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SynFauxNY, an
electro-classical synth-keyboard ensemble |
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Roland R-8 Drum
Machine (MIDI Channel 10) |
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Roland DR-770 Drum
Machine (MIDI Channel 10) |
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Proteus 2000 Module
III (MIDI Channel 12) |
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Alesis QSR Module (MIDI Channel 10) |
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XV-5080 |
JV-2080 |
Mi-REx |
QS-8.1 |
TX - Rack |
Xtr-1080 |
XP-30 |
Proteus A |
1080=MO |
JV-1010 |
JV-1080 |
Proteus B |
MU-80 |
JV-1010 |
Proteus C or EZ-Bus |
VOCALs |
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Inputs/Pedals for |
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Inputs/Pedals for |
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Roland C-180 Organ |
Boss Drm |
R8- Drms |
Extra VOCALs |
Wavestn or EXTRA Alesis QS-8 |
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Check out Steinberg Cubase 4
Studica.com | Steinberg Cubase 4
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Conquest-Hush III Instrument Cables:http://www.musiciansfriend.com/product/Conquest-Hush-III-14-Instrument-Cable?sku=330000 |
| Description | Stock | Qty | Each | Total | |||
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Conquest Hush III 1/4" Instrument
Cable 10 Foot
Product #330000
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In Stock | remove |
$9.99 | $179.82 | ||
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Conquest Hush III 1/4" Instrument
Cable 3 Foot
Product #330000
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In Stock | remove |
$7.99 | $7.99 | ||
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Conquest Hush III 1/4" Instrument
Cable 18 Foot
Product #330000
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In Stock | remove |
$12.99 | $311.76 | ||
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CoreX2 1/4" Instrument Cable
Straight-Straight 12 Foot
Product #332501 Returns on this item are subject to special conditions.
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In Stock | remove |
$19.99 | $359.82 | ||||||||||||||||||||
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CoreX2 1/4" Instrument Cable
Straight-Straight 20 Foot
Product #332501 Returns on this item are subject to special conditions.
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In Stock | remove |
$29.99 | $719.76 | ||||||||||||||||||||
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CoreX2 1/4" Instrument Cable
Straight-Straight 3 Foot
Product #332501 Returns on this item are subject to special conditions.
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In Stock | remove |
$9.99 | $9.99 | ||||||||||||||||||||
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Roland R-8 Drum
Machine (MIDI Channel 10) |
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Roland DR-770 Drum
Machine (MIDI Channel 10) |
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Proteus 2000 Module
III (MIDI Channel 12) |
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Alesis QSR Module (MIDI Channel 10) |
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~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ typical SynFauxNY Keyboard Gear Configurations* Standard SynFauxNY Gear Rental Cost Breakdown (2007) (*) indicates a price discounted only for select occasions and/or institutions ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ $350. = KEN's SETUP (includes all electricalaudio cables) $200. = 2 additional SynFauxNY Keyboard setups (w/stands and all hardware/electrical/audio cables) $200. = additional P.A. equipment (w/stands and all hardware/electrical/audio cables) --------- $750. = FULL Gear (2007) (N.B.: any Sequencer or Recording Equipment is extra) FULL Gear Breakdown (2007) (N.B.: any Sequencer or Recording Equipment is extra) $ 25. = Barbetta Sona 32C Keyboard Amp #1 (includes all electrical / audio cables) $ 75. = "Kongo" (Korg M1-REx Proteus 2000 + Mackie Stereo 16-Input Mixer + Yamaha Rev 300 Reverb) $ 25. = Electrical + 6-7 Stereo Volume Pedals + audio cables) $ 50. = Roland "XV-5080/JV-1080 Pak" (includes all electrical / audio cables) $ 75. = QS-8.1 (includes keyboard stand + music stand(s) + opt. seat + and all electrical / audio cables) $ 25. = Xtra Roland JV-1080 Module (includes all electrical / audio cables) $ 50. = Roland C-180 Digital Organ (includes all electrical / audio cables) $ 25. = E-Z Bus 8-Channel Mixer/USB Computer Interface (includes all electrical / audio cables) --------- $350. $200. = 2 additional SynFauxNY Keyboard setups (w/stands and all hardware/electrical/audio cables) $ 25. = (2nd) Barbetta Sona 32C Keyboard Amp #1 (includes all electrical/audio cables) $ 50. = Two Peavey P.A. Cabinets w/2 pole stands (includes all electrical/audio cables) $ 50. = 400 watt Yamaha Stereo Power Amp (includes all electrical/audio cables) $ 75. = 2-3 AT Condensor Choir Mics and Pre-amp (includes all mic stands, electrical/XLR audio cables) --------- $200. ($ 45) = (for one to two additional) Roland JV-1010(s) (includes all electrical/audio cables) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ SynFauxNY Backround Music Concert (easy) (no mics / no vocals) approximately 1-2 rehearsals w/2 - 3 musicians (not more than 1.5 hrs / 75 miles away) $0,000. = 1- 2 rehearsals $ 800. - $1,200. = The Gig $400. x 2-3 musicians $ 450. - $ 550. = GEAR. Fee (no mics / no vocals) $ 250. = Music Director / Contracting Fee --------- $1,500. - $2,000. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ SynFauxNY Backround Music Concert (easy & w/vocals) approximately 1 - 3 rehearsals w/3 - 4 musicians (not more than 1.5 hrs / 75 miles away) $0,000. = 1 - 3 rehearsals $1,200. - $1,600. = The Gig $400. x 3 - 4 musicians $ 750. = GEAR. Fee (w/mics &vocals) $ 350. = Music Director / Contracting Fee --------- $2,300. - $2,700. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ SynFauxNY semi-Backround Music Concert (no mics / no vocals) approximately 1 - 5 rehearsals with new synthestrations. w/3 - 4 musicians (not more than 1.5 hrs / 75 miles away) $ 750. - $1,000. = 1 - 5 rehearsals ($250./ musician) $1,200. - $1,600. = The Gig $400. x 3 - 4 musicians $ 450. - $ 550. = GEAR. Fee (no mics / no vocals) $ 350. = Music Director / Contracting Fee --------- $2,750. - $3,500. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ SynFauxNY semi-Backround Music Concert (w/vocals) approximately 1 - 5 rehearsals with new synthestrations. w/3 - 4 musicians (not more than 1.5 hrs / 75 miles away) $ 750. - $1,000. = 1 - 5 rehearsals ($250./ musician) $1,200. - $1,600. = The Gig $400. x 3 - 4 musicians $ 750. = GEAR. Fee $ 450. = Music Director / Contracting Fee --------- $3,150. - $3,800. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ SynFauxNY SOLO Concert (with requests requiring new synthestrations) approximately 5 10 rehearsals with new synthestrations. w/3 - 4 musicians (not more than 1.5 hrs / 75 miles away) $1,500. - $2,000. = 5 - 10 rehearsals ($500./ musician) $1,500. - $2,000. = The Gig $500. x 3 - 4 musicians $ 750. - $1,000. = GEAR. Fee $ 500. = Music Director / Contracting Fee $2,500. = Synthestration Fee (approx 50 hrs. of work @ $50/hr.) --------- $6,750. - $8,000. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
*CHEAP* Behringer FCV100 Dual Mode
Footcontroller
Overall User
Rating: 
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$24.99
List: $34.99 Save: $10.00
Quantity:
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Availability: 
In Stock
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Description
Features
Warranty
Mfr.
Info
A flexible dual-mode foot pedal for volume and modulation
control. The Behringer FCV100 Dual Mode Footcontroller
features volume control of one stereo or two mono individual
musical instruments, and its dedicated modulation function
provides a direct connection to a keyboard's modulation control
input. VCA controlled for utmost reliability and smooth audio
performance. The FCV100 Pedal has an ultracompact, road-suitable
housing made from high-quality components to ensure long life
and durability. Adjustable minimal volume. Low battery
indicator. Uses standard 9V battery.
Behringer FCV100 Dual Mode Footcontroller Features:
Features volume control of one stereo or 2 individual musical
instruments, and its dedicated modulation function provides a
direct connection to a keyboard's modulation control input
VCA controlled for utmost reliability and smooth audio
performance
Volume control of one stereo or 2 mono individual musical
instruments
Dedicated modulation function for direct connection to
keyboard's
modulation control input
VCA control for utmost reliability and smooth audio performance
Adjustable minimal volume
Standard 9V battery or 12V DC adapter operation (not included)
Low battery indicator
Ultracompact, road-suitable housing
High-quality components and exceptionally rugged construction
ensure long life and durability
This rugged and versatile foot pedal is yours for a
musician-friendly price!
One year parts and labor warranty.
Average of 10 User Ratings
Overall
Features
Quality
Value
Write
a review for Behringer FCV100 Dual Mode Footcontroller!
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All MIDI Solutions products are MIDI-powered and require no batteries or power supply to operate - just plug a MIDI cable into the input of the product and it's ready to process MIDI data. Multiple products can be chained together to provide you with the exact combination of functions needed in your MIDI setup. The products below are divided into groups based on their functionality to help you quickly find the most suitable products for your application. Not sure which product will solve your MIDI problem? Send us an email: info@midisolutions.com
MIDI Solutions Special Function products offer solutions to some unique MIDI processing requirements that are not covered by our main product line. These products are produced in small quantities - please contact us directly at sales@midisolutions.com to order.
Still can't find the MIDI processing function you're looking for? MIDI Solutions also has the capability to produce Custom MIDI processing devices to meet your exact requirements. About Us | News | Products | Support | Ordering
Yamaha's Motif ES Rack ($1,350 list $1100 at Sam Ash) a 1U module that gives offers all the features of the Motif ES (minus the keyboard). You get 175 MB of Wave ROM, 128-note polyphony, the Phrase Factory arpeggiator, multi-effects, a 160 x 40 LCD display, and much more. |
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We just walked out of a product demo/product training (both training and demos go on day-in and day-out here at Sweetwater) featuring the Dave Smith Instruments PolyEvolver Keyboard. It's hard not to be stoked by getting up close and personal with a product, but in this case... wow! Here's a comment we overheard in the hallway: "The Poly Evolver really nails down the point that there's a whole world of new sounds out there, just waiting to be discovered!" Another: "I was impressed that this is a real player's synth not just a sound design tool. Not that it's not an amazing sound design tool, too!" Yet another: "The quality and sheer size of the sound draws you in you start imagining the possibilities for exploring uncharted musical worlds Poly Evolver reminds me why I got excited about synths in the first place." To say we were enthralled by what we heard is an understatement. Dave Smith (the "Daddy of MIDI," as David Bryce, the DSI rep called him) really out-did himself with this one. |
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I'm gonna get this... |
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excerpted this from Mark Evaniers column. Try to read it..it is good |
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From: |
Home
video didn't advance much past 8mm until the seventies when a
few
companies began selling primarily for usage within the TV
industry video cassette recorders. The first employed
reel-to-reel tapes. Then they went to these large
cassettes
containing 3/4" videotape.
I had and still own one of them. They were amazing at the time, though one could not walk down to the corner and rent a movie to play on them. The movie studios not only did not release their wares on tape, they swore this would never happen.
And I mean swore, as in "hand on the Bible, so help me God." When the Betamax first appeared, a gaggle of film companies sued the company which manufactured it, Sony, charging that it was the instrument by which their copyrights would be violated (people taping off TV) and their products rendered worthless.
In an actual court of law, top executives of Universal, Disney and other studios testified that they would never, under any circumstances, sell copies of their old movies and TV shows on tape. Never, never, never. It would be financial suicide, they said, which would irrevocably destroy the movie industry by triggering the closure of theaters, the bootlegging of their product and the end of mankind as we know it.
Of course today, darn near everything anyone would pay to view and much that they would not is available for rental or purchase on cassette. The nation's movie theaters have not all closed, the bootlegging biz is nowhere near the problem anticipated...and Sony owns one of those movie studios.
It just goes to show you...what, I have no idea. But it just goes to show you.
I actually had Goldfinger on 3/4" videotape, along with maybe thirty other films. They were obtained by buying from or trading with acquaintances who skulked about like vendors of heroin or worse. They'd only deal with folks they knew and were incessantly checking over their shoulders, telling you, "Remember, you didn't get this from me..."
Eventually, inevitably, movies started coming out on Beta tape lousy, Z-grade independents and hoary public domain stuff at first, but real films close behind. One of the first I purchased was Goldfinger a particularly-poor video transfer, as I recall. So much of it looked like it was underwater, I thought I'd gotten a copy of Thunderball. A better copy soon came out on Beta and I bought it.
At the time, I thought it was my permanent copy for my permanent library the copy of Goldfinger I'd watch every year or so until I was about the age Sean Connery is now. My naοve cockiness was on par with that of Auric Goldfinger himself, boasting of how he had concocted an infallible plan to penetrate Fort Knox, detonate a nuclear device and, of course, kill 007.
In hindsight, I think ol' Auric was more in touch with reality than I was.
For a time, we Beta people felt secure building up our collections. True, there was this other format this clunky VHS thing catching on. But from a tech standpoint, Beta was better. It was the Sony format, after all, and in the field of home electronics, the name Sony was greatly revered.
Experts have since penned long monographs on how it happened but slowly 'n' surely through treachery and deception, no doubt VHS crept to an equal footing. Video shops were divided into two sections, equal in size at one point. It was such a toss-up that, maybe once a day, I'd be queried by some friend...
"We're thinking of buying a VCR. Which is the way to go? Beta or VHS?"
At first, I told them Beta. Beta was what I had, Beta was what all serious video enthusiasts had, VHS was the choice of the hoi polloi. Before long though, my convictions waned and I fell back on a less committed response: "Buy whichever most of your friends have."
There was a year there today, it feels like back around the Coolidge administration where we could all sense Beta slipping away from us. We'd go to stores and notice the shelves had been rearranged once again: Always more VHS, less Beta. Press releases would tout that manufacturers were duping VHS and Beta copies in ever-widening ratios.
For Beta collectors, the penultimate sign of the Apocalypse came when companies stopped making separate boxes for their Beta tapes. Once, they had printed one box for the VHS release and another, smaller box for the Beta copies. Suddenly, we all noted, they were just manufacturing the one, larger VHS-sized package. The Beta version would come in the same box but with a little cardboard space-filler, and a Beta sticker over the VHS logo on the outside. It wasn't just ominous; it was humiliating.
That was when I slowed my purchase of Beta tapes. I was still in denial that I would soon switch my allegiance to VHS. Deep in my wallet though, I knew it. It was only a matter of time.
Every die-hard Beta buyer can tell you the moment they knew it was all over.
I used to buy most of my tapes at Tower Video up on Sunset Boulevard. One morning, a Beta-soulmate called and breathlessly told me, "If you haven't been up to Tower, get up there right away! The ad hasn't hit the papers yet but they're selling Beta tapes only Beta dirt-cheap!" Half an hour later, I was in the Tower Video parking lot where their "Beta Blow-Out" was in full swing.
They were selling thousands of tapes new and rental copies for four bucks each, six for $20. And they were all, every last one of them, Beta. Joining about two dozen of my fellow Betamax owners, I plunged in, grabbing up any tape that even vaguely interested me, aiming for some multiple of six.
It was, at first, a heady experience. For months now, we had all shared the suffering of being Beta in an increasingly-VHS world. We all knew the utter feeling of non-belonging that came with rushing to the shelves to purchase a coveted film and finding ten VHS copies and zero that played in our machines. What a thrill to see so many Beta tapes before us!
But as I was putting my thirtieth tape in the shopping basket and wondering if I might go for 36, a chilling thought hit me. Looking around, I could see that it was simultaneously occurring to my Beta-brethren...
Oh, my God. Tower Video is giving up on Beta.
Oh, my God. Oh, my God. Oh, my God.
I hurried up to the cash register, as did others. Standing there was a manager and he was telling one of our kind, "No, no...we're just clearing overstock out of our warehouses. We will always carry a full line of movies and tapes in Beta."
To prove this, he pointed to a badly-lettered sign. It said, "We are just clearing overstock out of our warehouses. We will always carry a full line of movies and tapes in Beta."
I knew then that it was over. I put 18 of the tapes back, paid half-heartedly for the rest and then, on my way home, stopped off and bought my first VHS videocassette recorder. A day or two later, I purchased my first movie on VHS. It was you guessed it Goldfinger.
Six months later, the "full line of movies and tapes in Beta" at Tower Video fit on one shelf, about two feet long. It was over in the corner next to the cassettes in PAL and other foreign formats.
Since then, I have been a multi-formatted person. I have VHS, plus I have a Betamax for those odd occasions when I wish to play an old tape. (A friend of mine claims that the best way to insult a porno movie actress is to tell her that you have all her films...on Beta.)
I also have that 3/4" VCR for when I wish to play a really old tape. Come to think of it, I also still have my uncle's old 8mm movie projector in the hall closet.
A few years after I succumbed to VHS, movies-on-disc came along. I might have purchased the RCA SelectaVision but I'd learned something from the debacle of Beta. I waited and soon after, the Laserdisc format came along and, before long, SelectaVision was on the ropes. One of the first movies I purchased on Laserdisc was Goldfinger.
A year or so later, the Criterion company brought out a deluxe Laserdisc of Goldfinger. I, of course, purchased it.
Then a few years later, MGM Home Video brought out the super-deluxe boxed edition of Goldfinger in CAV format along with a "Making of" documentary, an audio commentary track by the director and other special features. I, being a brain-dead zombie with no will of my own, purchased one of these, too.
Not only that but I was stupid enough to think that this was the last copy of Goldfinger I would ever purchase. I think it was the third or fourth "last copy of Goldfinger I would ever purchase" that I purchased.
Recently, I purchased a DVD player and, of course, the obligatory copy of Goldfinger on DVD. This is the last copy of Goldfinger I will ever purchase...until the next one.
Boy, I wish I liked that movie.
Oh, it's not that bad. It just feels like it's missing something. Like, you know the scene where Mr. Goldfinger is about to blow up Fort Knox?
He starts the timer going on a nuclear device that looks like a big laundry hamper, and it takes around nine minutes of fight scenes to count down the last sixty seconds. Before that, Goldfinger runs out, switches into a U.S. military uniform and uses a machine gun to shoot a few of his own men before he flees in a helicopter.
All this is intercut with shots of Sean Connery, handcuffed to the laundry hamper, trying desperately to get free, kill Odd Job and stop the bomb from going off. It's one of the great, gripping moments in motion picture history but, like I said, something is missing and I can just envision how it ought to go.
The bomb is ticking away, counting down. Bond is sweating, trying to trace the jumble of wires...desperate to find a means of disarming the nuclear device. He is just about to break a wire that he thinks may do it when a hand reaches in, stops him and switches the bomb off.
Bond exhales, then looks over to see who has rescued him. And there they are...
Aunt Dot and Uncle Aaron. Waving at the camera.
last updated: 3-02-07 - 1:30am
Computer and Keyboard Repair
//////////////////////////////////////////////////////////////////////////////////////////////////////////
Rich Fabrizio -
(H): (914) 318-8283 1299 Palmer
Ave #3B
Ross/Daniel @ Larchmont -
G-Center: (914) 833-9600 / G-Cent.
Fx: (914) 833-9690
//////////////////////////////////////////////////////////////////////////////////////////////////////////
Mike Rogers =
Mike@MikesComp.com
Computer Service
www.MikesComp.com
(W): (914) 834-8802 / (H):
(914) 668-7693
2005 Halstead Ave.
Larchmont
7:30pm - 4:00pm M-F
//////////////////////////////////////////////////////////////////////////////////////////////////////////
Vic from The Muzic
Store(914) 693-3200
39 Cedar St. Dobbs Ferry,
NY 10522
//////////////////////////////////////////////////////////////////////////////////////////////////////////
Sebastian R. Wheat,
(718) 652-3013 / 8412
(rec: Pat Crawford)
1131 E 214th St Bronx NY
10469-2411
//////////////////////////////////////////////////////////////////////////////////////////////////////////
Katie Ulanov's
(katie@nonlinearnyc.com)
(keyboard/producer
contact):
Ted Cruz (aka:
t-cruz@earthlink.net)
Instant Culture Music NYC
ph: 212-459-4066 / fax:
831-576-6990
Katie Ulanov's
(katie@nonlinearnyc.com)
(NJ) Guitar Center
contact:
Michael (Mike) Yorky (973)
921-0677
(bass player takes lessons
with Katie's teacher,
Patrick Pfeiffer - mention
my name and Patrick's)
//////////////////////////////////////////////////////////////////////////////////////////////////////////
GIZMO
References
http://www.ClassicalArchives.com/index.html
Click here:
Media Player - GMN.com
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