Steve Nathan

Another vote for the Dark mixes. Haven't finished comparing every track, but 5 songs in and I prefer the Dark mix on every one. To use a highly technical musical term, the Dark Mixes have more balls.

And no one's even mentioned how Perfect Pitch occurs in Spectrum (from mild Aspergers to full blown Autism) at an off the charts rate, way more than the general (non-Spectrum) public.

Again, you (and most everyone) are fixated on a tiny part of this condition. Pitch "memory" is a symptom, not the condition. It's not the big picture, far from it.

In my previous posts, I tried to explain it, (clearly unsuccessfully again), and then said that I've NEVER been able to convey it to anyone. I've had many conversations with other people who truly do have it (and not just the tonal memory thing you seem fixated on), and they confirm sharing my experience. That's all I got for ya.

Yes

Over many years at the KC, I have tried to explain what it is in my experience, but I'm never successful in achieving understanding. Long ago, I equated this topic to asking Louis Armstrong to explain "What is Jazz". In my 72+ years on this earth, I have yet to meet anyone without it who gets it. And I know from the many times this topic rises here, that that answer is totally unsatisfactory, but I have nothing else.

Again, why some musicians feel the need to dismiss this ability is beyond me. It's not a reflection of your worth as a musician. In my experience, people who don't have it have the most difficulty understanding what it actually is. And contrary to other posts here, it is science, and not memory based. All human babies are born with the ability to recognize pitches as many languages are pitch dependent. The same sound (word) at two different pitches have two different meanings. The ability stays with people in those regions, and falls away in most others over the first few years of life. It's centered in an area of the brain, and some people (for whatever reason) have more electrical activity in this area, and are born with, or develop more matter in this area. Typically it is characterized by an innate hyper sensitivity to frequencies in the environment. I can't walk into a room without noting the "pitch" of the Air Conditioning and the hum of the refrigerator. I can't pass a power box or a lawn mower without noting the pitch of its hum. Early in my marriage, when my wife woke me and said "what's that sound", I replied "which one". Naming notes is just a byproduct, not the feature. My father suspected that I could do that as early as 2 years of age, and set about to confirm it. He saw that I would see products on the grocery shelf and sing their jingle, and he thought I was singing it in the same key as the TV commercial. He began writing down the keys of commercials, and then later would ask me to sing the Micky Mouse theme or the Sara Lee jingle, and I always sung them in the original key. Within a year or two I was the entertainment at parties, naming all the notes in cluster chords he'd play on the piano. In the west, we default to the 12 tones. 438,440, 442 all sound like A. 500 505 and 493 all sound like C. Sort of like the way we recognize many similar colors as Green or Blue. Red/Orange/Yellow/green/violet etc, all being mixtures of RGB, but we lump anything that looks red into the red pile and dozens of similar purples as purple.

You have no understanding of what is (mis-named) Perfect pitch. The name leads you to believe it is discerning the difference between 500hz and 5003hz. Perhaps you might try a little research of your own before spouting on a topic with just your opinion and no basis in the science.

I think your analogy is off the mark, by a lot. He came to a place of musicians and said, I bought an Organ and I'm looking for presets. After all, that's what DB settings from the internet are. Presets.

Yeah, me too.

I've been called old, and dismissed with an OK Boomer like attitude, characterized as insisting the OP "PAY HIS DUES", "GET OFF MY LAWN" and now I'm "UNWELCOMING TO NEWCOMERS". I actually tried (as I have always done in these kinds of posts) to help the OP by illustrating that copying DB settings is a dead end that doesn't get him where he wants to go. I tried to explain the complexities of recorded Hammond sounds and show him a better way to reach his goal and grow as a musician. Instead, the multitude of people here who do exactly what he does, were unwilling to accept that I had a different opinion of it's value, and they piled on me as some kind of cranky prick with a bad attitude. I came here years ago to learn from others with more experience in areas where I was less knowledgeable. Opinions were often hurled with passion and vehemence, but I was grateful to hear what others believed. Now I find myself in an time where people expect everyone to agree with them, and if you don't agree with them, they're offended. It's not taken as just another opinion based on different experiences, it's dismissed and spit on, cancelled, as they say, with prejudice. How dare I not care for a record they love! How dare I find Lachy Doley uninspiring! How dare I find some technical wizard they adore, lacking in feel. I will try to keep my opinions to myself if I continue to come here, but I'm sad and disappointed to see The KC devolve into just another place where "Nice" beats "Honest". Barry Beckett told you the cold hard truth, period. So did Jerry Wexler, Stan Szelest, Rick Hall, Jimmy Bowen, Tom Dowd, Phil Ramone.............. That's how you learned and grew. I expect that soon, clones will come with presets, labeled "Green Onions", "Midnight Rider", "Love and Happiness", "Hush", "Chest Fever"... and so on. You won't have to understand anything about your instrument, ever again. Just mash one of those buttons, over there by the Transpose button and you're all set. I'm done.

I give up

It's an odd bird, though I really like their Tenor and Soprano Saxes, and most of their instruments are cheap and easily lead you down unexpected and interesting paths.

I got email support (on a Sunday 😌 no less) in about n hour, which answered my question thoroughly.

Anyone here fluent in Soundpaint? So many of their patches default to responding to Mod Wheel, which is fine, except when I'm controlling from my PXS300. I'm struggling to figure out how to tell Soundpaint to switch from cc1 to another cc.

59 years of relentless pursuit 😁

I have used S-gear II for years. It's been my go to, but I always felt like you had to keep the FX in their presets or the tone fell apart.

As a non-guitar player, I struggle to get realistic EG parts and sounds in my own work. Grain of salt: IK Multimedia just GAVE me a copy of TONEX MAX, and I'm here to say in my honest opinion, it's a significant leap in creating realistic sounding amplifiers for not only sampled guitars, but Wurlys, Rhodes, Clavs etc. In the past, it's been relatively easy to get wildly distorted Metal type sounds, but not so easy when you needed clean tone, or the sound of just barely hitting the tubes. This software does the latter with surprising realism. I think everyone knows I get a lot of free stuff, but my rule has always been, I'll only report my honest impressions, good or bad, and I won't talk up anything I don't use, ever. I'm definitely gonna use this one.

My first thought is.....how does his singing compare to Lachey Doley 😉

To my ears, closer to B than Bb. Sounds like simply 5-7 over 1 to me. That the harp gliss throws a lot of notes not in that chord across is confusing, but I don't think it's more complicated than E F# A C# over B.

Typically in Nashville numbers, if the song is in a minor key it is thought of as the 6 of the relative major. E minor would be written as 6- (with G as 1, A as 2 etc.) so in Eminor, the F# 1/2 diminished would be written 7ø (though the ø would be up by the top of the 7).

For Crise Sake, all I and others said was we didn't care for him and said why. Some folks who do can't seem to get past feeling like it was a personal insult.

Like the original organ on (songwriter) Tony Joe White's version, this is not terribly complicated. I'd push DB4 back in and add just a little higher up. The sound itself is most distinguishable by the way it was recorded, mono, a little distant and mixed with a fair amount of reverb.