pinkfloydcramer

Matt Rollings Bill Evans- at times (You Must Believe in Spring album etc.) he was like a portal. Lyle Mays- another other-worldly talent Jerry Lee Lewis, dammit

Bought a used Yamaha A3m acoustic-electric dreadnaught. It enabled me to revive and build on my long-dormant guitar skills. More expensive than what I needed to practice guitar, but the onboard pickup system will come in handy for when my ability gets to the gig-able level. I also bought an inexpensive but good quality, 10' tandem fishing kayak that will accommodate my 200 lb self, my petite GF and her lab-hound mix. It's made for stability, not speed, great for gliding through bayous and backwaters. Hope to get a 2nd, faster one in '23.

An excerpt from the Fender CEO Andy Mooney interview: Q: When Fender’s acquisition of PreSonus was announced in 2021, it raised the question of whether there’s the potential to do with home recording what the company has done with learning via Fender Play. Is that something that Fender is considering? A (Andy Mooney): "Let me step back a little first. When I joined a company, we didn’t have a mission statement or a vision statement, not one we could articulate. Fender’s CMO Evan Jones, conducted a comprehensive piece of research and five key insights came out of it that shaped everything we’ve done for the last seven years. «One was that 45% of the guitars we sold each year went to a new player, much higher than we would have guessed but they had a 90% abandonment rate. The 10% who stuck with it, the salmon that made it through the dam as it were, had a lifetime value of $10,000. They’re buying five to seven guitars, multiple amps; basically driving the hardware side of the business. «Our premise back then was, if we can just reduce the abandonment rate, we could double the size of the industry. So the assumption was there was a static number of new players coming in every year and if we reduced the abandonment rate, the hardware side would grow. And that was the impetus for Fender Play. We offered it for free during peak COVID and had a million people use it. «A couple of years into the job, I met Phyllis Fender, Leo’s widow, who reminded me of something Leo said in his later life in a kind of philosophical mode. He told Phyllis that he felt that artists were angels and that God had put him on Earth and to give them wings to fly. Tough to articulate your job description better than that. So we adopted that as a vision. What we learned through COVID was we can actually bring more new players in. So if you both bring more in and reduce the abandonment rate, the industry will swell. So we changed our vision statement to ‘Fill the world with angels’. «When you translate that to PreSonus, having dabbled in recording myself, I’ve never found a DAW I didn’t need an MIT degree to actually use. You shouldn’t need to spend more time figuring out how to use a DAW than you do creating. So my belief was that we can take the talent and the brand equity of PreSonus and create the equivalent of Fender Play for recording, i.e, a product that’s globally accessible and very intuitive to use. «My assumption is, if we get more people started on recording, based on what happened with Fender Play, they’ll gravitate up to actually paying for subscription services and buy more hardware. «So again, our goal is to increase the total size of the market, and our approach is to fill the world with angels. Because again, the more people get comfortable with recording, the more likely they are to stick with the instrument and they’re also more likely to stick with the hardware.» (Image credit: Presonus) The simplest version of Studio right now has a 150-page owner’s manual, which I have said to the team is 149 pages too many Would this accessible software be based on the Studio One platform? «Yes, I think for that with Fender one of the things I think we did well over the last few years is to create easily explainable platforms; where you can go from Squier Affinity to Mexican-made Fender Player to American Pro to Ultra. People understand what they’re getting at each level and why they’re paying a step up in price. I think what we need with Studio is the same thing. Which is there’s a very simple, free, freely accessible product, then levels above that until eventually you get to the pro level, that’s easier said than done. «When I joined the company, we had a solid entry-level acoustic guitar business. But I felt that we could do much better in terms of providing acoustic guitars that artists would use on stage. The brief was very simple, which was make an acoustic guitar the way that Leo would have made an electric guitar. That took us towards bolt-on construction, controls accessible on the front and the shape. Everything. It took us four years to go from the brief getting written to the finished product. «So the brief, if you like, for an entry-level studio product would a digital equivalent of an analogue four-track recorder, right? And in fact, even that’s too complicated because these days with digital, you can have a guitar and then hit one button and you’ll get drums, bass. so you can sit down and just record intuitively. «The simplest version of Studio right now has a 150-page owner’s manual, which I have said to the team is 149 pages too many. Because you should be able to get out of the box, press one button and you’re off to the races. So that’s again, a very easy brief but very difficult to execute. But there has been a gravitational pull by aficionados to just keep jamming more and more features into DAWS, when in fact, I think you need to take away more features, make it simpler and more intuitive and less expensive.» Do you see this as something that could launch in 2023? «I can’t say exactly when because we’re still working on that right now. I can say we’re going to execute as quickly as humanly possible. And the German software team from PreSonus is working on it right now".

Alot of talented people don't get on board with music recording because DAWS are needlessly complex and confusing. These same people don't have any use for MIDI crap or piano rolls (WTF?) or even virtual instruments. They just want to multi-track audio and sync it to a click or drum machine, or maybe their own drummer/percussionist (and yes, that's challenging but in a more conventional way). The new CEO of Fender will back me up, he said as much in an interview last summer. And that his aim was to offer products that bring more musicians into the fold. This semi-talented musician has made some DAW headway, though, thanks to the encouragement of Craig.🙂

I only learned the slow part of Moonlight Sonata, enough to satisfy piano bar requests. I would really like to learn the whole thing. I think it may have been on HC where MC posted some of his playing Bach on a synth, and it was awesome.

Acoustic grand piano for me, also. Because it, more than any other instrument, allows you to think like (and be) an orchestrator in real time, simultaneously playing harmony, rhythm and melody, while having more control over voicings. But the main reason I am primarily a piano player, is that's what was in the house when I was growing up.

I took 2 semesters of piano in college, butchered some Bach, dabbled in a little Debussy, raped some Rachmaninoff (Prelude in G Minor, to this day not my favorite Rachmaninoff). But my favorite piece I learned, by far, was Katchaturian's Toccata. From that point on I was intrigued by 20th century classical music, esp. Russian composers. Not that I have actively pursued that interest. While playing piano at restaurants I have learned a couple of fairly gnarly pieces that were occasional requests. Claire de Lune usually gets some recognition, mostly because it was included in the Ocean's 11 movie. I'm trying to memorize the entire 28 pages of Rhapsody in Blue (solo piano arrangement) just to say I did it, knowing full well no one will care (actually that's not entirely true- most will not care, but the ones that do care will care alot). Parts of it I love, but some passages are a little hokey, the arranger tried to be a little too cute IMO. I love Gershwin as a composer. THIS (sorry, couldn't imbed) is what I'd really like to learn, unfortunately it's one of the most difficult passages in piano lit. The whole concert (Prokofiev PIano Concerto #2) is mesmerizing, the supporting players are really immersed in the music and no one is phoning it in. PS- thanks to all for the suggestions, going to give the Rite another listen! https://www.youtube.com/watch?v=gPyfvCINifw

My choice would be guitar, however. I'm not a virtuoso on keys, but it's possible for me to be get close(r) to that. A wish-granting genie is the only way I would get close on guitar. 1st of all however, some discussion on what makes for a virtuoso, would seem to be appropriate. Speed, technique, chops? I would trade some of my chops for better time and feel, pocket etc., in a heartbeat.

I am a man of extremely modest means but I pretty much have everything I need- that being a Hammond organ, Leslie 145 speaker with a tube preamp for clones, a real acoustic piano (freebie Kimble upright, I love it for ragtime and boogie and playing classical with a vodka hangover), a chromatic harmonica and some diatonic harps set up for overblowing, a mid-range Yamaha acoustic with good quality electronics, and an Ibanez semi-hollow body. Also have some digital pianos and B3 clones for gigs, because there's no way I'm gigging the A100- cab is too nice. At this point I have no desire to acquire virtual instruments as my hardware does good enough grand and electric pianos. Maybe that would change if I found something that responded like the freebie upright. My hope is to get proficient enough on the various pieces to do my own recording. I like to be independent. It motivates me somewhat that I ran my mouth on MP about learning new instruments, and now I need to back it up. Haven't touched a guitar in over a week though, because I'm in the middle of a 9-day run of gigs. Today was rocking Frosty the Snowman at a nursing home with the help of a sax player. Good to know a musician who is not scared of Christmas songs, someone who can just show up and play! But that's a subject for another thread.

Going on 62, more motivated than ever to learn new instruments, it seems to come easier, too- because I know the music know and know what it is I'm trying to play..in high school I learned to back a bluegrass banjo player on guitar, rhythm (boom-chuck) only. in college I applied myself to electric for a short while and learned some stock blues licks. And then nothing, guitar-wise, for the succeeding decades 'til recently, when I picked up a nice acoustic and a decent semi-hollowbody. My goal is to be able to play chordal jazz melodies on demand, something that few guitarists seem to care about. I'm currently trying to smooth out my arrangement of the Christmas Song. It makes my head hurt, but in a good way. I have had a chromatic harmonica for a couple of decades and recently have been practicing on it, also. So far I have not incorporated it into gigs. It is possible to play a chromatic one-handed and use the other to play piano chords or even a walking bassline. Howard Levy was known for doing that with a diatonic harp, using the overblow technique to play sharps and flats. I have scratched the surface of that but it's much easier to work the slide, so far. I don't think I'm being unrealistic since my focus on both novel instruments is melody playing, not shredding- and a good portion of my income already comes from "name that tune" instrumental melody playing. I see an opportunity to be a niche guitarist/ harmonica player, someone to balance out the abundance of guitar shredders and blues harp players. We'll see..

I've seen another Jessica tutorial where his (or his pupil's, don't remember which) left hand plays the full band version bass part the whole time. That's a little tricky, esp. during the quarter note triplets. RE unwanted opinions on his Stones gig, mine is that CL's style (and personality/image too) was a better fit with Eric Clapton during the MTV Unplugged days. And I say that as a huge fan who has tried to lift every lick and solo Chuck ever did.

That version doesn't capture the gist of that song, at all. IMO her other cover choices work better for the "thunderous piano concerto" treatment. My favorite rock piano cover YouTuber is Sangah Noona. Vkgoeswild does some good stuff, too. I take a special interest because like Adan, I cover rock songs at solo gigs, depending on the crowd.

Boz Scaggs.

IMO Yamaha succeeded in their goal of making the CP88/73 organs as crappy as possible. I have found one in my CP73 that is somewhat ok as a pad, but only in the midrange. Fortunately there is just enough room on the top right of the board to put an HX3 module. I don't hate all sampled organ. Loved my EMU B3. The sampled C/V and fast leslie was a little rough solo but was great and ballsy in the mix. In the early 00's I preferred the EMU to the Korg CX3 and Roland VK7 for realistic tone and girth- both of which were much more playable but their sound never did it for me.

Keyboard October 2006 featured a CT transcription of Knock Yourself Out that came from a video on keyboardmag.tv. I'm pretty sure the video above came from the same session. Keyboardmag.tv seems to have vanished completely, with the only online remains being a Uriah Heep video and possibly the one featured here.

Yamaha YC88, for me (at least) it's a game changer. Honorable mention to my Kawai ES110, proof that a quality hammer action can be light in weight. The string resonance hits me just right and the onboard rhythm patterns were an unexpected pleasure for home practice.

He's a good rock player when he wants to be, does a great Santana cover.

I thought it was very good. Checked out a couple of other videos and it seemed unlikely she was getting that sound out of a red Privia in her lap in the middle of a field, so who knows, may be a Susan Boyle type character who actually did the playing. Still, I'm rooting that it was her. Sangah Noona is my YT favorite for that kind of thing, the playing seems more improv'd and she can go the slinky jazz direction when she wants, too. Very talented. VK (Goes Wild) does some great stuff too, esp. her Tool covers. YT rock piano covers are on my radar since that's a portion of what I do solo, without the benefit of a youthful, sexy appearance of course.

https://www.tinnitustalk.com/threads/frequency-therapeutics-—-hearing-loss-regeneration.18889/page-647 Some discussion RE whether the treatment may be effective for tinnitus. Seems to hinge on whether tinnitus is cause by damage to the auditory nerve itself, in which case growing new hair cells in the ear may not help as much with it. Also discussed is whether FX-322 helps with speech recognition but not as much with recovering hearing, something I don't follow, because trouble with speech recognition comes from losing the HF hearing that enables you to hear consonants and sibilant sounds that make speech intelligible. The company is also using the same progenitor cell approach to develop a treatment for MS.

Musicians already have an alternate universe. No need for another one.

Last page of a vigorous, 2-years ongoing discussion RE FX-322 and tinnitus https://www.tinnitustalk.com/threads/frequency-therapeutics-—-hearing-loss-regeneration.18889/page-647 There is concern that the treatment may help with hearing loss but not tinnitus. Or that it may not help at all, given the disappointing results of an earlier Phase 2A trial which I (and evidently others here) remember reading about. The company blamed the poor outcome on a poorly designed trial in which the participants may have gamed their hearing tests in order to increase their chances of being selected.

Craig Anderton's moderating. PinkFloydCramer61's brown-nosing.

I know Craig has plenty of great advice to act on, and at this very moment he is no doubt slaving away in a practice room (a picture that is not complete without a stern, elderly piano teacher standing over him, hair in a bun, ruler in hand.) The best advice I ever received was from a pipe organist at my college who was enlisted to teach intermediate classical piano. In his words, "you have to be able to play it slow before you can play it fast". He advised me to break up passages into sequences of a few notes at a time, play them repeatedly VERY slowly, gradually increasing the speed until up to tempo (using a metronome as you get faster). That is too boring and time-consuming for most to deal with, but I found it helped me play much more smoothly and confidently (and "smooth" creates the illusion of "fast"). I thought of it as "making friends" with the notes, silly as that sounds. For me, anticipating an upcoming passage with anxiety means I will stiffen and invariably screw it up- or at least lose the feel. Repetition is a necessity, but it's a negative if it's repetition that reinforces bad habits. Hence the need for a teacher, or at least short consultations with a good player who knows technique. I am going through the reverse of this- working on guitar technique. Had a rehearsal (on keys) last night with a great guitar player and benefited tremendously from picking his brain for a few minutes. He assured me that guitar teachers do not smack your hand with a ruler.

light bulbs

vacuum cleaners