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counterpoint

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About counterpoint

  • Birthday 01/19/2022

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  1. My current "full" set-up is a Numa X 73 downstairs and a YC61 upstairs along with a computer and/or IPad. The Numa replaced my PX 5S (which I still have) because I wanted the smaller footprint, easier programming and second USB Audio opportunity. I was hoping that Studiologic would come out with an updated SL 73 with the TP110 and some of the controls from the Mixface integrated in, but no dice yet. If it does, I would be very tempted to replace the Numa X.
  2. Link to specs: https://www.studiologic-music.com/products/numacompact_se/specs/
  3. Just posted on the Studiologic website...few details yet.
  4. While I am a fan of both Queen and Boston, it is a thin argument to classify the electronic wizardry May and Scholz used to create their sounds as something materially different from "synthesis". I know I regret many of the "purist" attitudes I carried about many different things in my younger years...I wouldn't be surprised if May and Scholz also mellowed as to this issue. Funny...one of my closest friends, a guitarist I have played off and on with for over 45 years, recently purchased a Fishman Triple Play so he could play classic 80's synth sounds from his guitar...wondering if I should I be resentful or proud...
  5. Here's AI's take of where the term "Smooth Jazz" came from: "The term “smooth jazz” was created as a result of radio marketing efforts. It was during the mid-1970s in the United States that the music was known as “smooth radio,” and it wasn’t until the 1980s that the term “smooth jazz” came into use. The phrase was coined by a participant in an industry focus group in the late 1980s, and it has since stuck as a descriptor for this genre of music. Smooth jazz is a genre that emerged from jazz fusion and is characterized by its commercially oriented, crossover appeal. It gained prominence in the 1980s, with artists like George Benson, Kenny G, and Grover Washington Jr. contributing to its popularity. The style is known for its melodic form and often incorporates elements of pop music and lightweight R&B." Reading between the lines of those offended by this music, it seems to tie to the word "jazz" being associated with it...but as you can see, the artists had nothing to do with the coining of this term. Personally, I enjoy it for what it is regardless of what it's called and frequently listen to many of the artists within the genre. I've even dabbled in composing music (for fun) that would likely qualify under this label dating back over 40 years ago. Shame on someone who writes something non-lyrical and melodic and calls it "jazz" I guess...
  6. Our band played this at a small private party at a Jersey shore house last summer. After we finished, and only for this song, we heard whooping from the other side of the fences on either side of the house. Like it or not, it definitely has an energy and passion that blurs generational distinctions (and neighborly angst apparantly). It's fun to play as a keyboardist because it comes off as being complicated...even though it's really not. What's cool musically about it though, IMO, is the interesting interplay between the bass and chords...particularly in the pre chorus and under the synth solo segment. I figured that out when our bass player, who is very good, really struggled to get the bass line straight under the pre-chorus. As a side note, we had two lead guitarists for that gig so one of them played the whistling synth part...felt it was better to give it up and keep one of them busy playing something that should be in the mix...the adage about an idle mind being the devil's playground takes on a whole new meaning when it comes to lead guitarists... 🤪
  7. Samples would be nice but there are some basic things I'd like to see more...like: 1) the ability to vary the depth and speed of modulation and the amount of pitch bend, 2) having the low pass filter go fully on and off for on all the sounds it can be applied to, 3) perhaps some portamento capabilities, 4) for the aftertouch to be able to control a few other things beyond modulation, and 5) having different velocity settings by program, not just globally...even fixed vs not fixed would be enough IMO. In the alternative, perhaps they can add a set of the synth sounds that work on a fixed velocity. I've already passed most of these along to Gianni. He's been terrific in responding to and actually fixing some other bugs I have pointed out to him in my year plus of having the NXP 73.
  8. This was interesting to me so I ran a similar test...except I have an IPad Air - 5th Gen (2022). I run Korg Module directly at 64 buffer without an intervening host. I used the Master function on the YC to pan the IPad sound right, panned the YC sound left and recorded it on my Surface Pro using Studio One. The difference was 10 to 12ms. I wonder if AUM is slowing it up a hair or maybe it's the smaller buffer? I've never used AUM or the like on my IPad so no experience there. Perhaps worth a shot if it doesn't mess up your set-up too much to run Module outside of AUM.
  9. Going to cast some aspersions against the BL here. Part of the responsibilities of this role are to find out these things more than five days before the gig...and when learning of the set-up issues, IMO the band members should have been re-asked if they still wanted to do the gig. It's not like the event will be left hanging given the number of other bands that are playing. Maybe you would have still been into it based on the set-up issues...maybe not. No doubt there is pressure in bands to be a team player and for that we've all done gigs that we might have skipped if it was our decision alone. On the other hand, there's being taken advantage of... It seems you have gotten past this part of it and are more concerned with protecting your equipment...which is again something the BL should be helping you with especially under the circumstances. Cool music...I was in a very similar band 20 years ago that had some similar issues. I quit after a couple years...the BS outweighed the musical experience...
  10. College rig circa 1979: Rhodes, Mini-Korg, Elka Rhapsody, and an Electrovox accordion that had a Crumar organ built in...all running through a Twin Reverb (only thing I still have). Had no stand for the Korg/Elka so used any desk or table I could find when we played at frats, etc. If all else failed, I stacked milk crates and put the Rhodes cover on top as a stand. As limited as this set-up was and as difficult as it was to move it and set it up, gigging was much more fun for me then than it is now.
  11. Looking more closely at your needs, you might be able to get away with a Presonus 24r as I see you only need 21 analog inputs. The 24r has 24 inputs plus an additional eight digital channels for backing tracks, etc. You can also use and assign any channel to a digital or analog input so the three channels you're not using for analog inputs could be used for digital. In addition, the effects returns are on their own channels, so you needn't include them in the nine you require...presuming you're using the internal effects. The 24r also has twelve aux outs (1/4") which can be set up as six different stereo IEM feeds if you want. If it wasn't for our drummer using electronics (four channels as we take a kick and snare feeds separate with toms & cymbals in a stereo feed) we would use even more channels as in addition to the exact same remaining set-up that Analogaddict has, three of our vocalists run through Voicelive Plays running in stereo as well.
  12. I'd look at the Presonus StudioLive Series III 32r...I have the 24r and use it in a similar fashion to your needs.
  13. This is one of the very few weaknesses of the YC. The "Depth" knob as it applies to the Delay options is much more related to the number of delay repetitions (feedback) than to the relative amplitude of the delayed signal (wet/dry balance). The only solution I've found is to put the instrument in both slots A and B with the delay only on one or the other and then adjust the volume of the slot with the delay until it is at the level you want. Might be a good to post something on Ideascale asking for Yamaha to add an effect with a delay where the Depth knob primarily effects the wet/dry balance and not feedback.
  14. Went to the link and listened to the "Organ 1" sound clip. It sounds to me like the organ modeling technology from the YC has been somehow incorporated...time will tell, I guess.
  15. In case my use of double negative was confusing...I agree with you.
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