elif

Also Jesse Murphy (Avi B Three, Brazilian Girls, Jon Scofield)

For over 5 years I've been playing organ/KB-bass in a jazz-funk group, think Soulive with trombone/tsax. (Disclaimer: I own four electric basses.) I play a Nord C2D. For bass sounds, I use a Roland M-BD1 (90's rompler made with the Spectrasonic Bass Legends samples). It sounds quite realistic in a live setting. I drag both a 122 and a bass amp to gigs, though I am tiring of the schlep. While, it has been successful for what we are doing, I would prefer a bass player because it would free me creatively. We had three bass players before I took up the bottom end. There were reasons, both musical and otherwise, that KB-bass turned out to be the best option for the band. Roland M-BD1 Demo on YouTube

"Oh. Is it powerful? I bought it because I thought it was pretty." [gestures as if turning a knob] "It has a volume control." "I need it for my other bands." "I'm sponsored. They pay me to use it on stage."

Do you mean audio gear that will limit the dB level for the listener or that have a sound rejection dB rating (like aviation headsets)?

She and I waliked out of the last two shows we attended. Tedeschi/Trucks Band after the 1st song, and Here Come The Mummies in the middle of the it. Yes, it was too loud, but because it was too loud, the volume overplayed the acoustics of the venue. It was all boom and rumble, no clarity. Earplugs to attend a show? No. It just seems wrong.

I'm using an older version of the FadBlock extension, which blocks the ads. Until recently, it had mostly 5 star reviews. New reviews of it claim that the new version, 2.0, is monitized after a 30 day trial, though it is much cheaper than youtube pro or whatever its called.

It's obviously maladjusted. It may have been recorded when I first got the Vent in 2018 (and stopped working on the simulation).

Yes, Matlab -> Octave. Regarding the number of impulses. I was surprised too, but it's what I had to work with. A simulation I did of an A-100 chorus/vibrato, here, is what led me to try the same approach on this simulation, essentially cross-fading FIR outputs, complicated by the two different rotational velocities and the accel/decl between them.

I haven't thought about it, but now that you mention it... If I do anything (rather than nothing 😉 ), I suppose a VST would be the obvious choice. Developing a commercial pedal seems a little daunting.

More about the simulation (though the details are quite hazy): The bass driver was a P15LL reconed by Gordy Kjellberg. The horn driver was one sold by Goff at the time, equiv. to an Atlas PD5A. The IRs capture the room response as well as the direct response. The IRs were captured with an HP3562A Dynamic Signal Analyzer at 65536 sps. The microphone was an MD421 spaced approx. 2-3 ft from the cabinet. The crossover was bypassed for the measurement. The crossover in the simulation is a LR4 @ 800 Hz (the stock x-over has ~ 6 dB dip @ 800 Hz) The IRs were measured at low power (3W to 5W) using a solid-state amp. The IRs were normalized as a set -- the same gain value was applied to all IRs. There was no effort to optimize the balance between drum and horn. The gain of each is as it was measured. The left and right signals for a rotor were generated corresponding to a pi/2 angular offset, equivalent to a 90 degree microphone angular separation. This could be easily changed to any pi/8 angular separation. The reasons I wanted to play with this again: To capture the IR of a stock Leslie horn driver To get a more realistic room response for a stereo presentation using a figure-8 microphone in an X/Y configuration Different "rooms"

Once upon a time I measured a set of impulse responses of the horn and drum of my 142 Leslie. They were measured at each of 16 angles of rotation. It was about twenty years before I did anything with them. After I retired in 2018, I worked on the simulation for three months, eventually porting it into a TI TMS320C6748 low-cost development kit (floating point DSP). I was going to make myself a Leslie simulator. Then just after that I bought a Ventilator. Why build what you can buy right? The thing is, though it could use some work, I like the Octave simulation better. To me, it sounds more like a Leslie in a room, probably because it was from a Leslie in a room, my living room. The following is a link to a google site I created to allow someone to audition these. The mp3s are hosted on my google drive. I presume there should be access to them. Leslie speaker - Octave sim

Can the D9X be powered from the MIDI port?

I currently play regularly in a small venue with a croweded stage. The drummer is using sticks made of bundled rods or bamboo. These things: The stage volume is the lowest of any band I've ever played in - high speaking volume. He doesn't particularly like them because of the lack of rebound, but is quite willing to use them. Maybe there will be some improvements made in this area. We tried one tune with him using his regular 5B sticks. Nope. Back to the rods please. That said and by comparison, I suppose we are not a loud band: organ: C2D -> 122 bass: LHB into 12" Greenboy 2-way bass cab guitar: Line six with an 8" speaker (can get loud!) drums: 4-piece kit horns: tenor & trombone

I wish a binaural recording was the standard for auditioning these Leslie-ish things. It would provide a much more realistic presentation of what they sound like in a particular room/setup. It would also make it easier for someone unfamiliar with their sound to make a judgement about which would be appropriate for their situation. To date, I've never heard one. I do have some binaural mic's though... hmmm (Roland CS-10EM).

Check out some John Medeski solos. He barely leaves them alone.

Nice mods you've done there in SampleBox2. I have an unused 3B+ and an 8GB Pi 4 that is currently ildling away running OpenMediaVault. I'd have to free that up for this project, though the 3B+ may do fine for my meager needs - very limited polyphony. i've been dragging around a 90's era rompler for its bass samples (LHB on a clonewheel). I only use the same 2 or 3 patches on a gig so I want to put those and maybe other samples in SampleBox, selectable as a pedal. It would help to reduce my gear schelp. I have access to a logic analyzer and hope to be able to get the samples out of the ROM directly. The samples are multi-level, 3 or 4. It looks like SampleBox uses a file naming scheme to handle playing the correct file according to the velocity. Also, your bug fix to that was an improvement. Nice Job!

I have a need for one of these for live perfornance. Has anyone tried one? It's based on a Raspberry Pi and has apparently been around a while. SamplerBox Features (New) Now available for Raspberry Pi 4! Drop'n'play DIY sampler: drop .WAV samples on the SD card, and play! Open source / open hardware Raspberry Pi computer inside, download the ready-to-use ISO image! Boot time: 8 seconds Polyphony: more than 128 voices Low latency (9 ms?) Memory: can load sample-sets up to 1 GB

On the Hammond Wiki website, start with this link How To Test Drive A Hammond. Run the procedure at bullet #4 "Test each drawbar..." and #5. The results of this can give some information about where the source of the problem may be.

I processed the the Mix3 wavefile (thanks Brad) using the algorithm in the aforementioned paper implemented as an Octave script. The images below show the uncorrected and corrected versions. The region of interest was normalized to -1 dB in Audicity to make the chnges visible, which were made only to the samples in the highlited area. The first image is obviously the uncorrected file. This was fun for me. It was digging up something out of the past and there were a few "Did I write this?" and "...I have no idea..." moments. The tedious part was the manual searching for the click and deciding how much audio to replace.

There are many approaches to this problem. In an earlier life, I was working on a system that needed to solve it. I tried a number of things before settling on a method in the following paper. In its references are several other approaches: P. Esquef, "Interpolation of Long Gaps in Audio Signals Using Line Spectrum Pair Polynomials", here. The algorithm in brief: Delete the offending section of audio, noise, etc., creating a gap. Perform a forward auto-regression on the samples immediately preceeding the gap and extrapolate samples foward into the gap. Perform a backward auto-regression on the samples after the gap, and extrapolate samples backward into the gap. Crossfade the forward and backward extrapolated values and place the resultant samples in the gap. This results in replacement audio that will be well correlated with the audio preceeding and following the bad region. For the crossfade function, I used the square root of a raised cosine. In general, a crossfade should ensure that the sum of the power (rather than the amplitude) of two signals is equal to unity at all points of the fade. If amplitude is used a small level drop at the center can result. The following two mp3s are audio of aircraft in communication with Miami Center. The first contains 20 ms noise bursts every 125 ms. The second is with the noise removed using the above method. It works pretty well, though a slight artifact can be heard. miami_center_vdl4_noise_bursts.mp3 miami_center_vdl4_noise_bursts_removed.mp3

PC, Windows 10, Iperius -> NAS -> FileZilla -> Backblaze I use Iperius to back up everthing except the OS to a local NAS. The backed up units are organized by directory (Music, Docs, ProgramSources, etc.) and each gets zipped with the same password. Iperius will back up directly to cloud services (S3, Backblaze, Azure, Dropbox, etc.) but after some experience trying it with Azure, I use FilezillPro to copy the zipped modules from the NAS to Backblaze. With Windows, many programs store configuration data in %USERNAME$\AppData\... For example, the Iperius backup configuration files are store there. Those and the FileZill configuration files I back up unzipped. I don't backup up the OS. All user data is located on a separate drive from the OS. I also use a lot of Portable Programs. In my experience, it takes a while to come up with a backup plan. Also, the complete restoration plan needs to be tested.

All my CDs have been converted to FLAC and are in storage. I use 320 mp3s in the car, though with the road noise at speed, 128 would probably be fine. A statistic about CD vs vinyl sales: CD sales have been falling while vinyl sales have been climbing. An RIAA report shows that vinyl sales have been going up and and CD sales down. "For the first time since 1987, vinyl albums outsold CDs in units (41 million vs 33 million)." here A statistic about vinyl sales in the US: 48% of people who actually buy vinyl don’t even listen to the records, according to just-released stats. But this gets even crazier: of the 48%, 41% have a turntable but choose not to use it, while 7 % don’t even own a turntable." here In the discussion about CD/vinyl, recall that the dynamic ranges are different and that they are mastered differently. There are alterations made by the mastering engineer who is attempting to fit the master tape recording to the vinyl format (e.g., compression, de-essing) that would not be expected on a recording mastered for CD. I can understand why someone that prefers the sound of vinyl would want a digitied copy for listening, thereby preserving the vinyl version. A search can find well recorded digital copies (FLAC) of original vinyl classics, though the CDs versions of them are available. One can also find digital copies of vinyl that has never been released on CD (e.g. Buckingham Nicks).

I while back, I did a transcription of a Robert Walter's Hammond solo (Flood in Franklin Park). I really like this nicely crafted solo so I decided to put it on YT with the music. I used MuseScore to animate the transcription in sync with the recording. It was a bit of a hack but it worked out okay. I like a several things about it. He uses interesting harmonic and rhythmic content throughout to build intensity until he fnally brings it back home and the crowd responds at measure 81. transcription -- MuseScore screen capture -- OBS Studio (portable) video/musc -- OpenShot (portable) video/audio alterations -- ffmpeg/Reaper There are chapters - one can go directly to the solo at 2:58.

Take a look at the Talkbass forum subscription model. It is successful but has many more users than MPN. Anyone can sign up and post. Supporting level (paying) members main advantage is that they can list gear in the classifieds. Gold level members also see no ads. Commercial users pay more and must disclose a commercial affiliation. This is indicated by a line in their posting avatar.

I am not a drummer. I bought a used electronic kit so that we can rehearse in my house. The kit is set up on a 4'x6' carpet over a wood floor. I need to pin down the kick and hi-hat pedals to keep the kit from sliding around due to the new drummer's somewhat forcefull technique. However, I do not want those spikes to mar the wood floor beneath the carpet. I need some kind of a pad that will allow me to extend the spikes to lock the kit down without marring the floor beneath, and that I can roll and stow when I put the kit away (to maintain the domestic tranquility). I would be open to using a 4x4 sheet of plywood under the pad if that is what it takes. Any recommendations?