harmonizer

Well that's depressing. Scratch one from my "personal victories" column.

Some of the info Google requests if you use gmail is for potential use for account recovery options. A backup email address can be used to recover access if you forget your password, or to send notifications if you log in from a new browser device that you have not used before. So it's not necessarily evil that they request certain pieces of additional information. I have similar aversion to giving Google too much info, so I try to use waves instead of google maps in my car, always use duckduckgo for searches, and I use Firefox instead of Chrome for my web browsing.

Adding to what Sundown wrote above: On my XV-5050, I could make a custom Part in the User Bank of Parts, and I could make many changes to that Part, and then use that single custom Part Definition in multiple Performances. But on my FA-06/07/08, the terminology changes: - a "Performance" on the XV is called a "Studio Set" on an FA-0x - a "Part" on the XV is called a "Tone" on an FA-0x - Added confusion comes from the fact that (on the XV) a "Part" consists of up to 4 "Tones" (4 Tones on the XV). - So the word "Tone" means a completely different thing on an XV vs. on an FA-0x. But it's not just the terminology that is different on the FA: if you want to do the same thing on an FA-0x as what would be called customizing a Part on an XV, you can only do it via the "Studio Set" settings. So if you want to have a customized 'thing' on the FA-0x (where that 'thing' is the same as a Part on an XV), and use that customized 'thing' across multiple Studio Sets, you have to redefine those customizations in the definition of each Studio Set.

I have a whole bunch of sounds I cannot live without in my Roland FA-07, which carries forward all the sounds I had in my XV-5050. Both have an incredibly good split capability built into its structure (on the XV it is called a Performance which can have 16 parts, each with separate low/high boundaries and pitch shifts. The same capability is called a Studio Set on the FA-07). And there are a lot of weird sounds that came from the (misnamed, in my opinion) old SRX-07 card that are still important to me on my FA-07. My Nord Electro has taken over for any EP or Organ sounds, but I know that no Nord product is ever going to get anywhere close to duplicating the very flexible split capability that is in both the XV and my FA-07.

I tried the Black Upright again in my Electro 3 over the weekend. The mids and uppers seem pretty good. The low end seems stale - better than the new upright sounds released by Nord in 2016 and 2017, but not giving as much low end as I want. The Black Upright does seem the best overall choice for AP sound 3 in case my Roland dies on a gig, so I left it on my Electro 3 instead of Royal Grand.

I remember seeing the Pointer Sisters for the first time as they sang "Salt Peanuts" live on the Carol Burnett TV show, and being absolutely mesmerized.

I am sure some of you will either laugh or shake your head at this, but I'm ok with that: From 2008 thru 2019, I did all captures (and mixing!) of our 7-person covers band on my Korg D3200. I also did captures and mixes for some jazz combo songs at our church using this Korg D3200. I did have to replace the D3200 once during this period by buying a replacement used device on ebay. The migration from the original to replacement device could not have been simpler: I had a backup of seed settings in some D3200 song backup files, and I restored them to the new device. Its mixing capabilities have certain limitations: to use more than 8 "per-track" effects, you need to do a bounce. The on-board screen is tiny, and the included cursor movement pointer is rudimentary. The simultaneous track capture was limited to 12 tracks (I tried getting the 2 extra to increase the total to 14 by using an external A/D device, but this was error-prone and I never did get it to work at all on the second/replacement D3200). 12 tracks of capture was was fine at first, but became more of a problem as the number of singers grew from 4 to 6 and the number of instruments that we played grew. On the plus side, I never had to worry about software upgrades, because there weren't any, and the D3200 includes a highly usable "final effect" which does the mastering, which I use on all songs. Last year I decided it was time to finally modernize. DAW? - no. I bought a Zoom L-20, which can capture up to 18 tracks that are completely independent. This is as close as I could get to a Toaster Oven for a capture device. I used this to capture our 2022 covers band gigs and I am really happy with it. I installed Reaper on my PC, but so far I have done only a test mix of a couple songs that were captured on my Zoom L-20. In the short term there were too many things I know how to do with post-capture mixing on my D3200 that I have not yet figured out in Reaper. The D3200 can do 24-bit mixing with 16 tracks, which is enough, and however steep the learning curve is for mixing on the D3200, I am past it. And once I have good mix settings for one song at a gig, I can make a copy that song file on the D3200, import the WAV files from the next song, and the mix is mostly done. So for all the audio mixes I have finished from our 2022 gigs, you guessed it, I uploaded the WAV files into my D3200 and mixed them there, including all 6 of the youtube videos I posted from our 2022 gigs.

Recording an electric guitar sound, which by its nature includes a fair amount of distortion, should not be highly demanding on the type of mic used. I have used the Sennheiser e609 and SM57. My experience is probably limited compared to many of you. For me the placement mattered alot, both for where in the cone it was pointed and how far away it was from the cloth material at the front of the amp. I am not aware that it mattered whether it was the e609 or SM57.

It has a "6.x" in its name. In my experience, all the Piano Bank samples from Nord which include a version "6.x" in their name only work with certain Keyboards, and the Electro 3 and Electro 4 are among those excluded. (I am not complaining if this is the case here, since I bought my Electro 3 10 years ago).

I looked up my old posts in the Nord user forum to answer your question. I tried the Black Upright in November 2016 and found it the most usable acoustic piano sound in mono up til then on my Nord - better than the Italian Grand (L), Silver Grand (L), Bright Grand (L) and Bambino XL. Then I tried the Royal Grand (L) when it came out in December 2016, and found it even better, finding the octave below middle C more alive than the Black Upright, and the low end much more satisfying than the Black Upright. But eventually I found that the Royal Grand did not cut enough in our covers band, but I did not go back to trying the Black Upright with our covers band. Since we are trying to learn "Carry on My Wayward Son" and the AP sound is really exposed in that, maybe we should try it again.

None of the previous upright samples were satisfactory for me, as someone who uses 1 powered speaker. The Felt did not even impress me in its demo sounds. While the Bambino and Amber did not fall apart in single-speaker mode, their low end was unsatisfying - they did not pass the test for playing "The Letter" (Joe Cocker version) or "I Heard it Through the Grapevine" (GK version). Other upright samples had that quirk where the octave immediately below middle C just sounded squirrely in single speaker mode. I cannot test the Pearl since I have an Electro 3, but if I hear others saying it works well in single speaker mode maybe I'll try to get a used Stage 2EX, and maybe my son will find himself getting the Electro 3 handed down to him.

If a bad MIDI cable between a MIDI keyboard and synth module can cause a sustained note to keep playing, I would think that the same problem could take place with a wireless MIDI connection from a sustain pedal to a keyboard.

I don't think that having Asperger syndrome disqualifies someone from running a social network company. Musk has done well at running SpaceX and Tesla despite whatever communications challenges his Asperger syndrome may have caused in working with the people who work at those companies. The head of a social network does not need to talk to the end users of that platform, and it's probably better if their personal opinions are seen only infrequently on that platform. It's not supposed to be a megaphone for the CEO of the social network. The company is called "Twitter", not "one person's megaphone". If Musk had approached Twitter as a CEO who was trying make that company succeed, instead of trying to change Twitter to support his personal world view, he might have succeeded. His problem was not that he has Asperger syndrome, but that he let his ego run amok instead of acting like a businessman.

I bought a Zoom Livetrak L-20. It has 18 fully independent inputs, has a usable control interface to allow it to be used as the live band mixing board, while also providing the multitrack recording, and has 6 separate monitor mix outputs which allow us to make a transition for most band members to use in-ear monitors. It's a really good fit for our 7-person covers band in which 5 people sing, and allows us to put 5 mics on the drum kit.

When I was a teenager back in the 1970s I liked Fragile better than CTTE. Roundabout was the leading reason for my interest in Fragile, and I found some of "in between" songs really interesting. Later I came to feel like those were more like experiments, and the three songs of CTTE felt more like the finished product. I just love those 3 songs on CTTE. I've never really thought about whether side 1 or 2 of the LP was better (side 2 contains songs 2 and 3). Re which side of the CTTE LP is better, I always assessed the two sides of the CTTE LP separately, considering them to have different ambitions. Maybe side 2 is better if you really look at the lyrics, but I have always considered side 1 to be so special for what it accomplishes musically that I did not examine its lyrics with that scrutiny.

I find the end of Stravinsky's Firebird Suite, especially conducted by Bernstein, to be as exhilarating as any of my favorite classic rock and roll songs.

There are some parallels to auditioning. If you don't audition often, it feels different, and you can tense up, or just simply not follow the same mental process you usually use to perform well. If recording yourself seems like a special occasion, the same thing could happen. The wonderful thing is that if you are recording yourself at a space you control like home (something where you are not paying an hourly fee to use the space), you can take multiple takes. So really it should be less stressful than playing live. If you crash, press Stop, Rewind, and begin again. I had to record a keys part for a 4 minute song that I am making an "isolated" cover video of. The keys part would not be hard for most of you on this forum, who actually know how to play keys. I am a mere keyboard owner. It took me about 20 takes to get it clean. I had no shame about Stop, Rewind, retry.

Vocals. And part of that would include a high enough range to sing my favorite male tenor voice pop sings. I'll take one "McCartney", please.

"Piece of my Heart" performed by Melissa Etheridge, live at the 47th Grammy Awards in February 2005. (Joss Stone sang with her in performing this song, but it was Melissa's). Don't miss Melissa's heartfelt scream at about 4:20. Holy crap.

There are two songs where I use a Roland PK-5a to allow me to dedicate two hands to my sax. One of them is "The Letter", for the bridge ("well she wrote me a letter ....") where I have 4 chords programmed (in my Roland FA-07) to be triggered by my foot pressing a single "white key". It's definitely not a general purpose solution (and it took a lot of work on the FA-07 to set this up), but more in the category of "because I can".

The touchdown Mahomes just scored (on 4th and 2, to give KC a 24-17 lead) is another example of his incredible decision-making, along with the athleticism to pull off the ideas that pop into his head.

During a gig I pick patches manually on my Roland FA-07 and Electro 3 as needed. Doing it via a footswitch or offboard device like an iPad would not make it any easier. I use about 10 different sounds on my FA-07 (a general purpose AP sound, with the others being built specially for one song). I use 8 or 9 different sounds in the Nord Electro 3 (one EP, one Wurli, one Clav, and the rest are various organ setups).

Bill Evans: Kind of Blue (he plays on 4 out of the 5 songs) McCoy Tyner: My Favorite Things I consider Zawinal in a separate category, because I think of him first as an exquisite maker of musical sounds, where sometimes it's not even obvious those sounds are coming from a keyboard. For example on the Heavy Weather album, it's often difficult to tell whether some noises are coming from Zawinal or Jaco, which is part of the beauty of those songs, and the beauty of how they played together.

She had many good ones. My favorite was "You Make Loving Fun". What a great clav part. RIP Christine McVie.

As our covers band lineup has changed since 2004: Rhythm Guitarist 1 (fantastic chord player, but not very good at solos) Keyboard player (he joined in late 2005?) Rhythm Guitarist 1 (after the keyboard player left in early 2009) Bass player? (after Rhythm Guitarist 1 left in late 2010) Rhythm Guitarist 3 (joined us 4 years after Rhythm Guitarist 1 left) ------------------- We have had the same solo guitarist during the whole time since 2004. He is a great soloist and great player of lead lines that fit between vocal lines, but is not a very good chord player and is not our best musician overall. I think the term "lead guitarist" can be misleading. Sometimes it means the guitarist who plays solos, and other times it means an incredible guitar player who can do anything. What's overlooked sometimes is that someone can be an incredible rhythm guitarist, and just how important that is.