Joined: 29 Oct 2007 Posts: 253 Location: Inverness, Scotland
Posted: Sat Dec 23, 2017 1:55 am Post subject:
A remix of a remix, eh? I think I know what happens next...
I don't know what it's a re-mix of and it's not a genre that I have any knowledge of but it sounds well balanced to me. You've got good ears.
This brings to my mind a thought about a keyboard I own.
It's a Roland Rhodes electronic piano with lead weighted keys. Roland had bought the rights to the Rhodes name from Fender, who had produced the legendary Rhodes electric piano.
(Being a shameless gear slut who used to have money, I still own a Fender Rhodes "Suitcase" 88 and a "Stage" 73. However, having lent them to friends in need, I haven't seen either instrument since the late 20th century.)
Harold Rhodes started developing his electric piano to provide a relatively low budget and portable teaching instrument for those who couldn't afford a real piano. The principle intention behind the development of the Roland Rhodes was to emulate the sound and feel of the mechanical Fender Rhodes while also offering a few other piano-related sounds such as the Yamaha CP-80, Wurlitzer EP, Hohner D6 clavinet, harpsichord and the, er..., the piano.
Okay, so far we have a digital emulation of a mechanical substitute for the piano.
In the early eighties, Yamaha's ground-breaking DX-7 offered an unprecedented range of different sounds and one of its most popular creatures was its delightful impression of the Fender Rhodes sound. Although it didn't sound exactly the same as the Rhodes, it was functionally equivalent and, indeed, it had its own very attractive and unique characteristics as well. Furthermore, the DX-7 was nowhere near as heavy or as bulky as any of the Rhodes models. In no time at all, keyboard players (including me) were using the DX-7 onstage instead of the Rhodes and its delightful electric piano sounds consequently became very familiar to audiences everywhere. (I'm pleased to report that not only do I still have my DX-7 but I even know where it is. It's in the room next door and it's still in fine, working order.)
Right, now we have a synthesised version of the mechanical substitute for the piano.
Back to the Roland Rhodes now. I mentioned that, as well as the Fender Rhodes sounds, it also has patches for Wurly, CP-80, clav, etc. Well, there's another one that I didn't mention - it emulates the DX-7 Rhodes too!
Now we've got the
Roland Rhodes imitating the
Yamaha DX-7 emulating the
Fender Rhodes substituting for the
But soft! We're not finished yet!
I bought the Ensoniq EPS16+ sampling keyboard not long after it came out in 1989 or thereabouts. I had a love-hate relationship with that instrument. I loved it when it worked properly and if it had been reliable it would probably have been my favourite keyboard ever, partly because of the quality of the sounds but even more because the keyboard itself was the most responsive and expressive manual I've ever played. Unfortunately, precisely because it pushed the pioneering key sensitivity to such an ambitious level, there was some mysterious engineering fault in the design and the damn thing let me down badly a few times during gigs. With it still being under warranty, I took it back to the shop several times and I had at least three, maybe four, brand new replacements. Each one eventually self-destructed. Undaunted, I took a chance on the rack version and I still use that to this very day for gigs.
Amongst the samples that I made for my live work is - the Roland Rhodes DX-7.
So. The story so far...
We have the
Ensoniq EPS16+ ... imitating the
Roland Rhodes ... imitating the
Yamaha DX-7 ... imitating the
Fender Rhodes ... substituting for the
... acoustic piano!
By my count, you've still got two more remixes to go to catch up!
Sadly, I don't have my acoustic piano any more.
But I do have lots of alternatives! _________________ My real name is Gerry.
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