Joe Muscara

Did you buy it online or in person? I ask because if you bought it in person, I would suggest you go to that store and try the floor model.

But in general, it seems that it could be louder than that at full volume. Do you have the headphones unplugged when you are listening through the speakers? Make sure the only thing you have plugged in is the power adapter and the pedals.

Ha! At my old house, I had to remember to keep the ceiling fan off in the summer despite the Houston heat when I was tuning my acoustic piano. Not that I tuned by ear, but it would throw me off and I couldn't tell if the unisons were smooth or not.  

On 4/3/2023 at 4:13 PM, Brad Saucier said:

It is not designed to be used with headphones that have a microphone built into them with a TRRS plug on the cable.  

But I would not expect that kind of plug would cause what @pmisiejuk describes, would you? Nor would I expect the plug to damage the jack.

I have no inside info, but I doubt the CT-S500 or CT-S1000V are being replaced so soon. I could be wrong, there could be a 510 and a 1100 coming, but I have no idea what those might have. I'm basing this on the PX-S3000 and 1000 being replaced by the +100 of those models, but I don't know how long the first ones were on the market before being replaced, and I don't know when the CT-S models shipped, either.

IOW, why am I posting at all when I know nothing? Oh yeah, it's the internet.  

Listening to your example, I keep waiting to hear Whitney Houston's voice to start singing! 

IOW, nice job! 👍

10 hours ago, 3x5 said:

I clicked on this thread because I misread the title as "Tony Banks on CT-S1". Bummer!

🤣

Just think, that was done before we had people putting digital pianos in shells to look like real pianos. The Stooges were ahead of their time!

I'm sure the fallboard can handle the weight of a housecat. It's designed to protect the keys both from dust and minor impacts. I would make sure the fallboard is properly positioned when it's covering the keys because I think the only time it might be a problem is if it's not, and something hits it or puts weight on it, there's a chance that might misalign something depending on the design. It's not terribly likely, and it may even be hard to get it to stay in some in between position anyway.

Did you mean MainStage? If so, I'd like to change the subject so that it comes up if someone searches.

What model? Instructions vary by model, and maybe it's something else that's not working right that we can help you with if we know the features..

20 hours ago, Choppin said:

the amount of packaging for shipping/storage/transport etc

You are right about that part, in that they can fit more units in the same amount of space, less weight to ship and all that with the commensurate reduction in costs. However, you seem to believe that they're willing to give up quality and functionality in order to do this. While we're still waiting and hoping for a successor to the PX-5S, if you make an apples to apples comparison of models such as the PX-160 to the PX-S1000, I don't see reduced functionality. I guess you might argue that the PX-360 had the color touch screen while the PX-S3000 doesn't and I haven't looked at them feature for feature, I don't think there's a reduction in functionality. I could be wrong about that. OTOH, I've seen the PX-S3000/3100 in more stores than I ever saw the PX-360.

On 2/14/2023 at 2:20 PM, Choppin said:

They actively at least since 2019, have been trying to reduce the components and physical sizes (as an example) of their instruments to try and at least shed some cost on production.

What? You think they made the keyboards smaller to reduce costs? Do you know how much it costs to retool manufacturing? They had been making the same chassis size for the 88-key models for years to that point. Now they have a new line that has wood keys.

The change in size wasn't about costs at all.

I tried three different sound systems, the built-in speakers on my iMac, a set of Beats headphones, and my studio monitors. The only thing I might have heard was in the start of third one it almost sounds like a second strike. But other than that, they all sound pretty normal to me.

18 hours ago, Mike Martin said:

@Joe MuscaraCheck that XW-P1 you might find why I was asking about this. I made a  few Arp Pro Soloist presets for the XW like Tony Banks used in "In the Cage" and other songs
Looking here on the forum, looks like I never posted them. I'll get them up here asap.

That's exactly what I was wondering, both whether you created some Genesis/Banks presets, and where TF were they on the forum?  

Not specifically. You would have to find a wireless system that works with the outputs on the PX-5S, which are pretty standard for a stage keyboard, instrument 1/4" left and right, or headphone out. The PX-5S doesn't have any wireless features built-in such as Bluetooth.

On 2/26/2014 at 11:06 PM, Mike Martin said:

Let me rephrase.  Any fans of old Genesis?  Just curious.

Now that I'm poking around the XW area here, I came across this and even though the post is nearly 8 years old, I'm wondering why you asked that and particularly in here, @Mike Martin.

Even though "null" (Gary) is probably gone, I was curious about the timelines in order to address the question of the bands Yes and Genesis and if one copied the other. Fortunately, Wikipedia's summaries at the top of each provide potential answers.

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The group were formed by five Charterhouse pupils, including Banks, Rutherford, Gabriel, and Anthony Phillips, and named by former Charterhouse pupil Jonathan King, who arranged for them to record several singles and their debut album From Genesis to Revelation in 1968. After splitting from King, the band began touring, signed with Charisma Records and became a progressive rock band on Trespass (1970). Following Phillips' departure, Genesis recruited Collins and Hackett and recorded Nursery Cryme (1971). Their live shows began to feature Gabriel's theatrical costumes and performances. Foxtrot (1972) was their first hit in the UK and Selling England by the Pound (1973) reached number three there, featuring their first UK hit "I Know What I Like (In Your Wardrobe)". The concept album The Lamb Lies Down on Broadway (1974) was promoted with a transatlantic tour and an elaborate stage show, before Gabriel left the group.

Quote

Yes began performing original songs and rearranged covers of rock, pop, blues and jazz songs, as evidenced on their self-titled first album from 1969, and its follow-up Time and a Word from 1970. A change of direction later in 1970 led to a series of successful progressive rock albums, with four consecutive U.S. platinum or multi-platinum sellers in The Yes Album (1971), Fragile(1971), Close to the Edge (1972) and the live album Yessongs (1973). Further albums, Tales from Topographic Oceans (1973), Relayer (1974), Going for the One (1977) and Tormato (1978), were also commercially successful. Yes toured as a major rock act that earned the band a reputation for their elaborate stage sets, light displays, and album covers designed by Roger Dean. The success of "Roundabout", the single from Fragile, cemented their popularity across the decade and beyond. Anderson and Squire remained with the group throughout the 1970s, with Banks, Kaye, and Bruford all departing across 1970–1972, and being replaced by Howe, Rick Wakeman, and Alan White, respectively. Wakeman would leave the group in 1974, but returned two years later, with Patrick Moraz taking his place in the interim. After a final album, Drama, and tour in 1980, both of which saw Downes and Trevor Horn replace Wakeman and Anderson, respectively, Yes disbanded in 1981.

It appears to me that they both went progressive around the same time.

Oh, I guess I haven't answered the question. While my focus has changed from classic prog rock, I still consider myself a fan of old Genesis. I also like later Genesis (yeah, even the pop stuff), Peter Gabriel (he has some new stuff out and more coming), and Yes. I dabbled in some other prog rock material but none of it stuck with me like early Genesis and Yes.

Even though I have this model, I haven't confirmed this, but I would guess it has a lot of the same presets as other models. This has been discussed here under those models. You could search for those threads. I did and found this one which might be helpful.

Short answer: Check the power first.

I believe that model can run on batteries. If so, try new, good batteries with the power adapter completely disconnected. If that works, you may need a new power adapter.

Duh, I missed his "main question." 🙄

The CT-S500 is a great keyboard (as is the CT-X5000, but they do have different target markets). The CT-S500 has MIDI-over-USB and as long as you plan on using it to control sounds on a "computer" (which would include something like an iPad), you should be able run the USB cable from the CT-S500 to the iPad and play the sounds on the iPad. Just make sure the cable is the right type.

Oh yeah, you could also use the Bluetooth adapter to play your iPad as well. That's what the thing is for.

And realistically, acoustics in general (I mean acoustics as in "the properties or qualities of a room or building that determine how sound is transmitted in it") can greatly affect how an instrument sounds. I think keyboard manufacturers try to provide as neutral an instrument to start with, but everything changes how things sound, the room, the surfaces in it, where you are relative to the sound coming out of it, etc..

In the end, pick something you like and go with it. And if you get a chance to play a decent or better grand piano, do it. The more, the better and it will help inform your choices.

I doubt a failed speaker would hiss. Hiss is usually a sign of noise getting through to the speaker.

The PX-160 has 1/4 outputs that can be connected to an amp or powered speakers.

Brad covers it pretty well. But I just wanted to chime in and say that expression pedals don't always just change volume. The timbre of the tone can change as well. This is commonly seen on organs. The expression pedal is an integral part of playing a Hammond organ or one of its many clones that are out there. It doesn't just make it louder.

Quote

Many people seem to think that the expression pedal on a Hammond is only used to control the volume of the organ, but this is only part of its function, it also acts as a (passive, non-linear) equalizer (EQ). When the volume is low, higher frequencies are much more attenuated (reduced) than lower ones, leading to a much bass-heavy sound and less pronounced highs. The reverse is true when the expression pedal is put to full throttle (loudest volume), which results in a much brighter sound with relatively reduced bass content.

https://www.hammondtoday.com/2016/03/21/the-hammond-expression-pedal-eq-properties/

Many instruments have a non-linear response to increased volume, or perhaps I should say "force," used to play it. Take Brad's example of the sax player. The player might sustain a note but blow harder as they go, changing not only the volume but the tone.  You might hear this as "growl" in this case.

Depending upon how each sound is programmed, an expression pedal can add a lot of… expression to a performance. I do think it could be an exciting "knob" for your son to play with.

That is odd. Keep us posted if it happens again. Maybe some weird background app was running. You might want to check Activity Monitor.

There must be some app on your Mac that's producing the audio. AFAIK, a Mac doesn't play sounds on MIDI input without any MIDI/Audio app running. Is there an app you're using to play sound on the Mac, such as a DAW like GarageBand or Logic? Is something like Quicktime Player running (I don't know if that one would), or a notation app?

If I'm understanding you correctly, this isn't an issue of the PX-S1000 at all but something inside the Mac.