CyberGene

Well, I understand why you may not like it. I decided to remove the protector before giving the iPad to my daughter. But she’s so careless with it I am kind of sorry that I removed the protector. But I just found I ordered two PaperLike protectors, so I may put the second one again and see how it goes and whether the kid will hate it. She’s very rigid about change though, so I guess she’ll be on your side 😀

I had one on my ex-iPad. What you describe is actually what is advertised, not sure why you expected something different. I liked it a lot. The idea is that your pen will experience resistance when drawing or writing, as on real paper. And it feels like writing on paper. Expectedly it will wear its tip faster. There’s a spare one with every pen anyway. And since it’s matte it makes the screen feel less sharp but in no way it lowers the resolution, it just appears with less glare. I believe you just had the wrong expectations. I will have to check their website again but from my memory all of that was clearly stated.

Yes, I think so. As far as I know that type of dreamy sound was first invented by Brian Eno as an engineer for U2 with shimmer reverb often mentioned in that regard (long reverb with various intervals added to the tail, most often octaves, so basically it creates a natural pad to the guitar or piano).

True. I love doing reharms, they work better with more complex (jazz) harmony IMO but nothing stops you from using simpler triads too. It depends on the melody though. Sometimes it outlines chords. But you can adjust the tempo and change chords on every tone without waiting for the outline to happen. That's what I did with Twinkle Twinkle, Little Star some time ago: But those are all rather extreme cases with intentional reharmonization for the sheer effect of doing so. In the more general case the chords are implied pretty well, so that completely random change of chords is not possible. I would assume those songs, or rather the melody, were composed with harmony in mind, not in isolation.

I don't agree. If we are not talking about jazz and more complex music, in the more conventional idiom there are scale tones that clash with diatonic chords. Like e.g. an F will clash with C major chord, etc. Kids songs are a good example since they are often very simple and diatonic melodies, yet the melody itself has a pretty good indication of when it's time to play what chord. I'm sure you all have heard some people playing a certain diatonic chord over some simple kids (and popular) song where you immediately hear that it's the wrong chord and it's, e.g. the dominant V chord that is expected there, and not the tonic, etc. I believe what I mean with my first post is a different thing where melodic patterns/sequences are chosen in a way that is not as implying about chords and functions and then any of the diatonic chords would work. It's a more specific case of intentionally avoiding functionalism by choosing scale tones that are common to the set of chords that will be used and avoiding those that can clash with them.

I am not familiar with the racial connotations in the American music (it's a sad story, regardless of where it happens 😕) but I want to say jealousy in music (and in any art, or actually everywhere in life) can come from any place and is rarely a racial thing. I am most familiar with classical music and one of my side-hobbies within that field is reading composer biographies and I can assure you these were all white guys and hated each other like worst enemies and would denigrate and dismiss competitor's work on a daily basis 😀 Not sure why I put that emoticon, it's not funny but, well, it's funny, means we're all human after all. Ego is a driving force in arts and so, it's pretty common to find complete lack of humility, to put it mildly, even in the greatest composers of our civilization. I can only think of a few exceptions: Bach and Bruckner.

When I first discovered Coldplay I couldn't get enough of them. As already said, there's something really pure and dreamy about their music and their sound. Maybe that diatonic harmony also contributes to this airy quality. Of course the arrangements are also part of why it feels like that. I think before Coldplay I found some similarities in the Division Bell by Pink Floyd. I feel guilty for bringing up the side notion of not listening to Coldplay anymore and being bored. They are great and are certainly not boring per se. I just used to listen to them ad nauseam in the past and that's a guaranteed recipe for overdoing any music 🙂 Do not listen to me and listen to Coldplay 😀 But I am still interested in the theory behind this "diatonic harmony". Once again, it's not about how many chords there are. It's more about the interchangeability of them. You can play I, IV, V, vi in any order in that particular case and it won't clash with the melody. The "chords" are there to create variety rather than serve a function. And that's not a critique, I'm just wondering if it has been analyzed and how it's called.

I posted this on another forum. On that same topic, Apple released Logic Pro for iPad this week. They had teased it a few weeks earlier and I was very excited, so I purchased an iPad Mini 6 with the intention to use with for Logic Pro. It's a really small device that fits in the palm: I'm sure a bigger iPad Pro is the device Logic Pro is targeted at but I already have a MacBook Air with Logic Pro that I use for my synth arrangements and piano recordings, so I thought of the Logic Pro on the iPad Mini as an alternative to purchasing a MPC One. I decided to recreate the Depeche Mode song Behind the Wheel on that new iPad since it's a song we like with the guys I play with, we also try to compose and make dark wave music. It took me a few hours to make that song on the iPad, I didn't use an external MIDI keyboard, only the touch screen keyboard, as well as drawing on the piano roll, sequencing drums in the drum machine pattern grid, I even used the Alchemy Sampler with an existing bottle blow sample that I managed to twist into something "flutey" sounding but not too acoustic and reminiscent of the bottle sound. With one exception I only used patches and effects that come with Logic Pro and I tweaked all of them. I also used an external AUv3 synth called Zeeon where I programmed one patch with a tuned white noise since I couldn't find the embedded Logic Pro synths providing oscillator modulation with noise as source. In no way I was trying to recreate the original song verbatim though. Of course there's no vocal, it's only the instrumental parts and our vocal will sing on top of it. I have to decide which parts I will mute during our rehearsal, so that me and the guitarist would have something to play 😀 Here's the result: Behind the Wheel (Final) 02.m4a So, in a way, it's a groovebox too. BTW, another reason to purchase an iPad Mini was that I wanted to downsize my rehearsal rig and replace my MacBook Air that I put on a stand next to the Numa X Piano 73, with the iPad Mini that will sit on the piano and I already posted a picture in my Numa thread: Ultimately I'm very happy with Logic Pro on the iPad Mini 6 although I wouldn't recommend that exact combination to everybody 😉 I look at it as an ultra portable DAW in a box where I can lay down some ideas anywhere I am. However I would have created that arrangement on my Mac in half the time and using external plugins. But once again, the combination of an ultra portable iPad Mini 6 that is 6mm thick and the size of a small book, that can fit in my pocket and has almost the full arsenal of sounds and effects as its bigger brother makes it the ideal couch/beach/train/airplane music making solution.

Well, they sold copies and to make copies the editor prepared a master. He could basically punch out an entire master without having anyone recording it really. Just saying. Here’s what I found on Wikipedia: While Joplin never made an audio recording, his playing is preserved on seven piano rolls for use in mechanical player pianos. All seven were made in 1916. Of these, the six released under the Connorized label show evidence of editing to correct the performance to strict rhythm and add embellishments,[76] probably by the staff musicians at Connorized.[77]Berlin theorizes that by the time Joplin reached St. Louis, he may have experienced discoordination of the fingers, tremors, and an inability to speak clearly—all symptoms of the syphilis that killed him in 1917.[78]Biographer Blesh described the second roll recording of "Maple Leaf Rag" on the UniRecord label from June 1916 as "shocking...disorganized and completely distressing to hear."[79] While there is disagreement among piano-roll experts as to how much of this is due to the relatively primitive recording and production techniques of the time,[80][81][82][83] Berlin notes that the "Maple Leaf Rag" roll was likely to be the truest record of Joplin's playing at the time. The roll, however, may not reflect his abilities earlier in life.

Fair point. I also feel the same and as I said I used to love Coldplay for the same reason. But boredom is sometimes a result of cumulative exposure, at least that’s what happened to me.

Nice! But piano rolls should always be taken with a grain of salt because they were often heavily edited by the companies that sold them. It’s like MIDI after all.

@JamPro I know what you mean but I think this is slightly different. The "four chord progression" is something that is still functional, like e.g. C Am F G, or C Am D7 G, etc, etc. and the melody is made in a way that fits the progression. Here we're dealing again with more or less similar chords, e.g. C, G, F, Am, however they are used in an almost random pattern and it doesn't matter which one you play, so there's no progression, the chords are used just for color and I doubt someone would know that you made a "mistake" in the chord order. I guess it's still some variety of modal music.

I know this may also be interpreted as some type of rant, and it is, but let me also say that I used to love Coldplay. I don't dislike them now, nor the plethora of similar music, but it became a bit boring to me and I stopped listening to it long ago. So, we've been listening with my daughter to some of my favorite pop songs from my youth and she likes them a lot, being obsessed lately with Kiss from a Rose by Seal. She asked Siri to play it for her and Apple Music would then keep on with playing what it considers "similar" music and played A Sky Full of Stars by Coldplay: And I remembered why I loved them, this ethereal, dreamy quality to the sound, the feeling of timelessness, feeling light and good, etc., etc. But I also started realizing why it is boring: it seems there's no functional chord progression. Sure, there are chords but they are all interchangeable, it really doesn't matter if you play the IV or V or VI, ... or any other chord from the diatonic scale of the key it's in. I'm intentionally not calling those subdominant, dominant, etc. because I'm not sure they even feel like having a function. It's all kind of modal but I'm not sure it can be called modal music since there are proper chords all the time, only not feeling very functional. I guess to make that working, there are specific repetitive melodic patterns on top of that harmony to allow for that interchangeability (invariance) of chords. And that's how most of the music in that genre works, and a lot of contemporary singer/songwriter music for that matter too. Is there a term for that? Again, I'm not dismissing it and as I said I used to love it but maybe I'm old fashioned and still like the more traditional song harmony with functional chord progressions, altered chords, key changes, borrowed chords, surprising modulations, etc. And no, not jazz, I just mean any pop song prior to the early 90s. Somehow they shifted in the late 90s into this new type of diatonic, safe and inoffensive harmony that is backed by very lush pads, long reverbs (even shimmer reverb), repetitive patterns.

I started laying down a simple track to familiarize myself with it. Really easy to use and very intuitive. BTW, I’m using an iPad Mini 6. I know it’s not the first choice for music creation (or for anything really, since not many people buy them) but I had a great fun being able to create some music on a device that I can hold with one hand and can basically put in my pocket.

Here it is: https://apps.apple.com/us/app/logic-pro-for-ipad/id1615087040

Unfortunately I have to correct the above advice regarding the Roland DP-10. Seems like both A and B continuous modes have different issues. The A mode tends to generate some low MIDI values even when released, like e.g. 0, 1, 2 and that messes up with the Electric piano patches that keep sounding for a few seconds after you release the pedal. Conversely, the B mode would only reach MIDI values of 112 or something and so the acoustic piano patches would not have full sustain. I just emailed the Studiologic support to suggest they implement a third mode C which would work with Roland DP-10 and will offer the entire 0-127 MIDI range in a narrower region, say between 20-80% of the entire mechanical movement of the pedal. Hopefully they can implement it. And here's another heads-up, I recently purchased an iPad Mini 6 which works great with the Numa X Piano 73 and not only fits on the rightmost side of the piano but also seems to have some magnet inside that would make it stick to the metal panel of the Numa and prevents slip, I am very happy.

AFAIK app releases by Apple usually happen at around 1 PM US Eastern time, that's what I read somewhere. For us guys in Europe that means in the evening, so a few more hours I guess.

Isn’t it easier for the wallet to pay a small fee each month compared to a single big payment? The first month will be free BTW.

I haven’t found a single MIDI CC value that corresponds to the encoders (regardless of which menu/mode on the Numa you’re in). However MIDI CC are sent when turning the encoder for a particular function. For instance when I have external MIDI zones on my Numa, and when I’m in the main screen on the Numa, turning the encoders sends volume changes on different MIDI channels which I have mapped through MIDI learn to control corresponding Logic Pro track volume. I use this for live playing a lot.

I am. I even purchased an iPad Mini 6 for the purpose. The Mini fits perfectly in the right side of my Numa X Piano 73.

Imagine the day when you won’t even have to press keys to play music. You just switch the thing on and it makes chords and stuff. Ohh, wait, that’s the gramophone…

To add to the original topic of emulations, it’s the same with acoustic pianos. There’s no way you can emulate the huge soundboard radiating sound in any direction from its entire surface, through speakers. They’ve attempted multi-speaker setups and Kawai add soundboards to some of their more expensive digital pianos but it’s wrong on many levels since they replay the regular samples through that soundboard driver instead of generating the raw string-vibrations, and so it sounds nothing like a real acoustic piano. That being said, digital pianos emulate a recorded piano sound pretty well. Because that’s what digital pianos actually are: recorded samples from real pianos.

I just purchased an iPad Mini 6 that I plan to use for gigging with AUM (and/or Logic Pro ). First impressions are positive, very lightweight and compact but still readable and easy to hold with one hand. Feels very snappy and I already downloaded all the synths I have: Model D, Model 15, Animoog, Mood, Zeeon, VB3m, Alina String Ensemble, KQ Dixie, Korg Module, so should be pretty much ready for anything that is needed to supplement the Numa X Piano.

There is, it’s the harmony, I still occasionally enjoy reharmonizing pop and kids sings with lush jazz chords and progressions and that gives me pleasure. But it’s not really jazz though, there’s no improvisation. But yeah, maybe I shouldn’t care too much.