I got that Tall and Fat. Sounds great on the OB-3, but it is stereo. Man, can't pay $650.00 for a Leslie pedal. Went back to the onboard effect. I will use it on something else.
@@Par3pio2 I run my tall & fat through the effects send & return on the Hammond organ- run stereo outputs to the Ventilator 2. They do make an expensive tall & fat that has stereo ins and outs in case you wanted to Daisy change everything ..money money money…
If it's any consolation, on the second go round upstairs in my MIDI studio playing my 3rd restored Rhodes, the electrical airborne interference just kept shorting out the Rhodes over and over and over. Dead short, and the audio and video got out of sync, and then Quicktime crashed. I finally got one take after about an hour. Yes, clunky internet. Thanks for listening!
The circuit board inside the controller has a little screw that attaches it to the outer metal box. Often it comes loose and gets lost. Mine did this and it became microphonic. Open it up and find another screw and it will close the open ground. Also I replaced the Amphenol connector, because the p ins get loose, and the quarter inch male jack, because the ground shield breaks over time.
You know, this SPACE has run the gamut of musical production. Too hot in summer to use it (last two months). But when it is temperate and lack of Apache helicopters, it is a musical space. The RIG just keeps on evolving. Take stuff upstairs and bring it back down. Finally the weighted acoustic on the bottom, Yamaha, and strings in the middle, and synth on top. on the right fell together. It's a totally bastardized version of Skylark. I was watching Clint Eastwood's Midnight in the Garden of Good and Evil, and his daughter is singing that song. Had it in my ear, until I set up the computer to record, then lost the thread of the changes. But I am happy with the sonic result and set up. Yours changes all the time as well.....
Good question. So when I play jazz trumpet I use the Aebersold tracks that have been around forever. I am trying to get back to being able to gig, and there are not musicians around here. On this example I am using a Boss DR-880 drum machine and a modified preexisting pattern. There are 500 internal patterns with lots of different kits, and I like the brushes since they are unique. The jazz patterns are pretty whacky and not usable. But I find one, overdub a few instruments onto it, and it is just looping a few measures. I am playing bass with my left hand live in this video and piano with my right hand. So you get the sound of an entire trio. Hard work, but you just have to think that way, a conversation between piano and drums. Thanks for your interest.
No. The best of him I have is with the vocal group Brazil from Sergio mendez, and there is cello, ac. guitar, flute, and rhythm section. They play Jobim's stock arrangements of his best tunes. I am expanding the studio, and I was a trumpet major in college, so I wanted to add another different track to incorporate the Shure XM-98a mike clip on. Didn't prepare much, but the flugel always has been an interesting mellow texture.
Excellent, Paul. I would say you succeeded in incorporating that mic clip. Expanding on what you put in this comment, I am also curious. Have you ever had fun with the different electronic valve instruments that have gone on the market? Your education/training as a trumpet player could be fully integrated with your synthesizer arsenal. Regarding what you say about the flugelhorn having a mellow touch, part of me also wonders how come Sur Paul McCartney didn’t choose to have a flugelhorn on the Beatles recording of “For No-one”. It would’ve had a similar timbre to the French horn that was used and wouldn’t have required re-tuning.
It’s sweet to imagine musicians who used multiple keyboards and synthesizers in any era previous to the 2000s continuing to use them. A pianist who I tried working with during the first half of 2010 said multiple times that tiered keyboards were passė. I beg to differ and wouldn’t even care if it were true.
The impetus is musical gratification and satisfaction. I pared down this space and took some keyboard out to make it less cluttered and more appealing. And I had to think LONG and hard about eventually what to keep. If I can do a complete musical CUE in one pass with the right sounds, then that is a plus. Trail and error, but everything that is there serves a unique and vital purpose. I don't like being Yanni in the least, but it is beginning to work. Thanks for your interest!
Thank you. They just kind of came out on this take. I have spent the majority of my musical study on harmony over the years, so I have kind of abandoned it intellectually. And for me always there has been a divide between composing and playing piano. If I could remember and play what I wrote, then I could be Chick Corea, but I compose and play in different parts of the brain. I was lucky here. The set up and sound palette really help you create the music. And I miss this particular set up. Thanks for your interest and praise! It helps.
The acoustic piano "layer" is very subtle and not easily heard in this example. It is based on the David Foster sound who produced Chicago and Celine and others. It is a dyno piano kind of thing. What I have discovered is if you want the best possible high fidelity sound is, synth MIDI modules of different architectures and manufacturers compliment one another, because they are sonically different. So a Roland, Korg, Yamaha sound nice layered on top of one another. I studied classical composition, so it is orchestration for me. Just like the orchestra, getting the best textures. And to answer your question, there are modules in the rack, but I have been able to pick up keyboards for cheap lately, like really cheap, so I buy them. It has taken a lot of work to fit them in and together.
@@Par3pio2 Yes, I see & understand where you're coming from. Point taken. Talking of cheap buys, I picked up a Yamaha PSR 6700 for £45 recently (£2K when new! 1991). Brill' condition, 100% working order, 76 keys, 8 track sequencer and some really cool sounds in it.
I have the S90, and you are correct. With the PLG-150 added PC board, there are the best Rhodes sounds. Richard Tee. Zawinul. The onboard effects make a difference. I just put that keyboard back into the stew. The S90 is making the TX-802 sound.
Lovely Grooove Paul! Please check this guy out when you have a spare moment. Bryan Charette. Giant B3 guy and great electronica keyboardist. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-IXsAYAL6qmY.htmlsi=YohSzzpYVhdNUcsN
F.Y.I. I have discovered the best way to get a groove after thirty years of trying in the MIDI studio (and I did pretty good back then in the 90's in Cowtown) is to play Left Hand Bass along with your "rhythm" keyboard track. The piano player can best lay down the groove, especially if you have experience on the B-3 kicking bass. Take that and apply it to the MIDI studio. Hence I lay down the drum track and play along with it live playing bass on the KX-5 with a U-220 sample and then on Bubba's Rhodes. I restored his instrument, and this complete bedroom with mineral fiber ceiling tile and hardwood floor, and drove Greensboro to buy a set of used Leslie 60's cab which are miked with Samson CE-1 condenser mikes, and have Lexicon LXP-5 and 1 reverb and ring modulation. So make this work for you in the pinch. Lay down the rhythm section tracks first. One pass, Rhodes in the background softly. Then it was an effort for me to learn to play live with three keyboards standing up. I always have wanted to do this in a band, and that is why I built the keyboard set up in my garage. Multi-keyboard set up, but now with three dimensions of keys. I never played much synth. Everything on a ship is on one provided digital piano, so you gotta play strings, and clav, and Wurlie, all of it on one weighted instrument. With the Yamaha grand, which always is great. I learned to play two unweighted synths for a Hammond emulation, but now I have a real Rhodes and the S90 for piano. Gotta change it up. Cheers.
And the Yamaha S90 got moved back up. Need a professional controller although the P-125 has a better piano sample. No MIDI. I went back to my first programmed acoustic piano sound, a jazz piano sound when I first got the instrument from Jim's Pawn Shop. Didn't have the P-150 plug in board yet. I am going to work on it. Hard to get that quality piano sound in a professional controller for less than 3 grand.
