QUIK LOK Keyboard Stand, Black (M-91BK)

I bought this stand and the second tier add-on. This stand appealed to me since it has a very shallow depth of 17” compared to the other options available, most of which were 24” or more deep. Note that based on how high you set the height of the first tier, and at what height and angle you set the second tier, you may end up needing more depth for spacing from a wall behind the stand in order to accommodate any cable protrusion from the rear of your instruments.=== WHAT’S GREAT ABOUT THIS STANDThe stand is very light, very simple to construct, ridiculously simple to fold, and extremely stable. If you try to make it wiggle from side to side, it will - but very, very slightly and not in a way that will scare you. There is zero backward/forward sway when you’re playing normally - in normal use the stand is rock solid.The second tier inspires a ton of confidence with the very hefty construction of the arms, the way they bolt securely into the rear of the top of the base arms, and the heavily constructed interlocking geared teeth that lock tight when you set the angle adjustment. I put a 45lb Alesis Andromeda on the second tier, and with it being my rarest and most valuable synth I wasn’t going to compromise on quality. With this stand being so sturdy, I had no doubts whatsoever about it holding up my Andromeda safely.=== WHAT COULD BE BETTERThe first tier has no lip of any kind to hold your synth on, so if you pushed your synth from the back it would slide right off. This shouldn’t be an issue in normal use, but if you’re not careful you could back into it or have a kid come running by and knock your first tier synth clean off if they hit it with enough force. The rubber pads that are supposed to hold the first tier synth in place are not as grippy as I would have liked. I plan to remove these pads and use sticky-back industrial strength Velcro to secure my first tier keyboard to the stand. In fairness, I’ve had to do this with other stands I own as well so I find this to be a bit of a common problem.The second tier is really well-built as I already spoke to. However, once it’s installed, it blocks the rear of the first tier synth where the second tier arms slide into the back of the first tier’s arms. This means that certain ports may be blocked for access at the rear of your first tier synth where the second tier arms stick up. This issue can potentially be minimized with right angle cables, but right angle cables are not always available depending on the connection type. This may also be a non-issue if you don’t have ports in these positions, or if you don’t use those ports. I have a Korg M1 on my first tier and it was a tight fit to get outputs 1 and 2 and the power supply cable lined up against the edges of the second tier arms. That said, the second tier arms don’t obstruct ports for the instrument placed on the second tier at all, since the second tier arms are entirely beneath the instrument.Finally, the gap between the second tier is pretty wide, and expects a full size keyboard to be mounted on it. If you have smaller devices that you want to use on the second tier, you’ll need to get a base of some kind to mount them on, like a sheet of plywood or plexiglass that’s wide enough to straddle the second tier arms. If you’re mounting a full size keyboard then obviously this is not a concern.All in all, I’m really happy with this stand. I’m an engineer and very picky about what I buy, but I think this stand really strikes an excellent balance between utility and making smart compromises where necessary. The build quality is superb, and the stand looks fantastic to boot. Highly recommended.

Being a piano-playing "jobber" back in the days before digital was a lot simpler and saner than attempting to replicate the electric playground of M.J. or Prince--in "real time" and without a roadie in sight. Initially, I began accepting engagements with combos playing the country-club circuit, and more often than not the club had a grand piano--a "tuned" one at that (usually). But then I saw an opportunity to introduce jazz at Glen and Ann's, a C&W venue in Madison that served as a live, public performance space for many of the stars of WFL radio's "Barn Dance." But I'd heard a rumor that Ann was seriously considering a different musical genre for one of the seven nights. I applied, and got booked for a 4-piece, which I knew would serve as a perfect showcase for the virtuoso clarinet playing of a colleague of mine (Bryant Hayes). But then it hit me: what would a pianist do in a drinking place which couldn't have met the needs of Floyd Cramer had he dropped by.This was the mid-'60s. Soon necessity became the mother of discovery, and I was led to a music store (Ward-Brodt) that carried the Wurlitzer electric piano. Moreover, the manager, Bob Johnson, allowed me to arrange rental of the instrument on a monthly basis. Problem solved. The piano had a sound that's still familiar to many young pianists because of Stevie Wonder's use of it on "You Are the Sunshine," Moreover, it had something we used to be able to take for granted--on the bottom were 4 screw holes for 4 legs made by Wurlitzer expressly for that piano.The same would hold true for the RMI piano and no fewer than 4 Fender Rhodes (73-note, 88-note, 56-note, back to another 73-note). The Rhodes became the universal piano and sound of choice by all players of the electric piano--Chick, Herbie, Keith, even Bill Evans. In fact, I'm frequently struck by the sight and sound of players of Rolands, Korgs, Yamahas, and Kurzweils who--despite having thousands of different sounds at their disposal--stick resolutely to only one of those sounds--the Rhodes. These are digital synthesizers that come with samples of every brand of grand piano (Steinway, Bosendoorfer, Beckett, Baldwin, etc.), yet I've never heard a professional pianist pretend that an electric instrument was anything but that--an electric instrument producing electronic sounds. Oscar playing a Korg or Roland? Bill or Keith a Kurzweil? Tommy Flanagan or Barry Harris a Korg? The fractional 1% of pianists who can play and make a living doing so are not about to subject themselves to the indignity or subject their ears to the pain of a "synthetic acoustic piano."But for the remaining 99% of us, there has for the past 30 or more years been no other option. So we went from our Wurtlitzers, RMI's and Rhodes to various keyboards (the Yamaha DX7 was the rage in the early 80s), none of which had legs! Enter the "keyboard stand," which for most of us has become a pedestrian necessity of the trade. Back in 2000-2001 I worked a saloon for almost two years that did not have room for a piano stand and, ergo, the player as well. There were 3 of us, and we were lucky to squeeze in a down-sized drum set. My Kurzweil K-1000 (the best-sounding electric I've ever owned) had to be placed right on the bar--at the very end, in front of the little covvy that served as our bandstand. I soon began to like it, but the unforgiving nature of the hard-wood bar surface led to the early demise of my still lamented Kurzweil, which required professional first aid on a weekly basis.After using the bar as my piano stand, I went back to purchasing them. The very best was also the lightest--two featherweight aluminumn bars crossed in an X shape with two adjustable tough-fiber straps on top to adjust height and width. Again, simpler proved better. After losing that stand, I went to a succession of the X-shaped stands shown on Amazon. The only exception was an "Ultimate Support" rig comprising a bunch of black aluminum tubes all fitting in a cool nylon black bag and costing a couple of sizeable bills. It wasn't especially stable, but it was time-consuming to assemble and tear down. And if you stay with the music--even when it, along with the AFM and the clubs, abandon you--you're going to start thinking pragmatically--which is what has led me to my present search for a stand answering the following requirements.1. Z-style stand or something that's not another ubiquitous, mundane X-style, which is visually-challenged and foot-hostile (frequently the sustain or shift pedals get wrapped up and inaccessible because of the sparse, cluttered space below).2. One-piece. The pianist carries a bigger load than even the drummer--beginning with the instrument to pedals, amplifiers, cases, cables, music stand and light (both are automatics for the horn players in the band), gig bag, manuscripts running 3-4 pages longer than the other musicians' single sheets--all this while they other guys are telling jokes between tooting on mouth pieces. In short, he cannot afford to waste time trying to assemble his equipment much less tweak a temperamental, often recalcitrant, keyboard that's actually a "sonic computer," and pull up the 15 arrangements for the set (from an overstuffed folder with upwards of 700 songs).3. Adjustable--height and width.. The last thing I want to carry is a piano bench, and many stands simply don't go low enough to accommodate a player sitting in an ordinary house chair (piano benches are always higher). Read the stats carefully before ordering.4. Stability and rugged build quality. There is no Z-style stand in the below-$40 range that's fit for doing one-nighters. The metal is thin, even tinny, and they can not be folded into a single piece before and after the gig.5. Foldability, collapsibility. You're shooting for a one-piece stand, which means that once assembled, it never requires disassembly.6. A top shelf with rubber stoppers or binding cables to prevent the board from sliding off the stand (it happens).7. Light-weight and easy carry (my aluminum X stand with canvas straps could be slung over my left shoulder which carried an amp, the piano in my right hand.Is this stand the answer? It's solid, durable, and its one-piece and foldable. But as some reviewer said, it feels like taking a cannon or bazooka to swat a mosquito. The manufacturer's promotional literature chimes "light weight design!" But i'st comparatively heavy (compared not only to other stands but to my strength and vim as a young player). And it's even a little intimidating. The maker's nickname--the "monolith," or the "monster mouth"--seems all too accurate once you sit in front of this unusual beast of a piano stand. It seems like a Grand Canyon's worth of space between the top left post and the top right post.But if yours is a heavy 88-key or 76-key weighted action keyboard, this stand should do the job and not be overly wide. And despite the weight, it's an easy one-handed carry. I plan to use this "Monster Mouth" for my weighted, hammer-action Kurz and a real light but solid and foldable one-piece Stageline stand for a Kurz SP4-7 keyboard. If I can unload my X stands--and perhaps a couple of old Kurz's and Yamahas that I no longer use--I'm hoping my wife won't notice the arrival of this new, very visible, guest.

I'm using this stand for a Kurzweil PC-88 MX, which is pretty heavy. I got the top tier to support my Yamaha Tyros 4. This really does the trick! It's very sturdy, takes seconds to setup, but most importantly, it's got plenty of room for all my pedals, and, I'm not banging my knees on anything! It's easy to transport, but it is a little on the big side, and a tad heavy, but definitely worth the money! If you play while standing or sitting, this is the prefect stand.

Why did you pick this product vs others?:Been using the QuikLok Monolith stand ever since they first started making it. Historically it has been a sturdy and reliable stand. I just had to replace one that was damaged and I can tell a huge difference in the quality. All of the joints are loose and poor fitting despite adjusting them, the metal seems thinner and several parts were bent. What used to be a rock solid, reliable stand is now a wobbly mess. Feels like QuikLok is choosing profit over quality. I'll never buy one again

Myself and our second KB player purchased these stands to achieve a matching look. The stands look great on stage but being as anal retentive as I am I notice the legs aren't perfectly straight and it bugs me. They tend to bow in a little and I'm always kicking the legs to try and get the stand to look right to my eye. The audience doesn't notice this I'm sure.