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How did you get access to the multiple vocal tracks? Is there somewhere those can be bought?

congratulations

That Wurlitzer sounds really good. Stock? What are recording to?

Great demo and plugin. I've known for some time that the Pro Soloist was one of the synths Tony Banks used on a lot of Genesis material, but I genuinely didn't know which tracks. I find it rather clever the way he used it throughout the solo, the preset switches and melodies sound great.

OMG this just gave me a raging stiffy.... awesome!

RMI update: My 300B is working again. (@nickmariotti4241) Thanks to my friend and authorized Yamaha Service tech Mike Sportiello of Sportiesound in Hendersonville, TN.

Ok you're now a legnd to me

Just fantastic! Bought one :) Tony Banks is an incredible writer and musician. Possibly my favourite keyboard solo.

Great visual guide for seeing how Tony played his masterful solo, I might even be able to learn it using this as a guide, well except for those damn arpeggios,,,grrr - that's a learning curve I haven't mastered yet. Cheers.

Brilliant performance & very realistic to the original by the genius Tony Banks🎹👏

I've got an actual Pro Soloist and I think this thing sounds better!

Bravo!!

maginficent.

Erm………fantastich!

troppo veloce e sintetico

You should check out Cherry Audio's ARP Quadra!

Fan de genesis depuis mon enfance. Ça faisait pas mal de temps que je cherchait un VST capable de reproduire fidèlement le son de ce synthé mythique. Je n'avais trouvé qu'un VST gratuit qui ne remplissait pas bien les conditions quant à la qualité sonore. J'ai trouvé celui de cherry audio en surfant sur thomann, mais je voulais en avoir un rendu concret et musicale pour me faire une idée avant de l'acheter. Et je doit dire que le résultat est impressionnant. Merci pour cette démonstration sur ce qui est certainement un des plus grands standards du prog!

I own a 300B that I purchased new in January of 1972. It was my first pro keyboard. It has only just recently stopped working. I will be interested in any discoveries you might make. I suppose you are correct in calling it "esoteric" although "goofy" not so much. These were pretty popular in the 70s although never to the degree that the Rhodes and Wurlitzer electromechanical pianos were. Despite RMI's rather "optimistic" marketing literature, this thing in no way ever came close to sounding like an acoustic piano--BUT--it was a different kind of instrument with a sound all its own. The worst thing about it was that it was not touch sensitive--you played a key it came out at full volume no matter how hard you pressed--a very "organ" kind of thing which makes sense since these were a product of the Allen Organ Company (who still exist today and are the world's largest manufacturer of church organs.) Also the "Organ Mode" which has no sound of its own but simply allows one to play any of the other voices without their normal decay characteristics--more like an organ. This feature allowed me to use my 300B as a reasonable facsimile of an an organ, especially when coupled with a Leslie--back then I couldn't afford a Hammond and even if I could had no desire to lug one around, so "Organ Mode" was a godsend. Back in the 70s, because I lived not too far from Allen's HQ and factory in Macungie, PA, I used to visit from time to time, and the folks there were very friendly and did some mods on the RMI 140 amp I also had at the time, adding a circuit that allowed me to send a signal from the amp head to my Leslie preamp so that I could get the very bright and clear RMI amp tone controls and reverb without wiping out the Leslie preamp inputs! I also got to see a number of experimental models they were working on, including the Harmonic Synthesizer and Keyboard Computer (both KC1 and KC2) before they came out, as well as some things that never reached the market. I can tell you that you are correct in that the reason for the different sized sustain pedal jack and plug was simply so that the user wouldn't insert the wrong plug into the wrong jack by mistake. It made sense at the time as the RMI folks figured you would never be using someone else's sustain pedal...but it's rather a pain today. I also do not like that both the AC and signal cables were hard wired into the unit--but that was not uncommon in those days...and Yamaha did the same thing with the DX7's power cable. (And they inevitably became frayed and worn when you were gigging a lot.) If I were to get mine restored, setting up standard jacks to accept normal 1/4" plugs and a normal IEC power cable would be something I would definitely do, as well as placing the jacks on the BACK of the instrument rather than the bottom. I also happen to have an RMI DK-20, the very last instrument to be released by RMI, (and a completely different kind of instrument from the ElectraPiano which it was designed to replace--it was one of the very first digital sample playback instruments as Allen, in partnership with aerospace firm Rockwell International, was very much involved in creating digital sampling technology for musical instruments. The DK-20 has the same "goofy" smaller jack for its sustain pedal. I had to make an adapter so that I could use a regular sustain pedal with it as the person I bought it from no longer had the original pedal board it came with. But it works fine...just a bit inconvenient. Good luck in your endeavors with the 300B. I am always happy to see new players embracing these old instruments. Sadly, Allen these days has completely orphaned them and provides no support at all--they see it as a chapter in their history that closed over forty years ago and they have no interest in revisiting.

looks like the perfect setup to play the opening to "Louie Louie" for hours on end

Fun times! I have been contemplating about how to convert RMI pianos to midi and I am probably 40 years late for this to be a hot topic. My end goal is to run a second unit in unison without insane cabling and to add something I often remove from synths, touch response. I’ve looked into several expensive options such as hall sensors and lower cost timing methods utilizing duel switches, in modern key controllers where the time between to contacts equals a control voltage output perhaps in this case. I’m also considering midi IN for a Hammond B100 as I would like to retain only the tone wheel and filtering (drawbars) and ditch the keys in favor of key controllers and sequencing. I’m thrilled to see some more interest in RMI pianos and though they can be replicated digitally quite easily, I don’t think anyone has the interest to code micro tuning for each key, when a chorus effect will do for most practical purposes. What I want to see, is two pianos in unison or sequenced individually, while being slightly out of tune from each other. Utterly pointless for most people!

Classic.

Great tutorial. Saved a lot of time decoding this song

I love this.

Wow, amazing!

That's pretty f-ing cool! Thanks

Can you make this with a cat pressing the keys 😂

Behringer would be stupid not to make a Pro-Soloist clone

Love this video and Cherry Audio

It’s the Mellotron Mixed Choir at 2:15 that does it for me!

Nice. I used to have the Pro Soloist but it was stolen in the 80's...but have noticed a Teisco version in a second hand shop locally...soooo tempted!

It’s no wonder that we know what we like! 🥺😢😫 (Emotional tears!)

Absolutely fantastic! Thank you for sharing this - it's a real education not just in Tony's sound choices but his archetypal soloing style. Bravo!

Wow!!!!

Bravo! I think even Tony may approve of this, very well done.

Jesus Christ Phil is amazing...

Fantastic job. There is a free ProSoloist VST out there but this one sounds much better. Hearing this just reaffirms what a genius songwriter and performer Tony Banks is.

I own a lot of synths (hw & sw), but I bought the CA pro soloist to finally recreate those Tony Banks solos. No other synths sounds like this!

excellent on every level.

I’m among the ancient Genesis fans that have been waiting for this instrument for years. It’s a fantastic representation and your video has saved a lot a blood and sweat to sort out settings and effects. Thanks so much for sharing this with the community!!!

This seems to be lacking using the aftertouch effects and expression on a lot of the parts. Did the keyboard lack aftertouch it was played on ? Or is a MIDI file playing this?

Outstanding job! I've been waiting for somebody to do that. It's good to know that the presets satisfy the Genesis lovers (of which I am one). I spent more time getting the presets exactly right than coding the instrument itself.

Very well done! But shouldn't you also be running it through a Leslie speaker simulator since Tony ran everything through his Leslie to get that chorusy effect? Also, I was under the impression that Tony had the vibrato touch sensor effect active so he could get a little vibrato out of some of the sustained notes?

Are you playing over the original. I’m trying to figure out which choir and other bank to use on the mellotron. Any help would be appreciated. Great job

great play, hope you can do tutorial for the hammond part (rhythm)

Amazing and so just like the original. Fab.

Brilliant. Sounds absolutly fantastic. Any chance of the midi file as most just end in the studio ending.

Wow! Absolutely perfect. I immediately bought that VST to allow a future cover band setup. That's exactly the preset choice and movement. My compliments

Almost impossible to make the difference with the original Pro Soloist! Very impressing

Fantastic rendition of this - so good to show the preset and transposition changes. I would love a transcription of the Seconds Out ending as I have always loved it. The Cherry Audio Pro Soloist is so good and so much more than the original preset machine that Tony B made such brilliant use of.

Perfeto!