MathOfInsects

Want.

I don't see the contradiction. No one thought it wouldn't continue to exist as a genre. Just that it wouldn't be the death of all other music or performance forever.

I don't see a problem with AI training with copyrighted material. We all did that, right? We played existing songs of all styles until we got good at whatever is we do. It seems certain that some of the future musical landscape will be AI-related, forever. I can foresee entire Sirius stations that play AI-generated music. I will think that's pretty cool. I just want it labeled as such, so people can still seek out people-generated stuff too.

There's a guy in town who does the "one board for each sound" thing -- a Hammond chop with a Leslie, a Wurly and/or Rhodes (plus separate amp), sometimes a clonewheel, even an upright piano. It makes great optics. I'll leave it at that. Signed, Guy whose NS3C weighs 22 pounds.

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I used to be completely in the "the room is already reverb" camp. In the last few years I've started adding just the slightest bit of reverb to my live keyboard and organ sounds, a subconscious amount; it makes the patches feel more "real instrument"-like to me. Like you're in the room where those instruments are being played. But lately I've been pushing it up until I notice it and then pulling back from there. It's not too far off from "start at 0 and add a smidge," but a different approach: Start where you can hear it and pull back just until you can't." It functions more as a clean boost than real reverb. It just draws out some of the realness in the piano samples and organ. (I don't like it on Wurly, though.) It's great on clav.

Negative reaction emojis are always a weird one. I had a friend I hadn't talked to since college, which was -- spoiler alert -- very long ago, DM me out of the blue on Facebook because I "angry"-emoji'd a post he made about some aggravating circumstance that happened to him. He thought I was letting him know I was mad about him posting that, and wanted to know why I'd even bother to respond rather than post something negative. I was like, "No, I'm agreeing, that situation is infuriating." He never quite believed me. I'm still peeved that the "hover" on the emoji option here turns the thumb to a thumbs up instead of giving all the choices from there. I never got used it.

Exactly.

The thumbs-down emoji here tends to be used as a review on the post itself, rather than a disagreement with the content of it. It's rarely used, and the few times it is, have been for reasons of trolling. It's certainly possible that over time, it will come to mean, "I can't cosign that sentiment." But as of now it is only read as, "Why don't you just go suck on a Volkwagen's tailpipe if you love Hitler that much?"

I got that same promotion, and thought that same thought. I wouldn’t need 100 CD’s for free, let alone a buck and a half. I don’t have anything to play them on. I’d practically rather make 8-tracks than CDs.

If synths are your instrument, then sure, play synths. If "keyboards" are your instrument, and you have to play synth, IMO it's crazy in 2024 to purchase a separate board just for that. You might as well purchase a professional-level digital camera because you sometimes take pictures with your phone, and a police-grade flashlight because you sometimes use your phone as a flashlight, and a portable reel-to-reel because you sometimes use your phone's voice memos. I wish the people with money to spend on a separate instrument for every keyboard sound, would send me some for a single board that contains all those sounds.

I enjoyed that. I agree that unless you're really looking for fundamentals on bass playing, it's little light on educational content. But I miss that old generation of personalities, and was actually bummed to hear him talk about having "more time" these days to practice, when before the gigs were his practice. It's crazy that just when people are at their height of experience and ability we age them out of circulation. Ok, maybe I'm projecting here. What were we talking about?

Please tell me they are starting a band with Zach Starkey and Dani Harrison…

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Finally, a score that lets me take advantage of my right hand's 24-note range.

Apple Music.

Correct, and I don't pay for youtube premium, so don't like playlists that come that way.

More people listen to the sound their Certificates of Deposits make, than Compact Discs. I don't have YouTube Premium and don't enjoy having that be the ONLY way someone shares songs (i.e, instead of sending a master list that includes version/artist). But I certainly don't care if someone ALSO sends their YouTube playlist. I won't use it to listen with because of the ads, but it's easy enough to make my own Apple Music playlist from there, and it's not like I wasn't going to have to do a version of that no matter how the list came. To answer the general question, playlists are indeed increasingly common as a means of sharing repertoire. I only dislike it when people don't cultivate their playlists to make them specific to this gig, rather than all the songs they've ever done. (Easily addressed with, as mentioned above, a set list that applies only to this show/gig.) I have a whole different peeve that maybe I'll start a thread about: one artist I play for only asks you to do gigs through a Google Calendar invite. So to say yes, you have to put the event on your calendar the way they have described it and spec'd it, and if you change it, it changes it for everyone, and if you remove it to put your own version up, it cancels it for everyone. Then every update is a brand new invite that you have to say yes to! Sometimes it's a tiny thing like a change in spelling in the description. So if you want a specific piece of information, you have you read through 8 same-subject-line invites to find the one that has the specific info you might need. Sometimes, they list the event as an "all day" thing, because that's how they are seeing it. Sometimes it's only the time of the exact gig, when my own calendar might account for load-in times or the like (or might NOT account for it, if it's a venue I know well enough to plan around). All my calendar entries are color-coded and named in particular ways to make it maximally efficient and keep me from missing stuff. This makes me CRAZY. Anyone else?

Yeah, retail scamming is huge right now. They get onto the Google Shopping results too, with low prices and websites that look like the real ones. When I find myself on one of those, I always start fresh from the actual site and search for the item that way. It never shows up for that low price.

For sure. In your OP you mention the Ma7 of the bVI chord, and I think this is a pretty big clue. In those songs that sit squarely in the minor i and then move down to that bIV, they often keep the i as the upper structure, and this makes them feel way more minor-y and "1"-like. But melody helps too, and in the case of that Pretenders song, so does the bass riff. It really feels like a IV, when it hits that A, and her melody really feels "E"-like, to the point where if you ever played an E chord, it would sound like home, whereas the C#m is sort of an open question. I'd believe you if you ended on it, but I'd still sort of assume an "E" in the mix. Sort of like the intro to "Brandy," (same key), where there's just no question to the ear that we're moving toward a home key we haven't heard yet. Flip-side example is Layla or Watchtower where that second chord is clearly going to move back to the first one and feel at home there.

I think there are i-bIV’s that are i-bIV’s, meaning when they get back to that first minor chord they are at rest, and i-bVI’s that are really vi-IV’s even they never get to a I, meaning that only if they hit a I would they feel at rest. That Pretenders song sounds like a very strong vi-IV. It just happens to modulate to a new key before it ever lands “home” on an E chord.

What is your keyboard(s)?