless it's already been done. Bill, it is just a matter of time man. Seriously, the keyboard player for The Cat Empire proudly displays his Nord boards in all of their red glory. So, while a few artisans are fumbling around with stage props, there are many who get down to business on their ROMpler or clone without hiding it. PD "The greatest thing you'll ever learn, is just to love and be loved in return."--E. Ahbez "Nature Boy" Link to comment Share on other sites More sharing options...
Clifton Posted March 29, 2007 Share Posted March 29, 2007 Many a time I have had a hard time hearing a real Rhodes in large venues in loud bands, Jeff Lorber comes to mind. The Yamaha S90ES Rhodes has a different character and can often times cut through a mix better. The action also can be more comfortable. I saw Jeff Lorber a few weeks ago at the Jakarta Jazz Festival and I could hear his rhodes fine...albeit he was playing a Motif ES8 How often does Keane feature the Rhodes sound? I thought they featured the acoustic piano sound. The keyboardist in Keane uses a CP80 (or 70 I don't know) almost always (rather than a piano), and a real rhodes on a few tracks, and as StillFightingIt did say, lots of synth stuff. I agree with the comment that gutting the real thing to make way for an imitation is sacrilege, especially when the band already carts around a CP70/80, which would need to be tuned before every show. Surely the logistical inconvenience of gigging with a rhodes is not their reason (they'd have a team of roadies after all)...I think StillFightingIt is probably right, the only benefit would be the digital nature of the sound/sound output. Volume issues perhaps, as Jazz+ said? Rhodes have been used in plenty of 'loud' bands though over the years. Sounds like craziness to me. Bloody hell, if I were on tour, making the money Keane are, I'd (have the roadies) cart real gear all the way, regardless if it made no difference through the PA. Link to comment Share on other sites More sharing options...
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