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  1. Ever day I start out playing ‘long notes’... but the problem is that if you can’t play fast (I can’t), then you can’t finish the phtase before you run out of wind. I’m getting wind, bu5 my fingers need to go faster.
  2. Yeah... it’s pretty discouraging listening to musicians who grew up playing the instrument. I can kinda wail on the solo to ‘Careless Whisper’... the good player really know how to hit the best notes (high C#... no fingers!) at the most important places. I’ll settle for not sucking too badly : )
  3. I’ve been taking alto sax lessons for the last few months... I’ve played classical piano, then rock, then jazz over the last 50 years. The piano is like a music typewriter... any idiot can play any single note just as well as Oscar or Thelonius or Mozart... just push a key down. The very obviousness of how to make music on a piano is what makes it so cool to play. Press a bunch of notes at once and evoke a color... keep doing it and make music... or noise. The sax can only play one note at a time, but that note can honk, or growl, or sing, or sob, or throb, or bend, or scoop in the hands of a master... who strings together blistering fast brilliance... or squeal like a frightened pig in the hands of a beginner. Some notes take no fingers, some take all your fingers and other parts of your hand. Some intervals are easy, others are like a finger puzzle. Some notes can be fingered two or three different ways to make certain intervals less awkward... which makes improvising very interesting. I’m loving it... I’ve been renting a crap instrument and starting to look into buying a better horn. I’ll never master the thing, but somehow the people I play with think I know what I’m doing : )
  4. Maybe because they had a full orchestra with actual musicians playing together at the same time in an actual acoustic space... ditto for the early rock recordings... now music is laid down a track at a time with very little interplay. IMO, the music was just better. In the day, we took it for granted... now we look back in awe.
  5. Modern recordings have been processed so they fill all the frequencies and compressed so they are at nearly maximum volume at all times. Further, they have been quantized or played against a click so a lot of the feel has been eliminated. Older recordings had holes, fluid tempos, and dynamics that draw you into the musical space. Just MHO.
  6. What equipment are you using... those images are fantastic.
  7. At home... Steinway and Nord Stage for late nights. I only take the Electro HP5 when I gig in Canada. Electro HP3 in Mexico.
  8. I play piano jazz. Every fall, my wife and I travel somewhere in Europe for a few weeks, and every year I go through piano withdrawal. Sure, I usually find a crappy out-of-tune piano or two along the way but big altered jazz voicings sound like poo without perfect tuning. I have always wanted a truly portable keyboard that fits in a suitcase, so I decided to check out the Reface CP to see if it was a toy or a musical instrument. I was a bit skeptical about the mini-keys and the 3 octave range, but when I demoed it in the store (through a really nice keyboard amp) it sounded amazing. The Rhodes and Wurly sounds are accurate, and the keyboard response is pretty decent to make them sing or bark in a controlled manner. The clav is basic, but with a touch of Wah you can make wonderful porntastic souds. The effects are actually pretty rewarding to work with... drive adds some grit, chorus/flange can be subtle or over-the-top, tremolo is authentic, and the delay has both analog (short) and digital (longer delays with squelchy pitch shifts if you twiddle the delay). There is not a lot of volume from the tiny built-in speakers, but it sounds very full through headphones. It seems pretty well-built and runs of 6 aa batteries or AC (but Europe is 220 v so I've been running on batteries, which have lasted for quite a few hours). Anyways, thumbs up to Yamaha for making this keyboard... It doesn't replace my Electro or Stage, but it is a truly portable keyboard with decent sounds and surprisingly not-crappy action that you can travel with to relieve your keyboardy musical needs. Surprisingly, it is pretty easy to adapt to the small keys and short keyboard (ok, 3 octaves kinda sucks to be honest)... and I can reach Rachmaninovesque octave-and-a-half intervals.
  9. The swell pedal on an organ is not just a volume pedal... if possible on your keyboard, assign the control pedal to the swell parameter instead of assigning to volume.
  10. Here's another one with some spice...
  11. I have traveled (non-stop) from Canada to Mexico and back with my E3 HP twice, and before that with an E3 three times. The first four trips were in a softcase reinforced with plywood on both sides and a ton of duct tape... No problems, but lucky. Now I have a hard case that fits over the soft case and comes in about 0.1 lbs under the airline weight limit, without pedals, etc.
  12. This thread describes the fun of restoring the factory presets... Enjoy! http://www.harmonycentral.com/forum/forum/Keyboards/acapella-18/315682-
  13. Green Heintzman upright Roland SH-100 No name transistor organ Fender Rhodes 73 suitcase Krumar organ Minimoog D Arp 2600 Minimoog D (another one) Polymoog Steinway M Roland FP9 Roland Fantom X Roland RD700 Nord Electro 2 Nord Stage Roland VSynth GT DSI Prophet 08 Nord C1 Nord Electro 3 HP Yamaha Reface CP Nord Electro 5 HP
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