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SeaGtGruff

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About SeaGtGruff

  • Birthday 01/02/1959

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  • occupation
    Programmer
  • Location
    South Carolina
  1. I saw it the other night. Unfortunately, I was dog tired and kept struggling to keep my eyes open, so it was difficult for me to form much of a reaction other than "When is it going to be OVER?" But that's my universal reaction to any movie I'm dragged to while half dead. To be honest, I didn't care for the pacing. "Frenetic" is right. I don't understand why so many Hollywood directors and film editors think it's necessary to hit the audience in the face non-stop with a 2x4 of action, action, action, all so fast-paced that you can't even tell WTF's going on most of the time. It's like that's going to magically make the movie really, really exciting. The scenes of such movies are all tiny little snippets sewn together (masterfully, it's true) into a blur of color and movement-- most of it so darkly lit that even if they'd left the camera pointing at a scene long enough for you to get more than just a subliminal don't-blink-or-you'll-miss-it glimpse you'd still have trouble figuring out what you're looking at. Anyway, I'll have to see it again so I can watch it while I'm not half dead and safely coffeed-up. I did mostly like all of the little call-outs to the original Star Wars movies, especially the first one. You could tell it was a labor of love. And it's hard to make a final-movie-in-the-series film that pleases everyone, since the fans are always disappointed that it's the end.
  2. And ironically it's very good advice for many drivers...
  3. Some of my favorite laugh-out-loud movies: Mel Brooks "High Anxiety" Woody Allen "Bananas" Peter Falk and Alan Arkin "The In-Laws"
  4. Unfortunately for them, they weren't members of the musicians' union, so they were credited for their "electronic tonalities" rather than "music," and the film wasn't considered for an Oscar for its soundtrack.
  5. That's a great list of interfaces. Here are a few more: https://www.bome.com/products/bomebox https://www.iconnectivity.com/products/midi/mio10 https://www.iconnectivity.com/products/midi/mio4 https://www.iconnectivity.com/products/midi/iconnectmidi4plus Note: There are other iConnectivity interfaces, but I don't think they can act as a USB host for a USB-MIDI device, because they don't have the right type of USB port.
  6. I thought I read somewhere sometime that Keith Emerson's original Moog was borrowed from someone else, and that Keith had to get the owner to program it for him? If that's correct, and that person is still alive, he would be the man to ask.
  7. Apparently some people find that Studio One is not the DAW for them, so even though I happen to like it myself, Ill mention a few things Im aware of that might potentially be an issue for you. First and perhaps foremost for some people is the fact that Studio One does not support SysEx messages. Neither does Ableton Live, so if youve used Live and its lack of SysEx support was never an issue for you, presumably it shouldnt be an issue for you with Studio One, either. But if you need to be able to transmit MIDI to a DAW and have it record everything as is, or import and edit and export MIDI files, or sequence MIDI data from the DAW to your keyboards, without any SysEx messages getting stripped out of the data by the DAW, then Studio One probably wont be able to meet your needs. Aside from the lack of SysEx support, Studio One requires you to configure your external MIDI devices with it. In particular, you need to add a setup for each of your MIDI devices in Studio One, and you might even need to set up a given device multiple times depending on how you plan to use it. A keyboard that you plan to use as a controller (or MIDI input device) for playing virtual instruments in Studio One, or for recording the Note messages and other data to MIDI tracks, must be set up as a keyboard, and each MIDI channel that you want to receive from that device must be enabled in that setup that is, the filter for which channels you want to accept or reject is applied within the device setup, not on the individual MIDI tracks. Unless I just never figured out the right way to do it, this means you might need to define multiple keyboard setups for a given device, such as if you want to use one channel or zone for playing one virtual instrument, and use another channel or zone for playing another virtual instrument, etc., since (unless Ive missed it) there is no way to filter a devices channels on the individual MIDI tracks. A keyboard that you plan to use as an external sound module (or MIDI output device) must be set up as an instrument again, with all of the MIDI channels that you want to send to it being enabled in the filter settings within the setup. And if the keyboard has buttons that can be used for controlling features within the DAW itself such as play, record, mute, etc. then I believe it must be set up as a controller. I havent actually used that, myself, so Im sketchy on it and might be mistaken about it. As far as the channel filtering being located within the device setups rather than on each individual MIDI track (again, unless Ive missed something), it really isnt a problem, because its simple to just add another setup on the fly as needed; its just that it might confound you at first, until you figure out what you need to do. Anyway, there are some things about Studio One that I really like, although it isnt my main DAW, and Ive only ever used the free Studio One Prime edition. If you are curious about it but arent sure whether it would meet your needs, you can try the full edition as a free trial, or else take the free edition for a longer and more leisurely spin if the free trial period isnt long enough. You might even want to start with the free edition so you can get your head wrapped around its workflow first, then give the free trial a spin when youre ready to give it a vigorous testing.
  8. I cant say that music is my 1A passion but if it were, then my 1B passion would be having enough money to spend liberally on my musical passion.
  9. As the owner of several other UVI products, I get their emails, saw this, and gave a listen to some of the demos. (Glad to see them demoing at least some of the instruments and patches separately, rather than just a lot of demos that combine everything and you cant tell what the individual patches sound like.) Some of the patches sounded okay to me maybe worth the $49 intro price although Im not familiar with how the originals sounded since Ive never played them. I already have plenty of AP and EP sounds to choose from, so when things like this come out I tend to be more interested in the clavis and vibraphones and such the more offbeat or less prolific sounds. As far as the patches being heavy on reverb, chorus, and other FX, its always hard to tell how much was in the original patch, versus how much was added by the person who did the demo. Some people really like drenching their patches! At least youll presumably be able to turn down the FX.
  10. Holy moley, five days back-to-back, followed a couple of days later by three days back-to-back! At least he gives himself a day or three off for breathing and traveling between most of the remaining days. As for the lack of southern or western locations, this might just be the first leg of his tour, with additional dates and places yet to be announced for a second or even third leg. (One can hope, anyway!)
  11. I imagine it would probably be the same selection as the paid version of Amazon Music. I just have the free (with an Amazon Prime account) version of Amazon Music, and it has a very wide variety of music, old and new.
  12. Same here-- $199, or $100 off the $299 price (which will be what it will cost after June 10). But in another year or so, in the weeks or months before they're getting ready to release Version 8, they'll probably run a sale on Version 7 for an update price of $99-- at least, that's what they did for Version 6, introduced it at a discounted upgrade price of $199, then offered it on sale for an upgrade price of $99 many months later.
  13. It almost looked symmetrical, like the keyboards on the right were the same as the ones on the left although that may have been because of the Minimoogs. Im pretty sure one of the bottom keyboards was a Montage that Super Knob is hard to miss.
  14. Correction: This coming Sunday night on AXS is Todd Rundgrens Utopia. For those who are interested, the ELP 40th anniversary concert is earlier in the day, at 4:30 PM EDT I believe. I was very impressed by the bassist and drummer in the Yes concert and Trevor Rabin, of course. I thought they did a great job of playing the parts originally written/played by Chris Squire, Bill Bruford, and Steve Howe. And I got a kick out of seeing Rick with those pieces of paper taped to his keyboards the full set list (I think) on at least one keyboard, but then on other keyboards (such as the Minimoogs) it was just one or two song names apparently with (I think) information about which registrations or performances to use for each song. Who needs an iPad with a set list/patch setup app when you have Old School tools?
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