harmonizer

I wish I had video captures this good from live gigs for my covers band. And the audio capture (that's from the cell phone too, right?) is useful for my suggestion. Suggestion: At the next gig, get some kind of multitrack recorder to take a capture from the mixing board (of the mix it sends to the PA speakers which send sound to the audience), and at least a capture of the bass. If you just mix these 3 things together (audio captured from camera, from the mixing board send to PA, and the bass) the audio will be a lot better. Bass guitars and electric guitars tend to be underrepresented in what comes out of the mixing board during live gigs, because a fair amount of their sound reaches the audience directly from their amps. You could take an audio mix from these 3 sources, and use it to replace the audio captured by the cell phone. Even better, add a second cell phone to capture a different view, maybe from up high in the ceiling closer to a center view angle, or just a little off center closer to the keyboard side. And then switch camera views a few times during the song. What you guys play is worth posting.

I saw this in a theater in Greenwich Village NYC when it came out. It was one of the most riveting experiences I ever had in watching and listening to music. I was somewhat interested in Talking Heads before seeing the movie, but afterwards I wanted to be David Byrne. When the DVD came out a few years later I bought that too. The LP audio album that first came out had only 8 or 9 songs on it, so I found that a disappointment. I would love for our 7-piece covers band to cover "Life During Wartime". But we have a non-autocratic song selection method, and I don't think it's gonna get support from others in the band. The wikipedia article about this movie said it was shot over 4 different nights, so it's possible there might have been differences in the keyboard rig used by Bernie for one or more nights.

re the comment that Billie Holiday had a range of only a little more than an octave, I initially doubted it. And I wondered if it might have been a comment about her vocals near the end of her career - there is a famous recording of her from the late 50s singing with a couple of famous tenor sax players soloing on it, where she sings with heart-stopping emotion but visibly degraded vocal tone. So I went for earlier recordings, and found Blue Moon and Moonglow on youtube. On these two songs I heard here go only as high as a G (a note I used to be able to hit when I was 55), and she hit only briefly with it sounding like it was it a little bit hard for her to reach. And I only heard her go as low as F (just over an octave below that G). This is an unscientific sampling, but I am now inclined to believe the statement about her range. I just never noticed it before because she does so much with stretching and playing with rhythms and expression. I imagine transcribing the rhythms of her singing would be as difficult as doing it for Van Morrison.

We had another gig with too high a stage volume last Friday night. Traditional drum kits don't have a volume control, and the habit of many drummers is to purchase a snare that plays really loud when you whack it. And then the bass players and then others set their volume, and "off you go"! The drummer in our covers band is replacing his traditional "real" drum kit for an e-Kit at our next rehearsal. If it works out in rehearsal, he'll be gigging with it too.

Kodai Senga of the Mets is currently 2nd in ERA in the NL, and also in the top 10 in wins and strikeouts. Imagine if someone told us back in April that by September the Mets would have one pitcher in the top 10 of major stats categories, but that it would not be Verlander or Scherzer.

I have been using Corel Videostudio on my Windows PC since 2016 to edit the videos I post on youtube of our covers band. I combine the video footage captured from 2 or 3 mobile phones or tablets, crop the video footage as needed, sometimes tweak brightness/contrast/gamma, sync the video captured from the multiple devices with each other, figure out when I want to switch camera views, and then overlay the audio mix made separately from the audio captured on my Zoom L20 multitrack recorder. I chose Corel VideoStudio back in 2016 because it was relatively cheap, and I did not know enough about video editing to make an informed choice. It was probably worth the money I payed for it, and for the one upgrade I purchased for it since then. It is usable for me, but it certainly has its quirks. I follow certain habits to avoid problems in VideoStudio, and as a result I can't remember exactly what all its quirks are. Sometimes the audio-based sync of video footage captured from multiple cameras does not work properly, and I instead have to perform manual shifting or truncation of one or more video files to get them synced properly. I would consider switching to some other video editing software (for Windows). There is an isolated cover video I am making of an old Chicago song, and it's going to be displaying either 9 or 10 tiles at the same time, and I'm not sure if Corel VideoStudio is the best thing to make that final version. Every other video I have made using VIdeoStudio has NOT had tiles - instead those videos show one view at a time, showing either the entire band or just a few players in the view. I'm still waiting for my son to record the trombone part, and I'm not sure when that will get done. I did prepare a draft in VideoStudio showing 9 tiles with one of them blank, and the result is kind of basic and I'm not sure if basic is a good thing or not.

Timing (rhythm) is something that is often overlooked by those who play wind instruments (I am primarily a sax player). We got a new band director at the start of my sophomore year of high school. He showed us how commitment (by all the players) to timing and rhythm could make us much better. Our jazz band had lost a ton of talent to graduation at the end of my freshman year, but by the end of our new band director's first year with us, we were a better band even though we had a lot less talent. I've never forgotten this lesson. If you are a wind instrument player who is not thinking about rhythms when you're not playing a note, then you are not making yourself prepared, and you are not committed. Some vocalists have a very good sense of rhythm and find it easier to sing lines having lots of syncopation, while others don't. And some singers sing rhythms that bend the time so much (singing notes behind or ahead of the beat), that transcribing them is difficult. Van Morrison has many examples of this. And Amy Winehouse's singing just played with rhythms like a toy.

I don't know about guidelines in general, but some songs have spots where you want the AP to add punch with the left hand down in the bass range. Our cover of the Gladys Knight version of "I Heard It Through the Grapevine" had this in the interlude before each verse. Another exception for me is on "Working for the Weekend", which has the moving bass line (E-F-F#-A-E-F-F#) as a synth bass line played many times. But most of the time my left hand is not down there. We don't need it in our 7-piece band, and thank goodness for that because I suck at keys.

I have the output of my Nord Stage 3 routed into the (1/8 inch) input on the back of my Roland FA-07. I am assuming the FA-06 has the same input. Then I just run the output signal from my FA-07 to my zx-a1. It's light on effort for the setup/breakdown at a gig, and it works fine, even for those cases where I am playing on both boards at the same time.

Back when vinyl LPs were the norm for pop/rock albums, there were many cases where at least one of the sides of the LP was over 20 minutes in length. So a vinyl LP side being 22 minutes long would not have been considered too long. Whether you consider it odd to have an imbalance in the length of the two sides is different question.

Blank Space is one of the songs of hers that I looked at when a bandmate suggested that maybe we should cover it, and I was impressed by its lyrics. I think I have difficulty connecting with Taylor Swift's singing style; it always seems so perfectly executed. Ryan Adams' cover of Blank Space really shows off her songwriting.

techristian, you wrote earlier: "I have also found that placing microphones on the BEATER side of the drum makes a cleaner bass drum sound" Maybe this contributes to a better bass drum sound in your mix because then your kick mic is picking up noise from the back of the kick drum, like any of the other mics you have picking up sound from your kit. So in this scenario, you don't have a need to reverse the phase of the mic you have on the kick drum. If you have a kick mic out front, it's picking up noise made by a skin getting pushed out, but any mic picking up noise from the back of your kick drum is picking up noise from a skin getting pushed in.

techristian, have you ever checked how much of the kick sound is getting into your other mics? I'll bet you are getting some in each of those other mics. Those other mics will be receiving sound from the back of your kick drum, so the kick drum noise they pick up will have reversed phase from what your kick drum mics pick up from in front of your kick drums. Have you tried reversing the phase of the tracks which capture the signal from your kick drum mics?

"September" by Earth Wind & Fire. "Could It Be I'm Falling in Love" by The Spinners. "I Wish" by Stevie Wonder.

There seems to be some kind of sustained low noise, which sounds a bit like a rumble, and might be some sort of echo or reverb. I am not sure where it originates in your kit. But watching 3:51-3:55 makes me think that your kick drums are at least one of the sources of this, because this time frame your sticks are only hitting the snare and one of the cymbals, and I do hear the rumble. I am guessing you were playing at least one of the kick drums with your feet during this time. Also watch and listen to 3:41-3:49. There are some moments where the sticks are only hitting the cymbal and snare and the rumble briefly disappears, and then you can tell you start playing a kick drum and the rumble re-appears. It is possible that the kick drum might not be the only source of this rumble (some of the low toms might also do this?), but the kick drums are definitely a major cause of this. What I am calling a rumble is interfering with the clarity of everything else you are capturing from your kit. In case it matters, I was using my Grado SR80e headphones while listening to your video.

I have always loved the two bass parts on this Stevie Wonder's "Gotta Have You", especially the simpler part that starts the song and goes way low. It just seems to create an irresistible urge to move.

We have detected evidence of many planets orbiting far-off stars that would seem to be a distance away from their star such that life could develop there. I would consider it much more likely than not, that many such planets have the chemistry needed to allow life to start. Not trying to make this thread about religion, but if you believe a supreme being (I'm not trying to be disrespectful with my wording, just trying keep this generic here) created our human race, and if that supreme being is all-powerful, why would they care only about our planet, and not do something similar elsewhere - in our galaxy, or even in other galaxies? Either way, I would expect there to be life out there, and expect it to be intelligent life at least in some places. It's still a really big universe, so there could be many places having intelligent life but where they are so far remote from us that having them and us detect of each other becomes unlikely. Consider that we don't know how long our own species can survive without destroying itself via advanced weapons technology - what happens if nuclear bomb technology becomes simple enough so that small individual groups can make a weapon powerful enough to destroy all human life on that planet? This would be a much scarier situation than what we have now, where a number of nations have atomic bomb capability, but it's not as accessible as buying a house. If such weapons were to become available about one hundred years from now, and some small group of fanatics use one to wipe us out, this would only be about 200 years after the first radio transmissions of any type were made by humans on our planet. And what if similar things happen with intelligent life on other planets? This would really narrow down the window for advanced life forms on different remote planets being able to find each other. Sorry for the depressing perspective behind this.

Shohei Ohtani is currently in the top 10 in the AL for all the "triple crown" stats for pitching and hitting: ERA, Wins, Strikeouts as a pitcher. Batting, HRs, RBIs as a hitter. I am not for or against the Angels in general, but I hope the Angels can make the playoffs this year, for the sake of Ohtani and Trout.

I have my FA-07 to give me all those sounds it contains (particularly in its base sound and EXP-02 nee SRX-07), which are initially unimpressive but highly useful in my covers band playing. My favorite example is a studio set I first put together on my old XV-5050 for "Cake By the Ocean". And the incredibly flexible splits! I'll be using my FA-07 as one of my boards for as long as I continue to play in a covers band for these reasons.

The users of such infrastructure will somehow deal with whatever the technology makers force upon them, but it will take up resources from the application developers. The application developers for most organizations are a finite resource, with a backlog of requests for them to work on that will never totally close. So I consider myself not impressed with such a proclamation. I wonder what AMD might have to say about this.

I don't think there is any set answer. What is the reason your band members chose to play together in the band you are a part of? Our covers band is really trying to have fun, but also make sure that the songs that are fun for us to play are also songs our audience wants to hear. We don't always choose the most popular song from an artist, but we usually pick songs that people have heard before and will recognize. Usually we try to stay pretty close to the original because that's what we feel like doing.

I would not trust something having a 5.25" speaker (your Behringer B205D) to serve as my keyboard monitor for me and the rest of the band to hear the keyboard playing at a gig. If there are times during the intro or middle of a song where your keys playing is the main instrument setting the band's tempo, how will the rest of the band lock into that, including the drummer?

For a point of comparison: The speed of sound is pretty close to 1 foot (30cm) per ms. When I do the audio mix of our covers band, I delay the kick track by .003 or .004 (3ms or 4ms) because the kick sound also appears in the overheads. Kick mic is in front of the drum, about 1 foot from where the beater strikes. The overheads are 4-5 feet above where the beater strikes, and get an opposite phase kick sound coming out the back (I reverse the phase of the kick mic track). After I delay the kick track by 3ms or 4ms, the kick sound becomes much clearer in the mix.

Just watched the Lady Gaga video. If I ever post a video on our band's channel where I am singing the lead vocal, I would hope there is no performance of Lady Gaga singing that same song that others could compare it to.

Particularly if there are vocal harmonies, the sounds starts to sound like crap if it gets moved down in pitch more than a little. And sometimes the "zip" can disappear from certain rhythm guitar chords - consider what that opening rhythm guitar riff sounds like for "Long Train Running".