ElmerJFudd

I’m not exactly sure how it works, but I believe the AI is “scraping” the recordings it was “trained on”. In that sense it is akin to sampling.

I read an article this morning where corporates are already hesitant about using Adobe’s Firefly AI to generate their commercial artwork needs because about 12% of the artwork that Adobe trained firefly on is not royalty free material. So, what transpires when laws catch up to the technology? It’s obvious that suno and udio have been trained on copyrighted material. What that means going forward. 🤷‍♂️

I just "wrote" a song - Silent Mystique

Sounds

This looks like the service manual, which would get you inside and give you an idea about disassembly, reassembly and what the case you envision would need to hold it. But I can't imagine how anything I would build to hold it would come out lighter. Cooler looking perhaps (I'd use wood and tolex), but lighter?

hmm, Seamless sound switching seems to be implemented as we would expect. Voices are allocated for sounds currently happening and other voices are already assigned to the incoming patch. A sample based patch with a larger library has a brief load time. This is more similar to say, Kontakt than a stage piano or synth. And I think that has to do with the size of the library and the read time (processor speed, storage speed, bus speed). to be expected? Mainstage is quite quick, depending on how quick your Mac is.

Realistically speaking, the video creators/YouTubers have to be satisfied with whatever they earn from the number of views and ads on their channel - which apparently isn’t much until you get into the millions of views. So either the creator is independently wealthy and benevolent (which is not likely) or there is a product for sale or it’s simply self promotion for their own lesson studio. There is nothing for free in our world.

A set of big brass buttons?

V2 - or if hot for the patches. Arturia controller and the software. But don’t under estimate Bert’s ability to sell a synth. 🤣 "So get your hands on this amazing performance keyboard, Astrolab" - as I leave you with the vocoder!

Bert is back, bigger and badder than ever.

I haven’t checked on this specific app, but they appeared to be getting away from the elicenser with other products.

https://www.steinberg.net/vst-live/ With VST Live Pro 2, the platform combines features for music performance, audio processing, lighting control, and video sync, making it a unique tool in the live music environment.

My guess was that there would be a rejection of tech in the most popular of popular styles in music at some point. It seemed inevitable given the cyclical nature of these things. But decades have passed now and instead it seems we just have a so much music being created in every imaginable style and most of it has no sign of ditching processed instruments, time and pitch corrected vocals, programmed beats and loops, synthy timbres. 🤷‍♂️ Synths - hardware or software. Amp and fx modeling, generated harmony vocals, etc. it’s just here to stay for the foreseeable future. Arrangements produced entirely in the box or sequencing “noise boxes” with usb or mini MIDI cables. That’s where we’re at. The biggest shift we’re likely to see is the top 5 songs on the chart all either AI created or assisted.

Ah, I don’t actually know. But point taken.

I did notice the sloppy tuning on this record and was surprised by it. And then I thought, well you know - it’s almost refreshing given how locked into the North/South East/West grid everything is. 😉

True! Killing vibrato or creating unnatural vibrato is the worst part of it. It actually has young singers copying the sound of their idols singing straight tone and doing mechanical moves in their replication without the software. That’s unfortunate but happening regardless.

Sure, to care about these things is to be deeply invested in music, a student of music making. Educated, trained, experienced Musicians are musicians’ greatest fans and greatest critics.

Most people have to be taught to differentiate between pitches. Human beings have a WIDE span of familiarity and ability in this regard. There are people who have difficulty (at least at first) of recognizing the difference between pitch and volume, the difference between a higher and lower pitch, the difference between a M2 and a M7. Between a tritone and a P4. The quality of a 3 note chord. Of a 4 note chord, etc. etc. And then you have people with perfect pitch who just have to learn to give names to what they already hear. I suppose it’s a surprise for those that find hearing pitch easy to discover that others’ perception of pitch can be so drastically different than one’s own. At the same time, how can the testimony of two people who are witnesses to an accident be so different?

It’s an effect when used that way. It’s cool, would you want it to be your signature sound and be on every recording you ever make? Frampton surely didn’t want to use the talk box on everything. But that’s what we’re getting with every vocal on every record in all popular styles.

people who don't play instruments typically don't listen actively. they don't know and most likely don't care about what the players are trying to achieve (to be in tune, to be in time, to be in a pocket, etc.). but, a lot of listeners can recognize what he shows at 2:39 (the C chord in and out of tune). however, during a song it may pass by fairly quickly, and the audience is listening to the singer predominantly or the band as a whole, and they won't notice what experienced players are bothered by. there's nothing wrong with Rick other than that A. he has perfect pitch and B. he cares, deeply. those two facts are almost a curse. 2:39 - the chord is in tune or it's not. ironically, just about every act in popular music is using pitch and time correction on their songs. so clearly they must feel the audience is capable of noticing their flaws. but are they? perhaps the problem there is they push artists who aren't ready to perform out expecting them to have careers. and then the people who don't need it are pressured to do the same so as not to seem less than. that's a crappy trend that has sucked the humanity out of pop.

Primrose Hill · James McCartney Primrose Hill ℗ 2024 James McCartney Released on: 2024-04-12 Composer, Writer: James McCartney Composer, Writer: Sean Ono Lennon

I was just reading what Taylor takes in on a show where she sells out an 80,000 seat stadium. But also the money that goes out. Whew. It’s expensive and everyone wants a piece of that pie.

The established artists did succeed in the business model as it has been. It’s unfortunate that their income from recorded music is not what it once was. Their income from live shows is significantly better (but so are the expenses). Should an AI recording miraculously become a hit, the owners will figure out how to present it live to earn on it. Holograms, light shows and the like. But, how will they front the money for a tour? They’ll need a corporate backer.

try before buy https://www.steinberg.net/vst-live/ https://gigperformer.com/download