dsetto

... as everything happens.

How I prefer to feel.

I hope my fingers remember to keep off it. 'specially unearned. Then we forget thinking. And yeah, I didn't enter the thread when I heard A follow Cm.

My vantage point is the XF. I'm aware it's all Performances and Parts, and no more Voices.

I am enjoying the conversation. It helps sort things out, and reminds me of things I've forgotten. Waveform nomenclature was confusing when I was putting together a lot of new info. Particularly, the highlighting of Performance as not what it is, but where it is used. This is my current take: (I'll be redundant not for those participating, but for the chance of someone learning.) An Element is a single oscillator synth. It is the playback and modulation vehicle for one thing. An oscillator. In an analog synth, one chooses the waveform the oscillator projects. Sine, Triangle, Sawtooth, Square, Noise. Imagine, in a digital synth, adding "Sample" to the list of available waveform types. - Let's Monday-morning armchair reverse-engineer the thinking. It's the dawn of AWM. Whenever that was. I've got this element, driving an oscillator. One oscillator. What do i call the entity that is the container for what the oscillator projects? On the analog synthesizer the choices for the thing the oscillator projects are called waveforms. That's a good name. A good name for the selection choices that the AWM oscillator can project. An AWM2 Waveform is not a one-to-one, waveform in the way the word is used outside AWM2. But, their usage is the same. The usage of the AWM2 term, Waveform, is similar to the usage of a general-usage term, waveform. The selection choices the oscillator can project.

roc n soc nitro gas drum throne with original saddle and backrest A (pricey) alternative to a pillow, good for elbows and wrists, but not good for far ends of an 88.

Mirroring, flowing with all…. Grey, maybe This song, is this. These 2, and again. Maybe your mindfolded explorations of a different resting spot, is this song. Or the next. Compositionally speaking, what do you want the next harmony step to be? Is it a new view, a new path? Reached by foot, or by looking right? Or lying down? Or by Jeep. I.e.: Close or distant relation. New resting point or not. —— When I go back and forth between A Ionian & G Lydian, regardless of trail head, A is bottom of hill. (I’m still too basic to be able to rest truly on G, even if I don’t return to A.) That C# in the G is a magic lift up, off ground. Changes the rules found on ground. A lot. In space of instant teleportations, what are common location change sequences? Riffing off the pulls to 4, and trying to add gravity boots to G…. Short answer C F —- D If light out. ——- Thanks for a musical morning, distracting me from my fixation. Ish. Good thread. This forum is here.

This forum is the best. Thank you, all!

I agree with the concept of the continuous spectrum of changing tone colour; and I would continue the application of this analogy of the colour world to support the tone colour perceptions of our culture-based, parsed-out pitch name “stops” along that continuous spectrum. As visual colors evoke a feeling, I would think so do pitch “colours”, or pitch frequencies. (I believe they do with me, but I am limited by my bias.) If I were raised by wolves, and had no interactions with any aspect of humanity, I would see a wide variety of colors. Blood, and sky, and water, and cloud, leaf and bark, and soil and wolf, and tooth, and tongue. These would shape my perception of other colors I encounter. Comparisons, associations would stick around, my memory, for my safety, for my pleasure. These associations, these mental notes, would be a “thought name”. Stored in, and recalled from my memory. My ability to see the 10AM cloudless blue sky is absolute. My ability to associate its relationship to the drinkable water, in a treeless stream is relative. …. Returning to this forum, this thread, the original post. As voiced, when discussing this concept closely, I like the usage of Absolute and Relative I use the name perfect pitch, cause that’s what my world calls it. I instantly translate it to absolute pitch, by memory so instant, I forget it’s memory. … Regarding A, 440Hz, arbitrariness and nature, completeness and culture. The name of a note is human assigned, and as such, is arbitrary outside the human sphere. The pitch of a note is a result of oscillations of a particular frequency, and exists in and outside of the human sphere. The pitch sounding in nature is not arbitrary. It’s perception is not arbitrary. Calling the peri-440Hz region an A is from a culture. Recall of the name is memory. Experience of the sound in nature is not memory. It is en vivo, live, now. The perception of “now” is not a memory, even as it is informed by memory, and so quickly becomes memory. Seeing a color, hearing a sound in the shared physical world, is an experience, and is not, in isolation, an act of memory. The physical experience is informed by memory. The experience can be conjured up in the personal memory. Perception of a pitch, en vivo, is not a memory. As such, in my opinion, usage of “memory” is not appropriate. I don’t think I have a problem with the usage of “perfect pitch” as a name for the ability to: - hear an oscillation of a given frequency, aka a pitch. 440Hz in nature. - process the pitch (in ear-brain nature) - associate the results of the processing, via memory, to a culture-ascribed name (mind) Before this thread, I preferred absolute, for the concept of perfect pitch. As it is well distinguished from relative pitch. But, perhaps “absolute” fails, word-wise, in that there is some “relativeness”, some “continuous spectrum-ness” when summing up the experience of all the individuals. And here, maybe perfect is relatively less perfect, more ‘sliding-scale continuous’ than absolute. Absolute being pretty intense in its lines. And while, I personally am not in favor of adding a 3rd term, “memory”, which IMO errs grievously in masking the experiential, now aspect of sensing a physical world thing (a color, a sound) I can see how the various distinct employments of memory in the various distinct stages associated with the process of perfect pitch can inspire one to promote the role of memory to nomenclature status. I don’t know what positive in positive pitch is referring to, but if perfect and absolute are forever oscillating, and the oscillation wants a name, I prefer positive over memory.

Thanks for the work, Dave & whomever else. The adjustable text size adapts well on mobile now. Miles better. Never knew there was dark mode before. Hopefully I catch how to get if it comes here.

Dave, do you think you didn't gel with the Nord Grand may a result of the supposed lack of the softest velocity levels in their Piano Library?

I appreciate reading about your daughter and thoughts, Grey. I will try to heed your advice- often. ⦠My deepest sympathies.

Yeah, they're all enjoyable. ... I just tuned in to the current state of Nords as I improved the pianos I could get from my Motif XF8. ⦠becoming a Julian Pollack fan when I came across that Beatrice session. In wrestling with emulating a natural piano, I developed the utmost respect for the keyboard designers that make playable pianos - for a wide audience. As I made good progress, I"ll kick the 'which Nord can" down the road a bit. While in concept I like the ability to fine-tune the touch-to-sound that the XF provides, I think I prefer it be done 'right', for me. â The way I see it, with regards to these 3 boards: 1. Grand: hammer sensor. This plus its triple sensor implementation. I expect it allows for that extra dynamic expressiveness. 2. Piano 5: It"s digital. Take advantage of the layering. 3. Stage 3: It"s digital. Put it all right in front of you. How fast is it to delete and install an XL piano set into one of these current Nords?

Thank you. Your thoughts have been informative. On my CP4 to get a wide dynamic touch response that feels natural for me, I adjust the velocity offset, velocity curve, and filter. For me, the velocity offset adjustment is most important. Is there a way to adjust the velocity trigger thresholds of a Nord Piano Library piano in the Nord Sampler Editor? This would be longer and more difficult to achieve smooth, realistic results, though. (From what I read about Nord, I don't expect this level of customization.) The Nord Grand's action & flavorful sounds are an excellent pairing. I'll get more info when playing one. Which do you find are the most playable solo piano sounds? (I'll look for those in the store.) Thank you.

With the Nord Grand, can one adjust velocity sensitivity in order to play the ppp samples like a real grand piano, and still play fff with the same velocity curve and patch? .