I've always had the volume ped attached to my secondary RH sound only, and when I used it to bring in strings or choirs, it's right next to my sustain ped, so it was easy to flip back and forth. For organ or brass use - most times, I no longer required the sustain, so I rest fully on the volume for expression. In most cases, I don't use the ped unless I know I will be doing alot of organ leads, and that's rare in my dance jobs.

For a jazzier, more intimate crowd - it's a great addition.

Hi Scottyee,

And for the benefit of others, there are a few differences between a volume pedal and an expression pedal. First a volume pedal is designed to sit in-line of the signal path from the output of the instrument to the input on the amplifier. It varies the signal level delivered to the amplifier.
An expression pedal is designed to connect to an expression pedal socket on the back of a keyboard or other instrument and vary the volume of the instrument (or parts of the instrument if it is capable of designating the expression controller to parts) before it is delivered to the outputs of the instrument, or it's internal amplifier and speaker setup where available.

The pedal you have Scottyee is an inline volume pedal. There are two varieties of FV50; L or H. As the names suggest one is for Low impedance signals (such as keyboards and other line level devices) whilst the H model is for high impedance signals (such as electric guitars.)

The later FV500L and H model can both be used as an expression pedal, as it has a suitable connector for this purpose, and an in-line volume pedal.

Some expression pedal models such as the EV5 or EV7 from Roland/Boss have a knob on them for setting a minimum volume level too. This restricts the active area of the sweep in the pedal, so that you never make the setting too low.

The Yamaha FC7 is an expression pedal.

My history with expression pedals really comes from using Yamaha Electone organs since the 70's. These would vary the overall master volume output of the whole instrument. I now however use an EV5 occasionally, but (when using it with a G70) get a lot from initial touch, particulalry when using dynamic arranger also. This reduces significantly the need for an expression pedal. As has been mentioned, earlier examples such as those on an Electone were designed to give the player dynamic control where none was available from the action. Touch sensitive keys only became available on affordable Electones from the FC/FE/FS/FX series of the early 80's. Certainly early Hammond organs did not have touch sensitivity either.

Great stuff, David...thanks. I was also thinking it would be great having the Strings of a Piano/Strings layer under volume control, especially in full keyboard mode.

In the rare instances where you need both sustain and volume, how do you manage?

Ian

Ian,
It's a bit of a juggling act sometimes, but the more important task usually takes the lead ... the gradual crescendo of the strings may mask the absence of sustain till you have time to switch back. Another fabulous layering effect I've used is a velocity triggered tympani to a piano/string patch ... only the very loudest notes make the drum sound heard, and it is SO cool when it comes in on cue. Very dynamic for show tunes and power ballads.
Gotta run ..... the big band goes on in just about an hour!
(it's SO nice just walking in, hanging my Bari on my neck and walking up to the mic stand! I was the leader or soloist for so long, I forgot how nice it is to NOT have to set up the PA!)

Yes, David...the Piano/Strings/ Timpani is one I use, especially now, with the Tyros4, I can layer three RH voices...one of Yamaha's factory string patches, called "Tutti" has velocity controlled timpani on the lower part of the key range. Great for tunes like Space Odyssey etc.

Have a good gig.

Ian

I just got in from my big band job. Here's how it played out:
(I feel so guilty!)
6:30-7 ... we ate from the raw bar and drank from the real bar ... on the house
7-7:30 a DJ started playing some background stuff while we ate butler-ed goodies like Bacon wrapped scallops, and crab balls. Mmmm
7:30 - the band got up and played 2 songs until the MC was ready for us to start the program - we played "God Bless America", then sat down to a surf & turf dinner ( I know ... nice work, if you can get it)
7:30 till 8:45 or so, they gave out awards and made announcements till coffee and dessert was served.
8:45-9:30 more DJ
9:30 we go on stage - play one hour till 10:30. Exhausted, we break again and let the DJ take over for 1/2 hour
One more set till almost midnight and we're done! It was like vacation. I almost feel like I own them money.

These are the cushy ones ..... than goodness they come along once in a while to make us feel like big shots!

I'm tickled that you had a great gig, David, and you were well fed.

Now, let's get back on topic about the volume pedal...I am very interested, as is Scott, on how, when, where, and why people use them with their arrangers (and related gear).

Ian

So then is the Boss FV50L the right/wrong pedal to be using with Tyros 4 for controling organ voice volume and expression? Should I be using a Yamaha FC7 instead?

Thing is that when I connect one of the Boss FV50L's 2 outputs into my Tyros 4's footpedal controller socket #2 it seems to work at increasing and decreasing the volume of whatever specific part(s): RH1, RH2, RH3, LT, I have assigned to foot controller #2. How does the Yamaha FC7 function differently?


My Boss FV50L includes this minimum volume adjustable knob too.

After what Sweentech1 posted, I'm now confused whether the Bosa FV50L I'm using is adequate or if need to puchase a Yamaha FC7 now. Please advise. Thanks. - Scott

First.....
I would NOT perform without my expression pedal.....also my sustain too....all my registrations are basically calibrated to my way of playing, and that is using the Volume/Expression pedal.
Coming from an Organ background, pedals also with footswitches in the sides are a second nature for me, I like the Ketron volume pedal http://www.ketron.com/itemdetails.asp?mod=TP
To bad that has a proprietary connectors, non standard that would allow to be use with other instruments of other brands.
I loved to use this pedal when I had my X1HD and the SD1, both keyboards could be controlled with just one pedal, I really like it a LOT, besides been almost indestructible.

I always have use "volume" pedals, and for advise, I had BAD luck with the Yamaha FC7, I must have a half a dozen that came apart eventually, so far, I would NOT recommend this pedal to no one.
I also had tried the Signal volume pedals like the Korg XVP10, that also has a dynamic control potentiometer, they work OK, until start making some noise after a couple years, very well constructed and heavy duty too.

Believe or not, I had better luck with some old GEM volume pedals, but, eventually they go bad, since they are the cheaply made.
I also purchased the ALesis F2, similar to the Korg but it has a half way, then a spring action gets the volume pedal to that half point, this is by the way, also a signal pedal with the dynamic control. I did not get use to it, so is in a closet.

I hope somebody makes a USB Expression pedal that use a photocell to control the Volume with a LED instead of the conventional light bulb, much like the old Hammond organs, to ME seems the best dynamic and durable option just bringing it to the 21st Century.

Thanks for posting, Mdorantes. What kind of volume pedal do you use presently?

I have used Yamaha FC7 over the years, and have not had any issues whatsoever...that's why I bought the same model again for my Tyros4.

Do you recommend the Boss FV50L that Scott Yee is using? Is it more durable than most?

How do you set up your volume and sustain? When needing both, do you use your right foot on volume, and left foot on sustain, or the reverse?

How do you set up what the pedal controls...right hand voices only, the whole instrument, or some other way?

Ian