Docbop

I was thinking how I'd do this with Ableton so I figure Reaper can do the same. In the DAW I create another Return track which in Ableton adds another send on every track. Then in the settings set that return tracks output to one Scarlet's outputs. That what you can send whatever track(s) you want to the new return track and that return track goes out one of the Scarlet output you could send to your mixer. That would give you a lot of control of what goes to the new return and it's level and completely bypass the Master outputs. The nice thing about DAWs is you can do all sorts of signal routing if you audio interface has extra outputs.

Running a Mac in clamshell mode they get hotter and faster being closed less air circulating over keyboard and that would normally be helping with cooling. The Macbook Air has no fan so they do throttle when they get hot. Just something to think about you might want to keep the Macbook Air open for cooling.

Same here mainly because I'm into Jazz, I'm referring to the masses who don't know or even care they just want to hold up their smartphone and make videos they will never watch.

I've never seen or used Reaper, but currently getting up to speed with Ableton Live. In Ableton's configuration for Audio section you can setup routing to all the your audio interfaces outputs so you could send your tracks to whatever output on your Focusrite you want. I would imagine Reaper probably has the same capabilities to map your outputs and then route your audio track to any of those outputs.

I remember back in the day when name artists had a live version of tunes they played and the recorded version. They gave songs more energy live to compensate for now having all the filler bits the records had. The band Bread was big on the radio then but reviews of their live shows tore them up the complaint of reviewers they were too perfect live, they sounded exactly like their records and live that doesn't cut it. Nowaday bands have playback engineers feeding all the filler bits into the FOH system and every one on a click because the lighting and other stage effects are all running on the sync click. Now people go to concerts to hear the record basically played thru the FOH system and musicians and singers are just meat puppets dancing on stage. No wonder ticket prices are ridiculous it cost a lot to all all that FOH system, playback gear, lighting, props, dancers and all city to city just so people can I say <fill in the blank> dance and lip sync most of there hits. The energy and soul are gone in concerts now as far as I'm concerned might as well wait for the concert DVD and save $$$ the experience is the same. Okay time I back away from the coffee pot.

I had two of his signature guitars over the years. My first archtop was a GB-20 his early full size archtop they only made for a few years. Then years later I found a deal on a GB-10 the only you see in the video, it was designed for live playing with thicker wood and small body to help reduce feedback that archtops are prone to. Those guitars can get quite an amazing range of sound from some some Funk rhythm to full Jazz tone.

Been a fan of Benson back to his Columbia records days and have read many interviews with George and with people he worked with. George like the great Jazz musician never plays anything the same way twice he also never tells a story the same way twice. So over the years heard a lot of variation on those stories and always cool to here retelling of the stories he does. I got to see him a few times when he was playing and not singing I love that era for him. I know he likes to sing, but he plays so dam good. Props to Beato for just to letting the cameras roll and let George tell his stories.

and from my days in recording I saw engineers that were okay getting a lot of work, so I asked some of those using him the answers was he always had great weed. Then the one that makes a lot of sense is some session guys I knew were real good, but there was a lot of real good musician so why them? They made the sessions a good environment, they were funny and could calm things down when session was getting tense. So their personality help producers get more done in sessions. Unlike a legendary Jazz guitarist who got into doing session work for awhile who hated doing sessions sometimes even giving the artist they are recording for the cold shoulder. So being a team player is important to doing session work.

Yes the only constant is change. For me it's been both playing and recording and being I jumping back to recording for fun and taking a Berklee class it is really strange seeing the how much recording has changed since the 1970's then my intro to DAW in 2008 to now and everyone specializes in single role. What a long strange trips it's been.

So I'm watch Sarah, The Illstrumentalist someone who makes Beats and creates lessons for a living. She's part of a couple Roland demos at the Grammy museum and Apple was there and said you need to come to the Apple to see some new Logic on iPad tech were working on. What I found interesting to me is Apple said the future music creators are kids that grew up on iPads and Garage Band and they don't care that much for computers, so were working on Logic on the iPad because that is where they will want to work. I don't know if to think that is a cool or scary thought on the future of music creation.

Here's a review that lists their top five stem software. Their number one is a free program. Link to Music Radar's list of 5 best stem programs

Hanging about the Beat world where sampling for chopping and flipping is done all the time I hear about. https://www.lalal.ai/ Serato Sample which comes with Serato Stems https://serato.com/sample . The new Akai MPC Key 37 and 61 a software update is coming that will have Stem separating capability https://serato.com/sample . Really cool seeing and hearing what they do with stems when they are done chopping, repitching, changing tempo, and adding processing it's a whole new sound to be used in an arrangement.

Something many musicians say is make a practice plan for the day. Some do it in morning while having caffeine du jour and waking up. Some create basic plan they do daily then add whatever they need to. The basic warmup of scales and such should get your hands warmed up and bain into practice mode. As one of my favorite teacher in music school said... the hardest thing about practicing is getting started. I use to like it was me that had trouble starting, but hearing my teacher and many in the class agree I knew it was a common issue. So just have something you always start with daily and if possible a set time it just all about getting started everyday.

For the time I used my iPad Pro the only issue was some controllers and other devices need more power than the iPad can provide so you would need to use a powered USB hub. With a powered hub any controller should work.

I was surprised how weak GC keyboard selection was at the Hollywood and W.L.A. stores. I lived close to the W,L,A, store and was amazed the keyboards was weak, but the Pro Audio department was amazing the gear they had.

What I've read is zZounds and American Musical Supply are tied together they share a distribution center, but can't find anything definitive. Guitar Center online have been outselling the physical stores for a long time. I think the GC stores that are still open function more like regional warehouses for storing and shipping products. Plus GC's move into lessons has started a new revenue stream and brings potential customers into the stores so a Marketing tool.

Prior to my getting back into recording and the Hip Hop world I had only purchased once from Zzounds once,but it was a excellent experience. Now that I'm around the recording and Hip Hop/Beat maker scene I see people buy from Zzounds all the time. Sweetwater seems to be changing some since being sold so going to have start checking out Zzounds again.

What concerns me coming from most my life in guitar world is Fender and Gibson both have dabbled in online direct to customer sales, which I see as step to eventually moving away from dealers online or brick and mortar. This would increase profit margins and help keep manufacturing close to sales numbers. This is basically what Apple does selling direct for models that are above the base models and configurations. Maybe this is where keyboard makers need to move to so you could order direct of full MSRP and have $$$ options for keybed, amount of storage, and other things that are just solder and ship for the manufacturer.

I read an article about this about a week ago and sadly it is how today world is going. Sam Ash is closing all the High Rent stores combined with people today are fine with buying on the interest and returning if they don't like something. Sam Ash and even Guitar Center are keeping less stock in stores so most the time you have to order what you want. So ditching the high rent locations makes business sense. Also customer have brought this on with the advent of the internet they would go to brick and mortar stores to check out gear, then go home get on the internet and buy it online to save a few bucks. Customer didn't appreciate brick and mortar stores paying rents, going on a limb to stock gear, and pay employees and security so they could try gear out and get some personal service. So the customer has driven stores to closing.

Well you could head to Marina Del Rey CA where Lee started his Killer Shrimp restaurant which is said he still owns, maybe you can catch him there and ask him. I saw Lee Michaels a couple times back in the day. First time he had a trio of guitar, drums, and Lee on organ. Lee was a loud Hard Rock then I think it was the first time I saw a guitarist who had modded the body of his Telecaster. Then I saw Lee again about a year later and that was the well know duo with Lee and Frosty on drums and a wall of amps behind Lee. Frosty was so dam good I don't think Lee could of pulled that duo off with any other drummer. Years after that when I was working in studio I worked on the sessions for a group with Frosty on drums. The band one of those record company bad ideas of taking parts of two groups and combining them to be a new "super group". One song they just could not get a good take playing as a group or even parts of the group. So the producer asked Frosty do you think you could play the whole song by yourself, Frosty no hesitation said sure. Frosty when out and played the entire song, including solo sections for other instruments perfect timing, all the dynamics, breaks you name it in one take. Everyone was amazed watching him. Then we recorded all the other parts one by one. No, the album never came out.

When I got back in to recording in the DAW world I started with Logic and just got the Apple book on it. It covered enough I could start messing around with sample sessions and learned enough I got a job in ProTools studio doing editing and simple mastering. The basic Logic knowledge I gained from the book and messing around with whatever sample session I could find made having to switch to ProTools pretty simple. Here's the link to the Apple book for recent Logic Pro..... Apple Logic Pro &nbsp;training book

No not for REAL Jazz. Too many people Jazz is just a style and rolling their eighth notes and adding a 9th to a chord makes them a Jazz player. Jazz is an approach to playing, I think it was Pat Metheny that said Jazz is a verb.