Because of the incompatibility between the two I now carry my Equinox as a backup, so I'm carrying three keyboards to the gig but only using two. So for me I liked the idea of having two similar keyboards; it works if in fact you can get through a gig with either one in case of a breakdown. Love the PX5S I spend a lot of time doing that when it first came out and enjoyed it I seem to be valuing simplicity more. Also, I think the sounds in the PX are, in some cases, not the best Not a heavy gigger, but want my set-up to be live performance oriented.
Unless there are space constraints, I prefer to have both a weighted and unweighted board with me. I am also predisposed to the weighted board having triple sensors. Maybe it's my playing style or imagination, but pianos just sound much better that way I'd miss the sliders from the PX for a couple things but could probably get used to using the knobs on the SP Anyone know how the action on that compares to the PX5S?
I know everyone's situation is different though. I just found it interesting that there are a number of people here who seem to stick to one brand for both boards Originally Posted by counterpoint.
One replacement choice I've considered Joined: Sep Dave Bryce. I don't think I've ever deployed a two keyboard rig with instruments from the same manufacturer. Variety is the spice of life It's so nice to have a general separation of duties. My hands know exactly where to go for different types of material, it's made a huge difference in my playing.
Even among manufacturers, there's large differences in types of boards. Redundancy is good, but in a pinch, there are VERY few gigs where you absolutely can't finish a set using slightly different tones.
It even happens to huge touring bands I heard about a Deep Purple show where the power went out, I think Richie Blackmore grabbed a conga or something and everyone had a blast. If my workstation went down, I'm good enough with B3 to be able to play the rest of the set on organ and generally fill my roles.
Maybe Final Countdown gets played with all drawbars out, or even better, on Pipe Organ—you play it up and make it work. I care about redundancy only as far as, "do I have a backup plan if something fails", but even if I have to go acoustic piano the rest of a rock set, I'm gonna be able to push through.
Otherwise, I like multiple boards to have legitimately unique strengths. Puck Funk! Equipment: Laptop running lots of nerdy software, some keyboards, noise makers…yada yada yada…maybe a cat? Center Moriches, NY. Al Quinn. I've never had a two keyboard rig where both keyboards were from the same manufacturer. It hasn't been intentional and it's nothing I've given any thought to. It's just how things had naturally evolved.
Originally Posted by AnotherScott. I think SP6 is a sensible consideration for your short list. That's all that comes to mind when thinking about alternatives that have pretty straight-forward operation but also have decent MIDI implementation with at least some programmable knobs. Joined: Dec I've always had two pretty-different boards to try to cover these three bases: piano, organ, synth.
Usually I have two keyboards that can cover everything to some degree, even if they aren't ideal in each area. I've got a pseudo-rhodes and a pseudo-organ patch on it, worst case if my MODX went down I'd limp through the night playing mostly pads.
If I was at a "higher level" and didn't mind the shlep and extra hassle, my rig would be a piano feel do-everything board, an organ clone, and a knobby synth. I have most of that now but am not willing to take all that out to my dinky gigs. I figure keyboard failures are pretty rare. I've actually had three cases in the past eight years, but in retrospect I'm pretty convinced those were power issues--the 2nd and 3rd time was at the same venue over a year apart, this clued me in.
I have a battery UPS now that hopefully will help with this, I've played that same venue a couple more times with it and no issues. I don't tend to have intricate fancy patches. Often I randomly pick patches for songs as the mood hits me. If you are a player that has highly-programmed setups, that might be where you'd want two of the same thing so that if one went down you'd have a backup.
Minnesota, U. Mighty Motif Max. Joined: Nov Great SouthWest. I think the only time I have ever remotely seen anything like a double identical keyboard rig was Tony Kaye of Yes Union era playing a pair of controllers in a sort of pseudo double manual setup. I agree with Eric and Stokely. Two boards for redundancy is valuable, but with rare exceptions, there's no need to have the exact same patches available.
With most gigs, I could get by with nothing but a piano if I had to, or nothing but a clonewheel, etc. RD88 could be a possibilty, Allan Evett's even got one for sale in the garage sale, but check his posts But maybe it depends what you need to do. Originally Posted by Marzzz. Joined: Jun Adelaide, Australia. They are all from the same manufacturer. The factors I considered when purchasing each board were price, functionality, UX, reliability and availability.
I did not do it for purposes of redundancy. Believe it or not I have almost zero sonic overlap. In the "good ol days" those massive keyboard rigs by Wakeman and Downs had a lot of identical boards, but that was more due to physical problems of massive rigs. When you have to have that many boards, you need to be on the other side of the "room" from an important board, so then you have to copy that one somewhere else. You see Rick in the 80s run around from one side to the other, and use the same Yamaha patch in both places just because he has to get to his other Moog.
It gets ridiculous. Those days are pretty much over. With more sophisticated patch setup, computers, and workstations, those giant rig scenarios are largely unnecessary. You see people like Jordan Rudess take things down to a single board and play just as many patches. I used to be a one banger, tho I now like the facility of boards with less patch switching. But please kill me if I ever have 3 multi-tiered stands.
There are exceptions to "I need the exact patch every time", but I'd argue that they are over-stated. Musicians are more concerned about exact patches than the audience is. I played the solo from Jump on Derek Sherinian's Korg "Monster" lead for 7 years straight, wah-pedal and everything The only time anyone ever said anything about it was from the band's previous keyboard player!
Intro pad in the top octave. Intro synth on Em about C3 3. Borderline By jaspeter Performance notes: 1. Hold pedal 1 to enable piano accompaniment at beginning so you can play the intro synth 2. On count 1 downbeat, start by starting percussion pedal 2 , piano accompaniment pedal 1 down and F6 , start playing bass. Intro synth is in the top octave. After the intro synth part is done, take over the piano accompaniment part and release pedal 1.
The Safety Dance By jaspeter Performance notes: 1. The bass is constant with a locked arpeggiator. The "harpsichord" synth is in middle octave, "Beep" synth in top two Cs, guitar for chorus starts on F6.
The pedal turns on the delay for the piano synth chords. I wanted to do this with an arpeggiator, but there isn't a way to lock an arp on one zone, but not on another. This is close enough. Call Me By jaspeter Performance notes: 1. Turn off arp for instrumental in octave 6 3. Crash cymbal can be hit on C 1 with bass on D2 if you can reach CallMe. Save a Prayer By jaspeter Performance notes: 1.
The "horn" synth is in the middle octave. Chorus arpeggiator, play Bm in the top octave D, F , B. Opening choir synth on A5 velocity layered - play loud 2. Opening guitar riff: hold choir on A5, play the riff in octave 6, but softly to not trigger the choir 3.
Full percussion comes in with pedal 1 4. Chords are in octave 4, velocity mapped. Light velocity plays just the electric piano for the verse. For the instrumental, play in octave 6, but with higher velocity to trigger chorus background pad behind guitar. Tainted Love By jaspeter Performance notes: 1. Pedal 1 down for bass accompaniment synth 4. Tagged with: px5s; 80s song ready. Whip It By jaspeter Performance Notes: 1. Bridge guitar is middle-C octave. Bass in C1 octave, slap bass for verse in C2.
Organ for intro and breaks in C4. Psycho in top 3 keys. Playing with a higher velocity on the mute guitar causes a sustain, useful for the bridge. Rock With You By jaspeter Performance notes: 1. Synth lead is in the top octave. Guitar is in middle octave. Pedal 1 adds "disco" percussion for the chorus. Personal Jesus By jaspeter Performance Notes: 1. Oscillator synth: F 5, C 6, F 6 3. BigMoneyAnt posted My guess is yes because of the 3. But not sure tbqh I would hit up Turtle Beach for info Or just do a quick search Played a few hours or each After a like 30 mins of chatting with people I asked the question if everyone can hear me clearly or if there was any issues Most of the responses were, "yea man, hear you just fine" I had a couple players say that they heard me but my voice was low "seemed a little far away" but it still could understand me So I guess take that as it is You can change presets, add presets, delete presets etc Not a bad little extra feature.
The one thing that must be done to do some things is update the firmware of the headset by plugging in the base and the headset itself to a PC using the Ear Force program can be downloaded through Turtlebeach. I haven't done it myself, no need as of right now, headset works perfectly fine without the updated firmware, but if you want to create your own presets or put some specific turtle beach created presets you will have to update More topics from this board How do you get the Wireless Display app to work on your Xbox?
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