stoken6

Unlike some of the posters above, I love the thrill/adrenaline rush of a one-off gig. I follow @Bobadohshe's process, except using Sibelius. Cheers, Mike.

Is your band Tommy McArmada still going? Cheers, Mike.

Yeah, Ab is a bit upmarket for blues. Cheers, Mike.

In the "cheap/disposable" categpry, I like the Howard Leight Quiets. Comfortable, not too dramatic an impact on sound, less muffling than some of the others. Cheers, Mike.

If you have a USB-C iPad, and a USB-B controller board, you can use a USB B-to-C cable. I notice that Apple produce a USB C-to-A adapter (clonk) allowing you to use a "normal" B-to-A cable, but it shouldn't be necessary. Cheers, Mike

Presumably some kind of software re-mapper in between could fix that? Regards, Mike.

I remember discussion on how the original Nord Stage Hammer Action was better than most hammers for organ - (a large part of that was probably that Nord used high trigger for organ). If you can find a s/h Nord Stage Classic/EX that will provide the AP/EP/Organ that you asked about, plus some VA synth. Cheers, Mike.

Where do you get all those springs? Everyone mentions Syntaur (which is presumably why they're always out of stock...) Cheers, Mike.

Reminds me of something I heard about 10 years ago: computers can trade derivatives but they can't clean a toilet. Whose jobs are at risk? Cheers, Mike.

No audio examples? They must be ashamed of something... Cheers, Mike

A USB expression pedal would be a simple starting point for this project, combined with @konaboy Woody's idea. The "gap" is the software that maps it to the on-screen UI element. (If it could emulate a high-resolution mouse wheel, that would be a meaningful start). Then we can all start complaining about the "action/feel" of the one pedal. Cheers, Mike

I still remember, as a child, playing C-E-G-B and thinking how discordant it sounds. Now a Maj7 is an essential part of much of my output. Other examples include microtones/non-equal temperament, odd time signatures, and the aspect of rhythm being off-"true" (swing, Brazilian, Balkan, Viennese Waltz) - is there a good name for that last one? Cheers, Mike.

👍for "medium bucks"

Enjoying this thread. The factual ( @AnotherScott's video is required viewing) and the humour ( @MathOfInsects SLAYS in every comment). Let's not let politics cancel a good thread. Cheers, Mike.

So let me get this right: this is a virtual Hammond instrument (in the vein of B3X and others), with a built-in "MIDI pack" of predefined phrases? And it's that second thing that makes it "not for keyboard players"? Presumably us keyboardists could use the virtual instrument without the phrase pack? Cheers, Mike.

I expect lots of clones to sound great through a real Leslie. I bet the Yamaha CK61 would be awesome. The challenge is if you need a "clone-plus", doing organ duties and other things. I believe the Numa and the CK61 both suffer from not being able to pan individual instruments L/R. Regards, Mike.

Never heard of that over on this side of the pond. I have heard "Western Art Music" or "Concert Hall Music" as (attempted) terms to describe the wider (four hundred years, not 70 years) corpus/tradition of this art form. Cheers, Mike.

Nor me. Good-natured differences of opinion, based on legitimate experience, do not equal trolling. I feel Grey had made up his mind to check out before he started this thread. Cheers, Mike.

Incorrect. A good roast for Sunday lunch is the stuff of the gods. Although arguably everything is imported if you go back far enough. Cheers, Mike.

I can see AI Jazz (at least a generative pre-trained form of it, incorporating some of the convolution-like feature detection I mentioned earlier) being able to achieve in the future what ChatGPT and the like can do today with natural language. It will be derivative, not innovative, but it will be passable. We are not there today. Cheers, Mike.

It's been said before that making a digital recreation of tonewheels is a solved problem. A digital recreation of a Leslie is where the competition is today. (That old Casio XW-P1 or whatever it was called sounded pretty legit through a Vent). Cheers, Mike.

Boul? Cheers, Mike.

I see a gulf between "traditional musicians" and AI specialists working on AI music. It seems to me that the AI types haven't got their head round what makes music what it is. I'll give a simple example: Avid (for some reason) introduced AI chord recognition in a recent version of Sibelius. It looks 60 bars back for context. Why 60? (64 would make more sense). What's needed to achieve what CyberGene suggested is appropriate convolution/feature engineering that's aligned to musical (say Jazz) features: phrases, 2-5-1, tritone subs, bracketing/enclosures, voicings, choice of extensions, repetition a semitone away etc. An AI should be able to learn that a dominant chord built on a degree other than V often has a #11 - but it has to be presented with data in that form, that makes those features visible. Next step after that is for the AI to learn these features itself (deep learning), given just the raw data in say MIDI format. This would be equivalent (in a very abstract way) to some of the convolutional "pre-processing" that's used in front of neural networks. The recent example on AI "Jazz" had none of this "feature awareness". I would bet three digits of currency that the AI was trained on 100msec snippets of audio, and it's just shuffling those around, like a LLM (ScatGPT?) Cheers, Mike.

Coming up 30 years with the guitarist/singer and bassist from my current band. Consistently working together. And close to 22 years (20 of those married) with the cute cellist my musical-theatre friend introduced me to after a difficult breakup. Cheers, Mike.

Also, I would think, easy with audiences made up of folks who like Jacob Collier. Cheers, Mike.