BassTractor

Ah! Used! I wondered about that. Still, just before posting I deleted my original last sentence stating that I personally would still go for the F-140R over the FP-90 - just because out of the box it sounds better without the need for external amplification, and you do get to keep the lid, the cabinet and the pedal bar. It's so good it's way more than good enough. It really is a dark horse. I deleted the sentence only as I didn't want to steer you too much. I hope this gives a certain comfort. The RP501R is basically an F-140R in a different cabinet, with the more luxurious retracting lid that allows the note sheets to remain on the note stand when the lid is closed. Do not compare it with the RP401R, which is a cheaper model without the good speakers. You can see I like the speakers. 😁 Whether looks and retracting lid are worth 122 quid is up to you. Personally, I appreciate it enough that I almost sold my F-140R to buy it, but then I've lived 55 years with notes on note stands, so it feels like second nature. We haven't talked about the feel of the keys. Simply: it really does feel like ivory. It's a great, secure feel, better than some in the price bracket and on par with some others. BTW, I know I love these pianos, but I earlier forgot to tell you that Roland and the shops sell "SuperNatural" as if it's one thing along their whole range. Nope. I've been told SuperNatural comes in at least 5 quality levels. Nothing wrong with the cheap ones, but not identical to the expensive ones. Shop-owner was fuming about that aspect when he warned me against the marketing, after directing me to the dark horse in the corner his sellers had overlooked.

Both at the same price? Wow. That makes it harder. In my case the FP-90 was above budget, so I never looked at it. It's a well-known, highly regarded piano though. Though for its normal Norse money (not too far from 2K), I'd rather invest a bit more and get a Yamaha CLP-685 (or do I mean the 585? Can't remember). Anyway, The FP-90 is the better piano with the better user interface and the better connectivity. Slightly better keybed too IMS, but don't overestimate that aspect. The other one's really really good. With the FP-90, here in Norway you'd have to buy both the stand (KSC-90) and the 3-pedal bar (KPD-90) in addition, which would cost another 350 quid or so. The F-140R has better, larger speakers pointing downwards, it has a well-working lid (I love it), and the stand and the 3-pedal bar are in the package and in the box. Good instructions, BTW, and Roland even provide a drawing of the box content - just in case you need to break it down and put it back into the box. Everything's very well thought out. One remark: the cabinet material is not a strong MDF for throwing around on stages. It's best for being built once and being placed in a living room... and then one forbids the kids to attack it with their three-wheeler. For the FP-90 to sound best, I think one would need external amplification etc, but it remains the better piano with the greater promise. So yes, do what you can to try them. Oh, and don't overestimate the iPad/iPhone app stuff without checking what Roland apps actually do for you. An ad blob is not the same as practical use.

Nonsense! Just close all your bank accounts, buy a false passport and travel to South-America for a new life with someone you can love. Done. Other than that, what Beedster says.

People are different though. I was a pro and spent 800 quid on my piano. Two people I know wanted a really lovely piano and each spent 8,000 quid. One of them is a beginner and the other a typical home player having some fun. I'd say that too many people buy too cheap instruments, and it detracts from the fun and from the learning speed. Very cheap digital pianos tend to have either slow, syrupy keybeds or the keys make a lot of noise when they return. Me, I'd never advise a beginner to go for the noisy or the syrupy ones if they can afford something better that will probably keep them happier longer.

Whatever you do, DO respond. Just my take. She may be a bit this or a bit that, but still: - Can you guarantee that the sax was perfect? In case, I'd say: handle her politely. You have quite som convincing power as she was very, very slow in this. Try to avoid an eBay case. - Could she be right? In case maybe do a bit of diplomacy and agree on sharing the costs? Try to avoid an eBay case. Other than that I'd say: Try to avoid an eBay case. 😁 Good luck!

Yup. I can't find an FP-140. Does it exist or do you by any chance mean the F-140R? In case, that's exactly the one I went for, after comparing with Yamaha, Kawai, Casio (some are good despite the name) and even out-there brands. I'm a classical organ player by education, and my piano playing is sub-par. I appreciate a good keybed over a great sound, and demand nice electric piano sounds imitating Rhodes and Wurlitzer. I'm willing to help to the best of my abilities if you wish me to, but then we should walk some metres together, like you answering what the preferred budget is, where the piano is to be used (must it travel easily), whether or not you wish to get the designated stand (allowing you to buy one with speakers at the bottom, which is very, very, very nice!), etc. etc. I'd need to invent the questions as we go. As to the F-140R, it's a dark horse in the Roland family, a bit outside the regular setup and naming conventions, and a stellar one at that. A colleague of mine who only does popular music (and therefore is on every goddemm album in Norway and is way richer than I am PLUS is married to the babe I wanted to marry 😡 😁) also went for it against the same competitors. Like the FP-90 it has a good keybed with escapement (allowing fast and pianissimo playing to say it simply). Great sounds, great amps, great speakers, and the sound bouncing off the floor is a very, very good trick, making the thing give a much better impression than most with the speakers on top. IMHO of course. It's a bit special in that: - the lid must be up for note sheets to be placed there, - the mentioned speakers at the bottom necessitating the stand (you can't buy it without) or a construction of your own choice that keeps the speaker cabinets free from the load of the piano as well as free to sound, - its more than 300 different presets seem available only to the person willing to browse through them, which is silly. I haven't found any solution to this. Not a problem for recording sessions, but just not good enough for live situations. That said, It has two groups of presets, and if you're after acoustic and electric pianos, then those are at the beginning of those groups, and therefore more easily accessible. Anyway, that's all for now.

What a great idea for a thread! You may be new here, but I must say you got to the core of its raison d'être immediately. 😐 Welcome, Billy.

Indeed. As we all know, Golden Brown is in 31/2/4. Hm. May need some formatting. 😉

Some luvverly stuff, IMO: King Crimson: Vrooom, the version off Thrak

Delaney Davidson from New Zealand, a guy with feet planted in several fields - including Americana, country, blues, folk, alternative - sometimes with a Tom Waits vibe. Here are two rather different versions of the same song, the first from his Self-Decapitation solo album, and the second from a collaboration with Marlon Williams, from Sad But True, Vol. 3.

Whatever page you are on, click on "Home" in the top left, then scroll down to the black bannered section "Basschat Marketplace". Once arrived there, scroll some further and you will find the forum "Items Wanted (NO TRADES)". It's there.

This. Well said! I'd rather say that's the "non-musician" problem right there, though we probably fully agree in this. There exists a class of people generating sound who seem to not be about conveying musical ideas with musicality, and it's always been my feeling they're probably more about impressing other people... or trying to. It's back to the old adage of "chops is just the tool that gives you freedom - nothing else". As a point in case (not of the impressing bit but of the chops vs music bit), in college "everyone" in our keyboards department would play Keith Emerson or Jimmy Smith stuff technically a lot better than Emerson or Smith ever did. None of us were Emerson or Smith though. Happily we were aware.

To my mind there's a misunderstanding going on in this thread, but I'll be happy to be corrected in this: Your cold drying room wall(s) introducing condensation and mold is not the same thing as your warm bass gear getting moist. That's why I said to keep the bass gear normally warm through keeping the room warm. If you follow the measurements from your living room hygrometer, in many houses you'll see that the moisture range is enormous. BTW, much of all my paperwork is in my bathroom (where there's space). Not a problem, but then I keep that room warm and ventilated 24/7/52.14.

You look right through me. 😃 That's the very one I found before wording my post.

Have you tried moving to a £2M nine bedroom North Yorkshire Dales manor with separate bass room and drying room? Might be an idea. 😐

Yup. Sorry for being unclear. I've edited my point several times without noticing that.

You might be lucky. Normally one says roughly 50% humidity is good (40 - 60), but I've seen a piano maker demand 65%. Many living rooms (often used to keep gear) spawn a much varying humidity that might sometimes fall below 20%, which is way too low and actually doing damage (though humidity shifts are the really dangerous part). So the question is how moist the drying room gets, and it's my guess you may be pleasantly surprised. Effective drying means exchanging the air, so without calculating or looking it up, I'd be surprised if the room goes above 75%. A hygrometer shouldn't be too expensive. What you do not want is an ice-cold room where any moisture condensates on your ice-cold musical gear. Keep it normally warm.

The eight sympathetic strings one octave up are on the body, you see. He knows what he's doing, and neither do I.

Oh, and a friend and neighbour of mine had a "Zoolook" misprint with the wrong music. She hated the album, but refused to believe me when I told her it has the wrong music. Last time, she said: "it's digital, so can't be wrong". Yes, me too.

Disregarding the Lim.Ed. stuff that deliberately was released in 250 copies and similar, I think my claim to fame is in an Elvis Presley misprint that contained the music to an AC/DC live bootleg. At the CD factory, this misprint was found out about, and the whole batch was thrown in the For Destruction bin. However, one of the workers there regularly grabbed stuff from that bin, and took it home to share with his brother, who's a friend of mine... So now I own an ultra rare item that one of the most famous Elvis collectors stated he'd never even heard of. Also, it's the best CD to play when grandma visits: "I've got some Elvis, grandmother. You wanna hear it?"

Aw. Didn't think of that. My bad. ☹️ Did you have tea today? (We're getting there! 😃)

@Richard R, how are you doing? Answer this, and you're only 73 or 573 posts away! 😁 PS Answer it here in General Discussion. Do not ( I repeat: DO NOT ) use the Off Topic forum.

I think that if your Watts vs post rating is low, you probably have written considerate, well-reasoned, wise posts. If it's high, you've posted one or two Bad Jokes in appropriate threads. 😁

Not the way to do it. Way to do it: play whilst lying in your bed, under a duvet. Summer duvet for brighter sound, winter duvet for mellower sound. At least that's how I did it. Garage was occupied by a means of transportation, and it was cold as well. 😁

Yes, really. That's my Peavey Tracer - I think a Tracer II - bought from my nephew coz I'm such a cool maddafakka dad rocker! 😁 It's now with its original owner, and I guess I'll never get it back. Good thing though, a real musical instrument - not a toy. Also got these: Yamaha GL1 guitalele (guitar tuning but a fourth up) Martin LX 1E semi-parlour with steel strings Camps NAC-1 thin-bodied classical Sorry for messy pic: