Remember when I mentioned the CD compilation I was contracted to produce and I didn't know the exact details to obtain the proper licensing? Well, the nitty gritty is this: the license for using the masters of the songs made it totally out of reach for my client, so he decided to let ME record the songs (live), so we only have to obtain mechanical licenses from the publishers. This is a high profile salon in Princeton NJ, and he can't afford any legal issues when his face & business is on the cover !

This has forced me to spend some serious time on the Tyros as a studio piece. The verdict? Well, I am more and more surprised each day at the quiet and quality of the sounds. I still hate the keys, and I flub a note here and there because of the smaller spacing, but as far as sound goes.....it's really coming along.

After the weekend, I'll see if I can put some of the tracks up on my website to spotlight this project. It's almost a live rendition...I play the arranger (or bass) while I play chords and sing. Then, I RE-do the vocals so the mic doesn't pick up the sound of the keys banging. I add a solo instrument and lay some string pads down and it's done. The basic arrangement can be done in one take, but I like having a second hand to operate the bender for more realism in horn sounds.
None of my original feelings (about playing out) have changed re: the TY, but in the studio .... it's really doing a nice job. I have a Roland JV1080 with all for slots full of exp boards, and the combination of the two is hard to beat. I have tons of "bread & butter" sounds that record like a dream, and make life so easy as an engineer.

I have almost all the tracks ready, so I'll get a few samples up as soon as I can.