I wondered how long it would take for someone to mention volume pedals as a possible management tool. I'm old and that's all I've ever known. That is until I picked up a Hammond SK1 73 a couple years ago and a Nord Electro 5D 73 a few weeks ago. The Nord replaces the Hammond. While I was busy not buying keyboards, apparently and unfortunately, the rest of the keyboard playing world told manufacturers to de-emphasize the use of volume pedals for anything but organ patches. Oh, there was/is a jack for a pedal, and it works, but the "computer" in both keyboards (yes, folks, keyboard players are usually the only ones in a band dealing with a damned computer... or three) is set to a default of NO VOLUME PEDAL CONTROL on everything but the organ programs. On the Hammond, every non-organ patch required going into a menu to find and turn "on" the Expression Pedal, save it, and hope it worked for future use... which didn't always happen. Why in the world Nord couldn't make "volume pedal control on" the default for all piano and synth programs, as well, I do not know. Pisses me off, because I now have to make one or two extra key punches into the computer before I can prevent the problem Eric's writing about. I will eventually save settings in the User section, but it's a pain. At least the Nord's indicators and the controls for changing them are right up front and not buried in a menu like the Hammond.
Manufacturers get a clue. Global volume control with a pedal is useful to many more people that you think. Make it the default, and let those who don't want it turn it "off".
Even though I've got a few more years on you, you've got a lot more talent and facility on the keys than I've got, my friend. My badly-paid amateur's advice, Eric, is to give up on perfection, aim at improvement, and get a volume pedal or two. I've stopped using patches that don't work well universally. But then, I save a lot of heartburn by not committing my life as a player to trying to "cover" tunes to the level of being a "tribute player" where I'd agonize over whether I have exactly the sound that was on the original recording... and seldom if ever heard again even from the original band. (My finest keyboardist's whine!)
Patches, programs, timbres, frequency responses, house acoustics, peoples' ears, levels of alcohol consumption, crowd size, and probably humidity and the phase of the moon along with a few other things control what comes out at each venue. And they all affect each other in multiple ways at different times, so it's almost ludicrous to think we can control the sum total of that dynamic, complex mix of stuff all that well. And, yet, I strive for that control, too. Timbre has a ton to do with the "apparent" volume the ear senses, so with the range of patches you mention, it's a challenge. I'd say you've gone above and beyond in trying to set up good sounds in songs that require several sounds balanced with each other. IMHO, it's an ambitious undertaking, so the risk of just such audio mishaps is high. You're a very successful band, so the reward:risk ratio must be pretty high. After that much work to control the sonic risks, though, it might be time to figure out how to adapt to reality.
My way is volume pedals. Hands-free control. If there is FOH sound without a FOH sound guy, that's another deficit. Bands who think they can control all the players from the stage will get it right maybe 60% of the time, so perfection is out the window already. I can honor the intention, but must point out the hubris.
Finally... this: I've grown to care less about audiences, although venue owners have the power. Audiences lap up almost anything, especially when drunk. This is reassuring and disappointing all at the same time. As one writer above wrote, they couldn't care less about the keyboardist's timbre/volume mismatches. They can't hear and probably won't remember them. I play for my own ears and those of my bandmates. If we can get a sound on stage that makes us all audibly balanced, happy, and energized, that energy communicates to the audience.. and THAT'S what makes a successful band. It ain't the money anymore that gives me satisfaction... it's a pittance... it's the satisfying sound, well-crafted by players who give a damn. And, though complainers they may be, your bandmates want that experience on stage as their compensation, too. They may have a crappy way of putting it, but that's likely what they're trying to say.
Here endeth the soapbox session. Best of luck! Continue using that great audio discernment you've got going on!
