If you could reverse the polarity of the switches, the Korg could be used on a Roland G70/E80, if wired correctly into the FC-7 input.

Why you would want to do this beats me, though, when the FC-7 gives you more switches to play with

One area I thank God for my FC-7 is playing the arranger in piano mode... If you are using both hands to play, why ruin a good performance by taking your hands away from the keyboard to make variation changes, fills, breaks, etc.? And play a bunch of jazz tunes, with changes almost every beat, you are hard pressed to get those basic commands in off the buttons and get back to the chord on time. If your arranger has a way to take most of the basic stuff to your feet, give it a try. You might like it

The trouble with the FC10, though is that different arrangers use different codes to do exactly the same thing... It's about time that some standardization of these codes happened, that would make linking two arrangers (more sales... get it, you manufacturers? ) possible, and controlling them from one pedalboard. Yamaha use note numbers for style divisions. Roland use PC#'s, along with CC00/32 codes.

It's enough to make you weep

Thanks Gary. That's what the EC-5 looked like to me. I thought this thread was about using these foot controllers to key the Yamaha SA voices . . . Must have misunderstood.

you were right about the thread topic Bob, but as you are aware most of the recent Synthzone threads seem to take a sharp left turn somewhere along the line.

Good Luck,

Gary

Bob.., we go off topic all the time man Not a problem at all. Some of our discussions are rather funny when you start from the original post then read all the replies.

Glad to hear you guys aren't having any probs with the SA control buttons. It had me curious as to how you guys were using them considering the SA voices themselves react to your playing without the aid of the buttons. I thought some might find it a bit much considering it's another feature that would require you to take your left hand off the board.

No argument here on that....
Pushing yourself is how you grow..and I have a;ways viewed criticism as fertilizer...It may stink but it keeps plants growing.
No argument on that one. I don't play some music at full speed because I would spend more time correcting my mistakes or rerecording part over and over which does help when it comes to growing chops, no dount. But it's a time issue with me. It takes far less time to record it and "fix it in the mix" at the risk and reality of losing one

No argument at all, there.

I edit myself after the fact in the studio all the time. It's a necessity of modern production.. But, subtly, or not so subtly, there's a difference in the phrasing from something played at speed and corrected, and something played slowly and sped up. Lord knows what it is, but there IS something...

If I could simply play as well as I do at full speed, play slower and never make a mistake and keep the same groove, don't you think I would do it? Don't you think EVERYONE would do it? But that's not the way it is done.

And, bottom line is... live, playing with other people (you know, where the magic happens) you CAN'T slow it down. I know you think I'm just digging at you, but I ain't. Honestly... Jamming with other people, playing with other people, making music as an interactive process, is what it is really all about. How few great albums were played by ONE person? Stevie Wonder, maybe! The rest of us? Not so much!

As much as I like arrangers (and I honestly like to use them the same way you do, to knock together quick demos for songwriters. etc., as well as for live use) they are a pale shadow of the interactivity that a true live band has.

You've played in live bands, You can do it now, really (I think). Yeah, the work's sometimes a pain. But when you cook in a live band, there's something that NO arranger can ever hope to compete with... at least, I hope I never see the day that it ever could!

I think you have simply let yourself forget you COULD cook. If you could play all the Santana stuff live, what CAN'T you play that you would need to, live? Pop's not exactly rocket science, unless you are trying to pull a Steely Dan....

I simply think that we are talking at cross purposes. I'm not CRITICIZING you.... I am merely exhorting you, who I think COULD pull off the live thing, to go back to trying it. It's easier than you think...

I have nothing but envy for your voice... but I don't think you would ever go "I have to slow down my singing to make it work, and Auto-tune the crap out of it" and I ALSO think that, with SO little work, you could play live whatever the hell you felt like.

All I would like to see is you rediscover the faith in your own playing, and push yourself to go back to 'real time', which is where all the 'live' players play. Step time, slowed down 'realtime', actual speed... It doesn't make THAT much difference in the studio. But there's a big wide world of wonderful music outside the studio doors, where interactivity, and the magic of melding disparate individuals into a musical 'whole' that dwarfs the sum of it's parts is where great music can often be made....

Give YOURSELF more credit. You deserve it

You sound kind of like my wife who is begging me to do a duo. I tell her I just don;t feel my playing is up to the standards I would feel comfortable being paid for. Also I have been spoiled a bit having worked for years in front of paying audiences and being a part of something bigger rather than being the whole show.

I lost those B3 Santana chops a long time ago. When I try to play the organ solo in Evil Ways today, It is a mess. I have lost it and I am not sure I want spend the time it would take to get those muscles back where thy were 30 years ago.

Its like my studio used to be. I had 120 patch points 7 modules,two keyboards, 32 channel Mackie board, wire, wires wires, everything ontp a patch bay, none of it pro level as in Hosa...Many times I would sit down to get creative and before you know it I would be fishing around the back for an open cable or bad jack. My creativity out the window trying to fix a technical issue...

I have since sold everything and am now down to two boards and an interface. NO more technical issues. The Tyros is the band. The RD700 is the weighted stuff. Done.

I agree there is nothing like a real band with REAL players, No one knows that more than mw who never like to use tracks like other acts when I was on the road. All live,,can ad a chorus, recover from a trainwreck, make endings huge or not depending on the response.

In the studio the Tyros is the band. The next best thing to real players as I am not a bass player, drummer etc and the Arrangers are the closest thing to real players although no substitute. The "CD" quality so many hate about the Yamaha is what I like because that makes it sound more polished and slick (like the worst over produced over compressed CDs LOL.) But covers for the lack of a real band better than I can with 100 modules and 10 fingers.

In any case I hoping the general listener is listening to the song not the band. Its like background music in a movie. Or lighting in a show, If either becomes the focus of attention it is not doing its job to ENHANCE what should be the primary focus not take over.