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Discussion about all things drum and percussion related - acoustic to electronic, live performance and recording.
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Trending posts on MPN
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By Adam Burgess · Posted
https://midisolutions.com/prodevp.htm MIDI Solutions Event Processor? I have one of their Thru boxes for years as a MIDI splitter and it has sat there for years quietly working -
That's gonna work great for CS80 software...... with its Poly AT.... -
"E Melodic minor in this context tends to evoke a minormajor7 vibe (Hitchcock, 007, Pink Panther etc). It's great if that's what we want to convey. A less "spicy" alternative would be E Dorian." Strictly or pedantically speaking, playing E dorian over a true Em is "wrong". E dorian is the appropriate "blowing" scale for Em7. Em6 (Em-maj7) is a different chord, and has a different harmonic function in a progression. The scale "suggested" by the Em6 chord is E melodic minor or E harmonic minor. This is the "right" scale to play over a minor chord (in classical theory). Tastes change, and most guitarist know nothing about classical theory anyways and routinely play those minor pentatonic scales regardless of the chord. So the E dorian sound now appears alongside every E minor chord. "G in the ACEG voicing is an interesting choice." I have had a couple of jazz teachers tell me the proper voicing for an F#m7b5 chord is A-C-E-G#, making an F#m7b5 9th chord. I myself hate this sound. In the context of a minor ii-V-i in E, the G# is the major third of E, and playing that G# ruins my sense of the minor quality of the progression (ii-V-i in E). So I drop the G# to G, to make a b9th, making the voicing diatonic and keeping the minor quality of the ii-V-i. This is what works for me, and how I play a minor ii-V-i, but will probably be considered "wrong" in some circles. I invited interested readers to try out both voicings of the F#m7b5 and decide for themselves. -
I may be in the minority here but I find their music pretty “made up” if I can call it that way. On a first glance everything is of natural and soulful quality, it’s like a bunch of great musicians are making some great down to earth music and it’s very appealing. But it’s that same quality that also creates the feeling of artificiality to me. Kind of like they didn’t play what they actually feel but rather crafted it in a particular likable manner. I might be wrong though. I loved them for a day and thought I found a great project only to find myself hardly needing it on the very next day. And I tried to understand why that was, so that’s my theory. -
By Justin Havu · Posted
Does anything like this exist? I've been wanting to use my trusty RD-1000 as a main controller, however it was born in an age where Roland were implementing the notorious CC# 123 "All Notes Off" with nearly all of their products. Hardware instruments seem to be fine in not recognizing this, but I can't really use any virtual instruments because of this hiccup. For anyone wondering, when you let go of the last key you play, the RD will send out an "All Notes Off" (MIDI CC# 123) command, which cuts off any sound from many virtual instruments. This is probably happening because the VI's are interpreting that message as CC 120 (All Sounds Off.) I was looking at the Digital Music Corp MX-8 as a solution, but after looking at the manual, it doesn't appear to offer that filter. Any other ideas?
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In MPN’s GEARLAB
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By Dave Bryce · Posted
Thank you indeed, brother Mike. Consider me a convert. 😊 dB -
By Dr Mike Metlay · Posted
I agree. Somebody once asked me if I could do an entire live show using only one plug-in, and I cited M-Tron Pro... and that was version 2. mike -
Excellent work, Mike. I grab a Mellotron when I need one, but the plug is so comprehensive, its very much like a well-endowed synth. Sometimes the tweaks you can make blur the line between M-Tron and unique instruments from Klevgrand or Cherry Audio. Its safe to say its a major Key Buy winner, for old Keyboard readers. 🤓
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