#Roland Pianos and Keyboards

[valentinobaos]

Ver "Spain (Chick Corea) - Valentino Baos Trio - Segundo Festival de Jazz de Rengo 2023" en YouTube

[finnperkin]

Roland Digital Piano Are a Game-Changer for Musicians

Transform your Sydney home into a jamming studio with the exceptional sound quality of a Roland Digital Piano! This article explores how Roland Digital Pianos can elevate your music experience, offering professional-grade features, versatile sounds, and exceptional touch sensitivity right in your living space. Learn how to turn any room into a creative haven and enjoy the ultimate playing experience. Ready to upgrade your musical setup? Contact us today to find the perfect Roland Digital Piano for your home studio and start creating music like never before!

[benjamindehli]

Keyboard sounds from "Skyfri Himmel" by Bjørn Eidsvåg & Ylva

Some of the keyboard sounds from Skyfri Himmel by Bjørn Eidsvåg and Ylva Olaisen.

Both direct out and a piezo pickup are used to record the Wurlitzer 200A. The two signals are processed slightly differently, but are summed together before the amplifier. The Korg MS-20 has been recorded twice. Once with fixed octave selection for the oscillators and once with variable octave selection. The direct signal from the Hammond C3 has also been recorded twice. One for the chords and one for the bass notes. The two signals are mixed together and sent through a reverb pedal and a Leslie 122 rotary speaker.

Wurlitzer 200A signal chain:

Direct signal and a piezo pickup

Hairball Audio FET/RACK Revision D (only on direct signal)

Fulltone Supa-Trem (only on direct signal)

Roger Mayer Voodoo-Vibe+ (only on bridge section)

Fulltone Tube Tape Echo

Gamechanger Audio LIGHT Pedal (only on bridge section)

Fender Twin Reverb

Shure SM57 and Royer R-121

Chase Bliss Audio & Meris CXM 1978

DIYRE G Bus VCA Compressor

Hammond C3 signal chain:

Direct signal for bass notes and chords are recorded separately

Gamechanger Audio LIGHT Pedal

Leslie 122

Pair of Shure SM57 and Sennheiser e 602-II

DIYRE G Bus VCA Compressor

Roland SH-09 signal chain:

Hairball Audio FET/RACK Revision D

Fulltone Tube Tape Echo

Chase Bliss Audio & Meris CXM 1978

DIYRE G Bus VCA Compressor

Korg MS-20 signal chain:

Double tracked (fixed and variable octave range)

Fairfield Circuitry Shallow Water

Hairball Audio FET/RACK Revision D

Roland Dimension D SDD-320 (only on the track with variable octave range)

Fulltone Tube Tape Echo

Chase Bliss Audio & Meris CXM 1978

DIYRE G Bus VCA Compressor

Omnichord OM-84 signal chain:

Double tracked (panned hard left and right)

Hairball Audio FET/RACK Revision D

Fulltone Tube Tape Echo

Chase Bliss Audio & Meris CXM 1978

DIYRE G Bus VCA Compressor

Roland D-50 signal chain:

Hairball Audio FET/RACK Revision D

Bandpass filter

Fulltone Tube Tape Echo

Chase Bliss Audio & Meris CXM 1978

DIYRE G Bus VCA Compressor

Skyfri Himmel:

Bjørn Eidsvåg (Vocals, Composer, Lyrics)

Ylva Olaisen (Vocals)

Carl-Viktor Guttormsen (Guitar, Drums, Keyboards, Producer)

Benjamin Dehli (Keyboards)

Christer-André Cederberg (Mixing)

George Tanderø (Mastering)

[merriammusicinc]

Electric Pianos vs Digital Pianos: What's the Difference?

In today’s article, we’re going to tackle one of the most commonly asked questions by piano shoppers; What are the differences between electric pianos vs digital pianos? Are they just the same thing? And which one should you be shopping for?

Read on and find out!

Electric vs Digital Pianos: Are They the Same Thing?

Let's start by dealing with these somewhat clumsy labels and provide some clarity. While both digital and electronic pianos use electricity, they're most definitely not the same thing.

If you're looking for a piano that runs on electricity these days, whether on Amazon or in a showroom, you're most certainly looking for a digital piano, not an electric piano, unless you’re specifically looking for a vintage instrument.

What is an Electric Piano?

Electric pianos, at least as we define them within the music business, refer to a piano which uses an analog electric component to pick up and/or amplify the sound generated by a string or some other kind of resonating metallic object.

An electric guitar is actually a perfect comparison, as we have a resonating string that interacts with a magnetic field which generates a wave shape in the electric current that can be subsequently amplified.

Anyone familiar with 1970s music in the Motown, R&B, or pop vein will undoubtedly be familiar with the classic sounds of various electric pianos such as Rhodes, Wurlitzer, and Yamaha.

Why Electric and not Digital?

What exactly makes a piano electric and not digital? Well, quite literally, the lack of digits. Even though electrons were flowing around, none of it was being turned into ones and zeroes. There wasn't a microprocessor to be found, which is one of the most basic requirements to call something a digital device.

Under this set of definitions, there aren't any electric pianos being manufactured or sold today with the way technology has evolved over the past several decades, with maybe a couple of exceptions in the synth realm.

That said, certain vintage electric pianos are coveted on the second-hand market for their unique timbre, even though manufacturers like Roland, Casio, Kawai, Nord stage pianos, and various VST companies all produce very convincing electric piano patches.

What is a Digital Piano? 88-Key Digital Piano

Digital pianos generate tone in one of three ways. The first is by replaying samples of a real instrument that's been digitally stored, and this covers the vast majority of mid to high-end digital pianos currently being produced.

The second method involves generating different pitches based on a single PCM shape, and this is similar to how general MIDI sounds work. This method is, of course, common with synthesizers.

The last method involves tone being generated in real-time through complex algorithms, and this method is called modelling, which is still relatively rare among digital keyboards.

Which one Should you Consider?

Now that we’ve clarified the differences between Electric and Digital pianos, which one should you be looking for? Unless you're a professional keyboard player or vintage instrument enthusiast, you are most certainly looking for a digital piano.

Digital pianos have dramatically improved in quality and come down in price over the last 10 years for much wider accessibility. And just within the last two or three years, many instruments, even in the entry-level $500 USD range from companies like Alesis and Korg, will provide a sufficient musical experience to take your first piano lessons on.

Digital Piano Snapshot of the Digital Piano Market Today

The average price of a digital sold in 2020 is around $850 US or $1,100 Canadian with popular models like Yamaha digital pianos such as the Yamaha P125, Yamaha P45, and the YDP Arius and Clavinova series. Other best-selling models such as the Casio Privia PX and CDP series instruments also provide a stellar portable keyboard experience, and there are even arranger portable digital pianos available at this price point too.

Musical instruments in this price range are increasing offerings of modern technology such as Bluetooth Connectivity, quality hammer actions, believable sustain pedals, metronomes and various output jacks.

The best digital pianos in terms of quality range from $5,000-$15,000 USD, with some even featuring things like genuine acoustic grand and upright piano key actions with wooden keys and high-end speaker systems and amplifiers for exceptional piano sound.

Final Thoughts

We hope this article has helped clarify the differences between electric and digital pianos. As we’ve said, unless you’re specifically looking on the private market or with a vintage gear retailer, you’re almost 100% going to be looking at a digital piano.

The post Electric Pianos vs Digital Pianos: How Electric Pianos And Digital Pianos Differ? first appeared on Merriam Pianos

2359 Bristol Cir #200, Oakville, ON L6H 6P8

merriammusic.com

(905) 829-2020

[hiromusicarts-blog]

ホームスタジオにKORG D1を導入 メインキーボード（８８key)ピアノタッチ鍵盤を新調しました。 前の電子ピアノは、Roland のFPだった（中古）のだけれど、色々と不具合が出てきたので、買い換えようとあれこれ探していました。 候補には、ALESISのrecital proとかYAMAHAのP-225とかもあったけれど、KORGのD1になりました。 決め手は、MIDI in out の標準装備。 私は、PCではなく、MIDIでハード音源や、MIDIデータマネージャーに繋げているので、MIDI端子が必須項目だったのです。 問題なく、接続完了し、ハード音源の音を鳴らしています。タッチ感は、やや「ベタ」な感じだけど、本格的な演奏を目的とはしていないため、そこは目を瞑るところ。 実際の演奏入力も、ほぼ問題ないようで、割とストレスフリーになったと思う。 同時期にショルキーにも問題発覚。KX5の電池ソケットが割れていて、使えなくなっていたので、一応修理をして、稼働しているのですが、ライブで「保つ」のか心配で、同等品の色違い（中古）を仕入れ、動作確認をしているところです。

Introducing the KORG D1 to my home studio I bought a new main keyboard (88 keys) with piano touch keys. My previous digital piano was a Roland FP (second-hand), but it started to have various problems, so I was looking for a new one. My options were the Alesis recital pro and the Yamaha P-225, but I ended up with the KORG D1. The deciding factor was that it comes standard with MIDI in/out. I connect to hardware sound sources and MIDI data managers via MIDI, not a PC, so a MIDI terminal was a must. I connected without any problems and am now playing sounds from a hardware sound source. The touch is a bit "sticky," but since I'm not aiming for serious performance, I can overlook that. There seem to be almost no problems with actual performance input, so I think it's become relatively stress-free. At the same time, problems were discovered with the shoulder keyboard. The battery socket of my KX5 was cracked and it could no longer be used, so I repaired it and it is now working, but I am worried about whether it will last during live performances, so I purchased an equivalent item in a different color (second-hand) and am currently checking that it works.

[devilish-parrot]

Tally Hall themed names for pets:

you can also use this to name your children (or renaming yourself)

If you own a tally hall themed zoo(bin), then you know where to look for names

these are all of course only sugestions. im not forcing you to name you dog zirconium pants.

Most of this isnt serious but if you see some good ideas, go for it. youre welcome in advance

(this has been sitting in my drafts for months and ive lost motivation to finish it but you can roughly guess how it goes)

peoples names:

Zubin

Rob

Ross

Andrew

Joe

Bora

Casey

Marvin

Sally

Steve

Ryan

Colours:

Blue

Yellow

Grey

Green

Red

Orange

Black

Instruments:

Electric guitar

Acoustic guitar

Guitar

Ukuklele

Accordian

Flute

Drum

Piano

Keyboard

Microphone

Amp

Roland Amp

Violin

Bongo

Pair names:

What, When

Circles, Spirals

Birds, Bees (unfortunetly most people will think its a sex ed reference)

Mary-Kate, Ashley (most ppl will think its a direct reference to the olsen twins though)

Juno, Sun

Good, Evil

T, A-L-L-Y

Case, Bass

Click, Flick

Collectable, Delectable

No Answers, No Questions

Bubmle, Mumble

Once, Twice

Where, There

Here, There

Twice, Thrice

Direction, Voice

Double, Bonus

Bung Vulchungo, Zimbabwe Songbirds

Laugh, Kick it back

Rythm, Rhyme

Whether, Whatever

Whether, Anything

Bungalay, Bungalow

Too much, Not enough

Back, Forth

One Thing, Another

Spring, Storm

Enthusiastic, Alive

Silent, Explosive

Over Again, Never Again

Laugh, Clap

Serious, Delirious

Gallows, Ghetto

Town, Meadow

Billows, Over the Sun

End of a time, Another Begun

sky, all the land

Song Lyrics:

MARVINS MARVELOUS MECHANICAL MUSEUM

Good Day

Id like to say hello and welcome you good day

Glass eyes

Nothing

Something

Television

Cardboard houses

Xray Vision

Silly Rhymes

Telephones

Silly games

Periods

Question Marks

2. Greener

Greener

Seconds

Boulders

Weather

Breaking me slowly

Meaner

Cleaner

Greener shade of envy

3. Welcome to Tally Hall

T-A-L-L-Y

Mini Mall

Mega Mart

Eddie Thatch (most ppl will think youre directly referencing blackbeard)

WWTDH

Tizzy Hizzy

Carnival

Tally Hall (not the most creative but whatever)

Automated Players

Suave Fellow

Heterophonic Tunes

Proud Loud Guy

Sipping 'gnac (or Cognac)

Bill Laimbeer

Locksmith

Keys

Badiggle

Unpredictable Games

Antiqueties

English Chap

Knickers

Gall

Sterosonic

Animatronic

Robo-Electronic Ebonics

Quick Distraction

Mechanic Attraction

Good Old-Fashioned Puppet Show

Marionette Quintet

We think we're playing in a band

4. Taken For a Ride

Helpless land

Happy

Sadistic Mystic

Elavator

Fifteen Flights

Creatures

Listening

Painted Whispered Light

Forgotten Hill

Stranded Senate

White Brick House

Lonely Papaerbacks

Tiptoed

Wooden Sign

Lovely

One Secondary Smile

Extra Mile

Chemistry (is gone)

Taken for a Ride

Actor

World Renowned

Last real day of silence

Picture of a Letter

No Secrets (In the door)

5. The Bidding

Mmm-mmmmm-mmmm-mmmm (you have to hum the tune)

Cardboard Box

Liqor shop

Pavlov Dog

(Activate my) Bell

(Not a) Single Lady

Atmosphere

Continent

Hemisphere

Circumvent

Disappear

I graduated at the Top

(I like to take advantage of the) Bourgeoisie

Fantasy

Queen

Couple bucks

Gentlemen

Four Times a Lady

Dont shop Around

The Bidding

He's Sold

6. Be Born

Quite Content

Swimming Pool

Pink-Skinned Babes

Forever Young

See the Sun

Six Inches

Dozen People

Cry

(Follow my) Instruction

Little Ball

Bah/ Dah/ Baheyah

7. Banana Man

Colonel P.T Chester Whitmore

Bung Vulchungo

Zimbabwe Songbirds

Banana man

White Hot Sand

Banana Tree

Banana Flow

Mm mm mm mmm

Flame

Spirit

Spirit Game

Spirit Names

Spirit Cloud

Songbirds

Fire light

uptight

Little Fun

Bungalow

Bumping of the drum

Troubles

Go with the Flow

Whatever you may never know

Beckoning Man

African't

Nine o clock

Busy Town

8. Just Apathy

Just one state of mind

Something better

(no) Perfect find

Why i bother

Consider the Possibility

Im so tired

Inspired

I feel bad

I made her sad

I need to learn

Step blindly

close my eyes

Acting kindly

9. Spring and a Storm

Blah blah blah blah blah blah blah blah blah

Please stop complaining

Rain

Ground

Sky

Music

Clouds growled overhead

Thunder

Drained my soul away

Mr moon

Deep

Dark

Eternally high (great name for a giraffe)

Obscure

Star

Silent

Explosive

Create

Universe

Overworked

Re-crown

Creation

Over and over and over again

Never again

10. Two Wuv

little thing

just a fling

solely mine

mural

great eyes

fancies

apartments

enrolled in your school

bee

sadness

passes

im calling from tally hall

say that again slowly

lovliness blossomed

11. Haiku

trying

write

haiku

beyond

ancient asian poetry

lost in the sauce

formulaec verse

forte

tried attempts

lah da dee diddum lah dah dah dum ditto dum doo lah dee doh

sufficient

webster

12. the whole world and you

pretty people

sotries

passing letters

questions answered

metaphysical

astronomical

mystical

magical

la la la la la la la la la la la la

kings

distant cities

servisory

congratulatory

brewing

cooing

revealed the truth

not about me

retract

abstract

concluding

13. Ruler of everything

juno

juno was mad

shot at the sun

sun

wily

wily one only friend

mechanical hands

ruler of everything

ruler

everythung

jackrabbit

dance

zurconium pants

consequental

trance

walk

talk

disintegrates

chalk

wif

job

egocentric

mannerisms

wall

mirror

clearer

standing so tall

slobber

clovers

side of the hill

observing the birds

circle in for the kill

facade

scam

cry

detective undercover brotherhood

objective obscene

flibbity jibbity jibber jabber

word to sell story to tell

ringing the bell

comprehend

ubderstand

you resemble a fool

bumbling dragon

14. Hidden in the sand

playing in the sand

found a little band

bid adieu

buy a pony

15. Mucka Blucka

bluck

ba-bluck

a-bluck

blucka

bluck-bluck

blu-ha-ha

blaaah

mucka blucka

mucka-blah

mucka

mucka ba-ba

ba-ba

blough

blucka

bluck

bow

bluckity

blickity

bluck-bluck-bluck

blick

beeiiish

jerk chicken

Good & Evil

Never meant to know

lay of the land

feather in cap

sun in the sand

offered

together again

the earth can stay below

meat from the bone

perfectly equal

being alone

outermost clime

parts combine to one

around the sun

disarray

the sun the shadows cast

reasons on the other hand

2. &

love of the s*n

martyr claiming friends

either perspective of &

weak, strong

wet, dry

right, wrong

live, die

sane, gone

love, not

we forgot

hear it

dont deny it

high, low

new, old

stop, go

hot, cold

john, yoko

dark, light

good night

lesson fron their fathers

same command

lives stuck beside

words, numbers

sound, silence

stop the peace, keep the violence

no, yes

we digress

sad, hapenis (i know how to spell happiness i just cant unhear "ha penis oh god")

big bad betty

golden rule

jungle meet

nothing to love, no one to beat

thungs we know, things we dont

think, cant, will, wont

loath to gather

together, bereft

capitalists, communists

hokey pokey

hate eachother, love yourselves

heaven, hell

3. you & me

starting out a road

carefully unload

open-eyed

another seed to sow

getaway undone

divine, circular design

do do-do do-do

time, place

points along a line

keep on turning

sitting in the park

carefully remark

better when youre learning

in the dark

keep on turning

turn away and around

ive been coming down

4. cannibal

cavern

place where she can stay

darkness

obsessed

need to feed

willing victim

cannibal

rips out my bones

animal

blood is drained

calls it a game

wound

unimstakeable

dig up the skeletons

believe

corners disguised

phantom of glammer

feeding

conceding

5. who you are

appointment

sitting, waiting, hoping

air, night, airplane

flight overcame

distance

emmiting a glow

holding the thoughts

thinking too often

little aloft

not enough heart

armed to the teeth

fireside

falls down

rose up, rode underground

finding found

6. sacred beast

service of the king

almighty

in control of everything

queen decides

lives, dies

tonight we will sing

love, *humming and whistling*

easiest thing

mission

slay the sacred beast

claim our innocence

wont return

feast

riding high

hmm-hmm-hmm-hmm

easisest thing

mission

claim our innocence

it knows its only truth

made of lies

auht, ever-wise

compromise

other sides of our disguise

seperate peace

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[projazznet]

Roland Haynes – 2nd Wave

This early effort by keyboardist Roland Haynes is an open and explorative soul-jazz session. Like John Patton’s comparable 1969 date, Accent on the Blues, this set has its spacy moments, but, on the whole, isn’t quite “out” enough to be considered avant-garde. A number of different moods and tempos are represented here. Some tunes, like the psychedelic opener, “Eglise,” find the dual keyboard front line floating over slow, deep funk rhythms. Others employ modal jazz vamps and lightening-fast chops. “Descent” and “Second Wave,” for example, are flat-out exhausting and find drummer Carl Burnette chopping and reconfiguring each beat at breakneck speeds. Burnette is perhaps best known for his work with Gene Harris in the early ’70s and listeners appreciative of his beat-down funk style on Three Sounds jams like “Duck Soup” will equally dig the groovy numbers that bookend this set. Haynes is heard on one of two electric pianos in this session. The other, held down by Kirk Lightsey, was fed through a wah effect and at times sounds much more like a guitar. For the most part, though, every song here is a winner, among them the opener and the infectious “Funky Mama Moose”(Brandon Burke/AllMusic).

Bass – Henry Franklin Drums – Carl Burnett Keyboards – Kirk Lightsey Keyboards, Written-By, Arranged By – Roland Haynes

[brokethedrawer]

Ran into this while browsing through some older sites--an article/interview from 2004, mostly about Everybody Loves a Happy Ending. I especially love what Charlton says about "Size of Sorrow."

In case the Wayback Machine link ever stops working, here's a copy:

INTERNAL CONFLICTS ARE PRACTICALLY a requisite for every pop duo, the in-fighting associated with Simon & Garfunkel, Oasis and The Everly Brothers almost as well-known as the songs they produced.

Up until recently, Tears for Fears had sustained an impressive impasse of their own, with one half of the pair, Curt Smith, abandoning the synth group for more than a decade. What was thought to be a permanent vacation, however, is snapped on April 6 with the release of Everybody Loves a Happy Ending (Arista), the first CD by the original British duo since 1989’s Top 10 album The Seeds of Love.

The full track list: "Everybody Loves a Happy Ending," "Closest Thing to Heaven" (first single), "Call Me Mellow," "Size of Sorrow," "Who Killed Tangerine?," "Quiet Ones," "Who You Are," "The Devil," "Secret World," "Killing with Kindness," "Ladybird" and "Last Days on Earth."

Smith and partner Roland Orzabal grew up as childhood friends in Bath, England, devoting many years to the cultivation of Tears for Fears (and Graduate, prior to that) before breaking though with The Hurting in 1983.

The band ruled the airwaves in ’85, tallying two singles that topped the charts for a combined five weeks: "Everybody Wants to Rule the World" and "Shout." But despite the mega-success of Songs from the Big Chair that year (five-times platinum) and the strong reception garnered by its follow-up, The Seeds of Love, four years later, the union eventually proved ill-fated. Smith exited in 1992.

Orzabal upheld the Tears for Fears moniker despite Smith’s absence throughout the ’90s, but the amount of material he created was minimal: Elemental in 1993 and Raoul and the Kings of Spain two years later. In the meantime, Smith periodically issued obscure solo discs, including 2000’s Aeroplane.

"About two-and-a-half years ago, they started talking again," newly recruited guitarist Charlton Pettus, who also played on Aeroplane, tells ICE. "I think they had both arrived at similar places musically, and whatever personal stuff there was, it was long ago enough that no one cared anymore. Their dynamic partnership is one that they didn’t fully appreciate until they didn’t have it. When they got back into it, they just kept going."

Once the reunion became official, the band devoted winter 2002-’03 to writing and laying down demos. The bulk of the recording took place in Los Angeles starting in February, and lasted through the summer.

"We took about four trips between Roland’s house in England and [L.A.] before we really started recording," says Pettus, who co-produced the album with the band. "So it was a gradual, get-back-into-the-water thing at first."

Whereas Orzabal traditionally performs guitar and keyboards and Smith the bass, the members occasionally swapped duties during this recording. Pettus filled all three roles when needed, and Orzabal even stepped behind the drum kit for "Closest Thing to Heaven." The album is also infused with B3 organ, Wurlitzer, acoustic piano, Mellotron, clarinet and other instruments.

While Pettus claims the recording was slow-moving, "Ladybird," the first song the duo attempted, "went fairly quickly and naturally," he says. "There was no conscious effort to sound like Tears for Fears… they just do."

Despite the long gap of time between recordings, the group only looked to the past for one Everybody selection, "Size of Sorrow"; the rest were all written specifically for the new album.

The Orzabal-penned "Size of Sorrow," at least seven years old, was casually recalled during the recording sessions, eventually winding up on the album. "It was from the period right after they broke up, so hearing Curt sing it was kind of an epiphany," Pettus states. "When we were going through songs midway through the process, there was a song of Roland’s that he’d never recorded a version of which he liked. Me and Curt thought it was a beautiful song… we messed around with it for awhile and loved it."

Pettus says that the majority of initial tracks were preserved for the final versions of the songs.

"More than half the tracks on there are first-take quickies," he says. "A lot of the guitar solos are first-take noodles that we got attached to. It’s a demo/record hybrid — nothing was erased."

He points to the title track specifically: "The middle part of that song is Roland singing and playing acoustic guitar together on one mike. He did just one take as a reference, so we could lay out the song structure. We thought there was something magical about the take, so that was it."

The studio residency resulted in roughly 12 leftover tracks, some of which will surface as B-sides and others that will not be finished. Pettus hints at one track in particular, "Out of Control," as being an especially beloved remainder.

Once the recordings were finished, the pair inked a deal with Arista — the first time they had ever been involved with the label. "[Arista president] L.A. Reid has always been a big fan," VP of Marketing Adam Lowenberg tells ICE. "Everyone at Arista is so excited about this… there’s nothing else like it on our roster."

–Kurt Orzeck © 2004 Howard Communications, Inc. All rights reserved.

[hitlikehammers]

I accidentally started writing this future!fic married!Steddie where rockstar!Eddie agrees to a custom-dildo box set a la Rammstein and chaos ensues so I guess, have some? CW for all the sex toys and stuff

Of all the bullshit Steve has muddled half-assed and barely-passably through in his lifetime—mostly at the demand of his asshat parents—possibly the most innocent, and honestly the least painful, were the piano lessons.

Which should have been enough to warn him well in advance that that shit was going to come back to bite him in the ass in the long run.

Like: literally.

But hey, look: it wasn’t as if he took it seriously, while he’d actually been doing it. And it wasn’t as if he even did it for very long, either. It was just a…what, a nice little novelty thing? Something that he wasn’t flat-out bad at, that could make up for his shit-ass grades when his mother talked about him at dinner parties until the real sports kicked in around junior high. It was a placeholder. A stopgap. He’d never touched the thing again after his last lesson, even if it sat perfectly-dusted and regularly-tuned in the corner of his godawful mausoleum of a house up to the day he moved out and learned that it was, in fact, easier to take the loss than try to convince anyone to buy it off him if he wasn’t inclined to include delivery.

And Eddie’s van wasn’t actually fucking wide enough to pull that off, so.

Point being: he was rid of it, he did not miss it, and he honestly didn’t think twice about it again until, oh.

Almost like fifteen fucking years later.

And really, honestly: how the hell was he supposed to expect that, come those fifteen years later, he’d be a) still alive after all the alternate dimension bullshit, b) in a longterm relationship, c) not just a longterm relationship, either, but a longterm relationship that involved a level of fucking soul-deep, unflinching and unshakable love that he never could have imagined at any point in his whole goddamn life, not a single one of his half-baked romantic teenage fantasies even scratching the goddamn surface of what this is; of what he has, and d) the fact that he has it, blissfully and gleefully and joyfully, alongside the most amazing man he’s ever fucking known.

He couldn’t have guessed those things, not a single goddamn one of them, is the point. And those were all at least, like, at the forefront of his mind by the time they actually did—however improbably—happen.

So how in the actual flying fuck was he supposed to guess playing five goddamn notes on a cheap-ass Yamaha would be the thing that would ultimately damn him straight to hell?

He hadn’t even planned on it, either. Shit, he hadn’t even wanted to do it. No, see; what he’d wanted was to get his idiot fiancé off his motherfucking ass and out of the studio, but no. No, see: these last three seconds on Track Nine of As-Yet-Untitled-Album-Seven just weren’t hitting right, babe, I’ve just gotta get it to—

“Fuck it.”

Steve hadn’t even waited for a reaction before he dropped into the nearest seat—that being at the cheapo keyboard that may actually have been for someone’s kid to fuck around on to just keep them occupied, especially since there was a massive fucking Roland set-up arranged all professional-like on the other side of the room, but that was not the goddamn point.

The goddamn point was that their flight was going to leave in two hours, and it’d take half that time just to get to the fucking airport.

“Here, you want something to hit right?”

And Steve had relied entirely on the better part of two decades’ rust on whatever muscle memory he had left being just enough to shock a metalhead out of his stupor and get his ass in gear. He thinks he trilled out something from, like, Bach. Or Beethoven. Some dead ‘B’ dude his teacher made him play that he hated then and was pretty sure he hated still, if what he dragged out was anywhere close to accurate. He played it sloppy and staccato and ended fortississimo in a way that very same teacher would have reamed him out for, but honestly, Steve kind of thought all the fff’s involved were pretty fucking fitting as he bounced to his feet on the reverb and glared at his partner’s slackjawed face.

“Either that hits just fucking right, Edward, or I’ll swing this goddamn suitcase at you and see if thatdoes the trick.”

And Steve hadn’t needed to threaten further violence against the man he loved because what he got was was an armful of Eddie, and a kiss deep enough to make Steve just a little dizzy, and he hadn’t thought twice about the maybe-ten keystrokes again because they were finally on their way to a city, with a courthouse, that’d marry their asses and Steve Harrington was about to become a husband.

Steve Harrington was about to have a husband.

His heart was way too fucking full for anything else.

———————————————

But: once everyday life settled back in?

It may have been a good idea for Steve to have taken a minute—hell, really, even just a second—to think a little harder about Track fucking Nine.

———————————————

Eds always said Corroded Coffin was a band that was ‘big enough’—and Steve generally agreed. Eddie loved performing, loved writing and breaking something primal and bloody wide open from his chest and spilling it out on a record, pouring it proud and unapologetic across a stage and then—to Steve’s complete surprise, at least at first—what Eddie loved even more than any of that was coming home to Steve afterward and curling up around him in their bed, pressing the kind of smile into the line of Steve’s neck that never waned or faded; fucking somehow impossibly just grew and grew and grew.

So the band was big enough, in that they played decent sized venues when a album dropped, and they could usually make it so their tours split between winter break and summer vacation once Steve landed his own gig as a guidance counselor, so he could come with, make sure Eddie never had to curl up in bed alone. And the band pulled in enough money so the two of them lived comfortably in the house they’d bought with the trust fund that’d had Steve’s dead grandfather’s name and blessing scrawled across it so ironclad that his parents couldn’t fucking touch it, hard as they’d tried. Basically: Corroded Coffin was ‘big enough’ that they made end-of-year lists not-infrequently, but Eddie never once had to dodge the paps outside their front yard. They were big enough that the core of their fanbase had evolved from late-80s metalheads to include the vaguely obsessive diehards of the internet era who picked apart the liner notes like they held the answers to god and the universe and everything. It was weird, but the band was fucking weird, and Steve-and-Eddie were likewise pretty goddamn weird, so it mostly worked out fine.

But that was also, at the very same time, exactly how literally anyone started asking a single goddamn question about the stupidly out-of-place performance credit listed on track fucking nine, when finally-titled-Album-Seven got its release date.

[callmethehunter]

Roland F-701 -my new keyboard! I’m really enjoying playing and it sounds remarkably like an acoustic piano which was my #1 priority! 🎶This is the song I’m currently learning

[onlymusika]

The story of the soundtrack to Amelie

Welcome to the "Soundtrack" column, in which we'll look at iconic soundtracks. Opening this column will be the charming and whimsical soundtrack to the 2001 French film "Amelie," written by Jan Thiersen.

The music for "Amelie" was written and performed by Jan Thiersen, a French musician and composer known for his experimental and minimalist style. Thiersen used a mixture of acoustic and electronic instruments to create a distinctive and playful sound to the soundtrack. The music is a mixture of French folk, classical and contemporary styles, with influences from Eric Satie to rock music.

One of the most striking instruments used in the soundtrack is the accordion, a traditional French instrument that gives the music a distinctive Parisian flavor. Thiersen also used a toy piano, a small and unconventional instrument that gives the music a childlike and whimsical atmosphere.

Another notable instrument used in the soundtrack is the mandolin, a stringed instrument that gives the music a rustic and folk character. Thiersen used the mandolin in the composition "La Valse d'Amélie," which is one of the most memorable compositions of the soundtrack.

In addition to the accordion, toy piano, and mandolin, Jan Thiersen used many other instruments to create the distinctive sound of the soundtrack for the film Amélie. One of the most notable instruments used in the soundtrack is the piano, which is heard in several compositions, including "Comptine d'un autre été: l'après-midi" and "La Valse d'Amélie." Thiersen used a Steinway & Sons Model O grand piano to record the soundtrack.

Another notable instrument used in the soundtrack is the harpsichord, a keyboard instrument with a distinctive plucked sound. For the track "Les Jours Tristes," Thiersen used a French harpsichord made by Pleyel.

In addition to these acoustic instruments, Thiersen also used several electronic instruments to create the unique sound of the soundtrack. Among them were a synthesizer, a sampler and a drum machine" Tiersen used a Roland Juno-60 synthesizer, which features a haunting and melancholic synth melody.

Overall, the combination of acoustic and electronic instruments used in the "Amelie" soundtrack creates a unique and playful sound that perfectly matches the tone of the film. The "Amelie" soundtrack is a masterful piece of musical storytelling that perfectly captures the quirky and charming nature of the film. Thiersen's use of unconventional instruments and techniques creates a sense of playfulness and wonder that perfectly matches the whimsical tone of the film.

One of the most memorable compositions on the soundtrack is "Comptine d'un autre été: l'après-midi," which features a simple and melancholy piano melody that perfectly captures the bittersweet nature of the film. Another notable track is "La Dispute," which features a driving and playful accordion melody that sets the tone for the entire film.

Interesting fact: Jan Thiersen wrote and recorded the entire soundtrack in less than a year, using only a few instruments and a simple recording machine. The soundtrack has become one of the most successful and beloved movie soundtracks of all time.

All in all, the soundtrack to the film Amelie is a delightful and quirky work of art that has captured the hearts of listeners all over the world. If you're a fan of French music, classical music or just good movie soundtracks, this album is a must listen.

Subscribe to our cozy Telegram, there's a weekly selection of the best new releases coming out every Friday : https://t.me/onlymusika

The full soundtrack of "Amelie."

[fefawisse]

15 questions

I was tagged by the amazing @vctrlf 

1. Nickname: Fefa

2. Sign: Virgo ♍

3. Height: 1,77 m / 5'8" ft

4. Last thing googled:

“Lula’s ministers”

5. Song stuck in my head:

Kunkun - satellized

6. Number of followers: 355

7. Amount of sleep: 6 or 7 hours

8. Dream job:

I do not dream of labor but I studied to be a professor at the university

9. Wearing:

a shirt and underwear

10. Movie/Show that summarises me: 

Hmm that’s hard, but i spend a fair amount of time watching drag race related stuff

11. Favourite song right now:

Fever Ray - Carbon Dioxide

12. Favourite instrument: Piano/ Keyboard

13. Aesthetic: basic and boring

14. Favourite author: Roland Barthes, José Saramago.. hm my memory is shit  🤪 and I’ve been reading only academic papers for a long time

15. Favourite animal sound: I think it’s whale sounds. I used to listen to a playlist for sleep

Tagging these beautiful people: @guriter, @blameitontheptsd, @criaturaconfortavel, @bios-tumbrl, @aproclivityforgayshit-again and all my mutuals who feel like it.

[dorischiangca]

Level Up Your Piano Skills with Doris Chiang’s Tech-Savvy Approach

Tired of dusty piano books? Discover how technology is transforming piano practice! In today’s fast-paced digital age, learning the piano can be more engaging and efficient than ever before. Whether you’re a parent looking to enrich your child’s summer activities or an art enthusiast eager to explore a new hobby, leveraging modern technology can revolutionize your piano learning experience. Join us as we dive into the hottest tech trends in piano learning, featuring insights from Doris Chiang, a renowned piano teacher in Santa Ana.

The Dawn of Digital Piano Learning Digital advancements have reshaped many aspects of our lives, and piano learning is no exception. With cutting-edge tools and platforms now available, aspiring musicians can enjoy a more interactive and personalized learning experience. Doris Chiang, a distinguished piano teacher in Santa Ana, embraces these innovations to provide her students with a rich and engaging education.

Smart Pianos and Keyboards The Rise of Smart Instruments Smart pianos and keyboards are gaining popularity for their built-in learning features and app connectivity. These instruments are designed to make piano learning intuitive and fun. The ONE Smart Piano and Roland GO:PIANO are excellent examples of how technology can enhance your practice sessions.

The ONE Smart Piano The ONE Smart Piano offers a 61-key portable keyboard with light-up keys and Bluetooth capabilities. It comes with a free app that provides interactive lessons, fun piano games, and access to over 4,000 sheet music pieces. This smart keyboard teaches you how to play by guiding you through illuminated keys, making it perfect for beginners and advanced players alike.

Roland GO:PIANO Roland GO:PIANO boasts a full-size 88-key keyboard with high-quality speakers and Bluetooth connectivity. Its compact design and wireless features allow you to take your music anywhere. Paired with a smartphone, you can access online piano lessons, karaoke tracks, and video tutorials, making your learning experience both immersive and enjoyable.

Virtual Piano Lessons Flexibility and Convenience Virtual piano lessons have become increasingly popular, especially among busy parents and professionals seeking flexibility. These lessons allow you to learn from the comfort of your home, fitting into your schedule without the need for commuting.

Expertise of Doris Chiang Doris Chiang’s expertise in virtual instruction ensures that students receive high-quality lessons tailored to their individual needs. Her tech-savvy approach makes learning piano accessible to everyone, regardless of location or time constraints.

Summer Specials for New Students To make this summer even more exciting, Doris Chiang is offering special discounts for new students. It’s the perfect time to start your piano learning adventure and explore the benefits of virtual lessons.

Online Learning Platforms Interactive and Engaging Content These platforms often feature interactive lessons, play-along videos, and community forums where learners can share their progress and seek advice. This sense of community can be motivating and inspiring for both new and experienced pianists.

Integration with Smart Instruments Many online learning platforms are compatible with smart pianos and keyboards, enhancing the overall learning experience. The combination of guided practice and online resources can accelerate your progress and deepen your understanding of music theory and technique.

The Benefits of Modern Piano Learning Enhanced Engagement Modern technology makes piano learning more engaging and fun. Interactive lessons, gamified practice sessions, and real-time feedback keep students motivated and invested in their musical journey.

Improved Accessibility Digital tools and virtual lessons make piano education more accessible to a wider audience. Whether you’re a busy parent, a working professional, or a teenager seeking a new hobby, you can find resources that fit your schedule and learning style.

Accelerated Progress The combination of smart instruments, online platforms, and AI-powered tools can accelerate your learning progress. These technologies provide personalized instruction, instant feedback, and a wealth of resources to help you become a proficient pianist.

Local Success Stories Achieving Piano Goals Many students in Orange County have achieved their piano goals through Doris Chiang’s tech-integrated lessons. One such student, Emily, started her piano journey with Doris and quickly progressed from a beginner to an advanced player. The use of smart pianos and virtual lessons played a significant role in her success.

Building Confidence Another student, Alex, was initially hesitant about learning the piano. However, with the support of Doris Chiang and the convenience of virtual lessons, he gained confidence and discovered a passion for music. Today, Alex enjoys playing piano daily and even performs at local events.

Community and Support Doris Chiang’s piano studio fosters a sense of community among students. Through online forums, group lessons, and virtual recitals, students can connect, share experiences, and support each other in their musical journeys.

Unlock the Joy of Piano Learning with Doris Chiang The digital age has revolutionized piano learning, making it more accessible, engaging, and effective. With the help of smart instruments, virtual lessons, online platforms, and AI-powered tools, aspiring pianists can achieve their musical goals more efficiently. Doris Chiang, a renowned piano teacher in Santa Ana, leverages these technologies to provide her students with a rich and rewarding learning experience.

Ready to start your piano learning adventure? Contact Doris Chiang now and experience the benefits of modern piano learning firsthand. Whether you’re a parent looking to enrich your child’s summer activities or an art enthusiast eager to explore a new hobby, the world of piano awaits you.

[maximuswolf]

Unsolvable static problem: Keyboard & Irig Roland go mix

Unsolvable static problem: Keyboard & Irig + Roland go mix Hello, this is officially known as the ultimate unsolvable static problem. Apple support, Casio support, and guitar center cannot solve it. Can you solve it? PLEASEI’m trying to record my brand new Casio pxs7000 onto my iPhone 12 video. I purchased 3 “mixers”: 1. Irig stream pro 2. Another Irig stream pro (bc I thought it was just a faulty Irig the first one) 3. Roland go mix pro x (bc then I thought it was an Irig problem) I also have a million connector cables to connect my keyboard —-> one of the above mixers —- > phone/ipad. No matter what I do, there is static. I’ve tried connecting the mixers to the output from the back of my keyboard AS WELL AS just from the headphone jack on the keyboard… they both have STATIC.When I disconnect the keyboard but I have the mixers connected only to my phone/ipad, STATIC. The same happens to the Roland go mixer pro x as well as both irigs. The static transfers to my videos also. But my piano headphones which are directly pluggged into the keyboard, are clear and great. Absolutely NO static with that. It’s seems to not be my phone, bc I’ve had the same static problem on my iPad (old iPad though) as well as iPhone 12. It seems not a keyboard issue, because when my own headphones are plugged into the same jack as I plug the irig/ Roland go mix, my headphone have no static but the mixers DO. Also not my keyboard bc there is static with the irig stream pro when it’s ONLY connected to my phone. And it’s unlikely it’s a cable issue bc I’ve changed out the cables multiple times over. But also…. I’ve tried 3 MIXERS at this point??Tldr; Where could this static POSSIBLY be coming from?? Submitted September 09, 2024 at 05:54PM by cutemuffin98654 https://ift.tt/Dq3Vjvg via /r/Music

[universomovie]

Roland RD-88 EX Stage Piano | Sound Demos

Roland RD-88 EX Stage Piano The RD-88 EX builds upon the nearly 40-year Roland stage piano legacy with expanded sounds and striking playability. Its acclaimed SuperNATURAL and ZEN-Core engines and the expressive PHA-4 hammer-action keyboard enable performances at the highest level. Its portable design and room-filling stereo speaker system allow you to perform anywhere. The pre-loaded…

[bottlewatersblog]

Top Must-Have Instruments for Music Lovers in 2024

The global musical instruments market size was valued at $9,826.5 million in 2020 and is projected to reach $11,589.8 million by 2030, registering a CAGR of 1.7% from 2021 to 2030. The market was worth USD 18.63 billion in 2022 and is expected to grow from USD 19.25 billion in 2023 to USD 24.53 billion by 2030, exhibiting a CAGR of 3.52% during the forecast period. Another report estimates the market size to be USD 14.20 billion in 2022 and projects it to expand at a CAGR of 7.4% from 2023 to 2030 to reach USD 25.13 billion.

Music Stores and Instruments Market Growth and Revenue

The growing popularity of live concerts and performances is propelling the industry forward. Approximately 63% of consumers are hobbyists, including recreational players, aspiring professionals, students, and parents of students. Children who begin learning musical instruments at a young age are more likely to develop an interest in music in the long run. The rising influence of western music in countries such as China, Japan, and India has also contributed to the market's growth.

Music Stores and Instruments Industry Trends

Customization of musical instruments such as pianos and electronic guitars is an important market trend. Leading market players offer customized, visually appealing, and high-quality products. Customers can customize their musical instruments in terms of size and shape, as well as design guitar necks and inlays and select between traditional and hardwood options. The integration of advanced technologies into music instruments, such as digital interfaces, smart instruments, and mobile applications for learning and composing, is also boosting the market's growth.

Music Stores and Instruments Market Challenges

The COVID-19 pandemic significantly impacted the music instrument manufacturing sector. Lockdowns and movement restrictions led to disruptions in the global supply chains, affecting the availability of raw materials and components needed for instrument manufacturing. Economic uncertainties also led to decreased consumer spending on luxury items, affecting the demand for music instruments. The high cost of electronic instruments, especially advanced synthesizers, digital keyboards, and electronic drum kits, may deter beginners or casual musicians from entering the market, limiting the growth of the entry-level segment.

Music Stores and Instruments Industry Opportunities

The rising popularity of traditional folklore music in countries such as India and Indonesia presents opportunities for market growth. The development of digital technology has led to the creation of digital pianos, electronic keyboards, and synthesizers, offering a broad range of sounds, effects, and features impossible with traditional analog instruments. The integration of smart technology into instruments has given rise to smart guitars, pianos, and other instruments connected to smartphones and tablets.

Music Stores and Instruments Market Top Players and Companies

Some key players operating in the musical instruments market include Yamaha Corporation, Kawai Musical Instruments Mfg. Co. Ltd., Guangzhou Pearl River Piano Group Ltd., Casio Computer Co. Ltd., C.F. Martin & Co. Inc, D'addario & Company Inc., Eastman Music Company, Fender Musical Instruments Corporation, Roland Corporation, Steinway & Sons, and Yanagisawa Wind Instruments Co. Ltd.

Music Stores and Instruments Industry Future Outlook

The global musical instruments market is expected to continue growing in the coming years, driven by factors such as the rising popularity of live concerts and performances, the growing number of music enthusiasts, and the integration of advanced technologies into music instruments. However, challenges such as the high cost of electronic instruments and the impact of the COVID-19 pandemic may hinder the market's growth to some extent. Overall, the future outlook for the music stores and instruments industry remains positive, with opportunities for growth in various regions and segments.

Conclusion

The music stores and instruments market is poised for growth, driven by technological advancements, rising disposable income, and the growing popularity of live performances. However, the market faces challenges such as the high cost of electronic instruments and the impact of the COVID-19 pandemic. To capitalize on the opportunities, market players should focus on developing sustainable and technologically advanced products to cater to the evolving needs of consumers.