Docbop

I wonder if it's like Spatial audio that with two listening points it sounds are placed in different location with in 360 degrees. I got a used Macbook Pro recent with that great screen it has. It came with free Apple TV for a few months so been watching and using my airpods that support Spatial audio and cool how they place the sounds based on what's on screen.

Since people mention streams sadly including me and pricing of physical media has skyrocketed making buying CD's to transcribe one song is too $$$ I use Apple Music and refuse to use Spotify below is a video example why I don't use Spotify.

Most the time at home CD's or streaming from my computer with studio monitors. If serious listening I've started using AirPods they really help hear more details. Sometime use my headphones, but mainly use those for late night practicing. Casual listening in my living room AirPods again because no good speakers in my living room. Then in car streaming and car came with a really nice Bose speaker system that is very adjustable so cruising around listening is nice. My days of fancy stereo setups are over. I thought I'd never do streaming (still refuse to use Spotify), but cost of CD's is so high and many times I just interesting in one song to work on, so for working on a tune or listening to a lot of different artists do a tune I've started streaming.

Then I'd say just do a narrow spread to avoid cancellations and maybe pan just slight left or right to reflect your position on stage like left of center or right. So audience hears thing in the position players are on stage. Hard panning in a large venue really is a bad sound cheating the audience as the previous post said. No one really wants to hear a band with a 50' wide piano except their mother.

Never heard of this group before, but I like what I've heard so far.

Wisdom worth repeating. You never know who is there that is watching and hearing you play, if you half-ass through the gig you might of just lost a good opportunity. Every gig or session is your calling card making others aware of you and your attitude.

Especially when setting the band gear up in layers so you just strip off each bands gear after their sets. Works good for keeping a show going, but sucks to be the opening act because so little stage area is left between gear and front of stage. For shows I worked before retiring we'd save a copy of the board setting on a thumb drive so they could be restored before they go on. If there are two big name acts then both act board setting will be saved. The sound check is mainly to see if anything unusual that needs special attention otherwise for the opening acts the mix is kind of generic and tweaks will be made when they play. That might get saved to in case some opening act has their own sound person who really screws things around, so we can get back to the basic mix fast. Back in the days before computerized mixing consoles you would hear some really bad mixes for opening acts because sound crew was trying to not to change the mix for the main act. Hey that's life when your not the big dog on the bill putting butts in the seats.

The PA could be just using the left and right mixer outs to send a mono out to left side and right side to the power amps or powered speakers, so the PA is running in mono.

People bitched about Hip Hop because in the beginning is was all sample based. Now we have AI which is just computer farms storing thousands of recordings and theory books then putting it into databases, Then on request selecting bits base on keyword input and putting into a digital food processor and spitting it out. With Hip Hop at least all the selection, modifications, creation of additional music, and assembly is done by humans.

If you trust the situation is the key. Guess I've been around too long on both sides roadie and musician and lots of disappearing gear from cords to complete trucks of gear. Working for a church and how much gear disappeared.

My buddy's band if the top country act around and they bitch and gripe and go through this all the time especially gig at the local fair grounds. Always an early load in and sound check, then sit around for hours waiting to play. Personally I'd be more ticked if I had to move my gear than to leave it setup on stage. If on stage I know everything is connected right and working just need to cover it until time to play. To me the biggest PIA is the long hours between load in, gig, and then load out with other groups trying to get the hell out. Yes if you aren't the headliner on the show you better ask is venue has restrictions on load out. Some will make you wait till venue is shutting down before letting you drive vehicles out of the grounds. That could make that an all day affair to only playing 40 minutes.

Maybe how non-fixed pitch instruments like strings a Eb and D# are played as slightly different pitches.

I played guitar over 60 years and I did own a capo never used it once, capo aren't the same thing as a transpose setting. Capos are about except for beginners about playing a guitar part that uses open strings as part of the tune. So if the you have to play that tune in a different key you can use a capo to play the song in another place on the neck and the open strings are in correct. So kind of a transpose but mainly in order to use open string chord voicings or lines. Using open strings on guitar to some guitarist is an amatuer hour type thing, but they can come in very handy for trying to do close voicing on guitar. The way the guitar is tuned it's weird matrix of notes and that make close voicing very hard to do. But great guitarist like Jim Hall and a lot of Country player can use open strings for cool sounds and trick licks. Jim Hall liked to use open strings when playing tune in flat keys because the open string would all be dissidences he would throw in. So a capo really isn't like a transpose knob, but many beginner will use one to transpose.

Peter Martin has lots of YT video both as Peter Martin and as Open Studio. Peter's own YT page goes back about 14 year with his Two Minute Jazz Piano lessons. Then there is the Open Studio YT that goes back many years. Peter Martin's YT https://www.youtube.com/@pianopeter/videos Open Studio YT You'll Hear It channel https://www.youtube.com/@YoullHearIt/videos One of the main teachers at Open Studio guitarist Chris Parks has a channel explaining Barry Harris concepts. Yes, he is a guitar player but he's teaching piano and bass players at Open Studio about Barry Harris. https://www.youtube.com/@thingsivelearnedfrombarryh2616/videos Those YT links above a lot of great info and ideas for freeeeeeee.

You'll find there are a number of Open Studio students floating around here.

It's been a long time since i heard the interview so i probably phrased it wrong, but basically how someone with perfect pitch had to learn not everyone hears like he did.

What I've read or heard people are born with perfect pitch, but some have developed close to perfect pitch and that was called Absolute Pitch. Then there are different degrees of Perfect Pitch from any pitch close they can name it to some with perfect pitch to the absolute frequency. One story I heard was a classical violinist who played in orchestras who ended up having to quit playing because the variations in pitch within the orchestra were getting to him. He ended up making a living doing orchestra transcriptions from recordings. Read pitch is one of the hard because it is one of the most complex things to memorize. Another thing I've read was is believe all people are born with perfect pitch, but unless it is discovered and worked on between ages three to six it will go away. The thing I always wondered is how people with born with perfect pitch learn the letter names of the notes they identify. No one ever seems to talk about that process of recognizing a pitch and what label to hang on it. For myself I don't have good ears, but I can remember timbres of sounds on records. It used to freak people out especially when I worked in a record store I could hear one note of some song and identify the record. I just could remember the timbre, but not the pitch. I remember an interview with Kenny Werner who was born with perfect pitch. When he was young and just starting to play in bands he'd hear someone play a wrong note and couldn't understand why they didn't realize it. Kenny thought everyone could hear like he did, he didn't realize perfect pitch was something special. Then working in recording ran into recording engineers that could hear sounds and tell you exactly what frequency it was. They didn't know the pitch but knew exactly the frequencies to EQ to achieve it. Sound and pitch recognition are really interesting topic.

Then orchestras in US typically use 442 and get into orchestras in other countries they use other of values for A. So it's a moving target.

I like David Berkman's books a lot of what he does is a modern look at the Barry Harris concept. Claire Fisher's book is an oldie but a goodie. https://www.amazon.com/gp/product/1883217792/ref=ppx_yo_dt_b_search_asin_image?ie=UTF8&psc=1 https://www.amazon.com/Jazz-Musicians-Guide-Creative-Practicing/dp/1883217482?ref_=ast_author_mpb https://www.amazon.com/Harmonic-Exercises-Piano-Clare-Fischer/dp/B00FPP98UI/ref=sr_1_1?crid=1UR3Q7M86DAB4&keywords=claire+fisher+piano&qid=1701731840&s=books&sprefix=claire+fisher+piano%2Cstripbooks%2C123&sr=1-1

I haven't built a Linux computer in quite awhile, my general purpose laptop is a ThinkPad running Xbuntu. That is because Xfc is my prefered desktop. My old geeky laptop has Kali Linux on it. Ubuntu is good for people who don't know a lot about Linux and want a very GUI desktop. There are current Linux users here on the KC that can give you more current suggestions. Linux is always evolving.

That's a decades old problem that boils down to a piano players favorite range to play in, is the guitar players only range they have. Then there's the bass players like legend Ron Carter who tells piano players to stay within the S's in "Steinway and Sons". Or legend Sonny Rollins who uses a guitar player instead of a piano his reason.... piano is too big and steps on everyone. Everyone has to find the hole they can play in timbrely, rhythmically within a tune. It's like mixing a record you can hear an inexperienced they try to make every track BIG AND FAT as they EQ each on separately, then wonder why their mix sounds like mud from all the summing of frequencies going on. There is a lot more to it than the volume of a single player in the band, or the easiest to hear instrument so it seems louder. The great rhythm sections work together most is done with listening and head nods.

Okay since we're in December now my Holiday tunes that have a strong Thawack on 2 and 4.

Okay now that you're at war with the guitar player your next rehearsal could get interesting.

I think a lot of companies are following Apples approach to never give you everything in one device so you need another device.

I think the OP is reading too much into what the guitarist said. Did the guitar say you were too loud or did he just comment on the size of your amp. Being in a band you have to have thick skin all sort of crap gets talked about and a lot of the time its sarcasm or just rattling someones cage for the fun of it. The musicians and bands I worked with over my life you had to have rhinoceros thick skim cause everyone was talkin crap all the time. If you were really bothered or confused about what the guy did you talk to him later to straighten out what was meant. That would been the right think to do in my book. I know my sense of humor throws off a lot of people who don't know me yet. So I know the value of telling someone I was just messin' with them.