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Phil O'Keefe

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Everything posted by Phil O'Keefe

  1. Check out this video for proof! https://www.msn.com/en-us/video/animals/field-of-cows-rush-over-to-listen-to-saxophone-solo/vi-AAHKtw5 They seriously seem to be interested and like they're enjoying the guy's playing.
  2. Sometimes smaller (and lighter) is better Digital pianos have made significant inroads in the keyboard world. They are popular for a number of reasons and with a variety of musicians, from novices who are just starting out on their musical journeys to seasoned touring professionals. And why wouldn’t they be? The better models can provide very credible simulations of not only an acoustic piano, but often other sounds too, and in a package that is lighter in weight and that doesn’t have the same maintenance and tuning requirements of an acoustic piano. They’re smaller too, and it’s that portability that makes them a common substitute for acoustic pianos in live situations. And speaking of smaller, that’s where the Yamaha P-121 comes in… What You Need To Know The Yamaha P-121 is a digital piano that uses Yamaha’s Pure CF sound engine. It has 192 voice polyphony, which means you probably won’t run out of notes, even when using the sustain pedal heavily, or dividing the keyboard into two zones. The Yamaha P-121 measures 43.86” W x 11.61” D x 6.54” H and weighs in at only 22.05 pounds, making it surprisingly light and easy to transport, and more compact than most other digital pianos with weighted-action keyboards. In fact, at the present time, it is the lightest weighted-action keyboard currently on the market. While the P-121B review unit I was sent for evaluation is black, the P-121 is also available in white. The P-121 is the first 73 key weighted-action keyboard from Yamaha. The P-121 uses a dual-sensor, graded hammer standard (GHS) keyboard for its 73 keys. The keyboard can be transposed to cover the entire 88 key acoustic piano range or for performing a song in a different key. The black keys have a matte finish, while the white keys are glossy. The action is a bit stiffer in the bass region, and lighter to the touch in higher octaves, which closely simulates the feel of an acoustic piano. The P-121 is velocity sensitive. The touch sensitivity can be user-adjusted to one of four values - Hard, Medium, Soft and Fixed, so it can be adapted to your personal playing style. Complex string and damper resonance can be simulated with the P-121’s onboard DSP. This feature can be turned off, if desired, but it does help to add to the realism when it is on, simulating the sympathetic vibrations and resonances that occurs when the dampers are lifted and you play notes on an acoustic piano. The only jacks that are visible from the player’s perspective are the two 1/4” stereo headphone jacks, which are mounted below the far-left side of the keyboard on the front of the unit. The headphone outputs feature Yamaha’s Stereophonic Optimizer, which is designed to give you the illusion that the sound is coming from the piano instead of your headphones. All of the P-121’s other I/O connectors are located on the rear panel. Power is supplied by an included 12V DC wall wart. While there is a 7-pin DIN input for an optional 3-pedal LP-1 pedal unit, a basic sustain footswitch is included, along with a 1/4” jack to connect it to. It’s a small square unit, and not a higher end damper-pedal style one, but it’s functional and does the job. Yamaha also includes a basic plastic music stand that inserts into the slot on the top of the P-121 to hold your sheet music in place in front of you while you play. Yamaha offers an optional furniture-style L121 stand ($89.99 “street”) that will give the P-121 a bit more of an acoustic piano vibe when it’s sitting in your living room, as well as the optional LP-1 3-pedal piano-style pedal unit ($74.99 “street”), and even an optional soft case (the SCKB750 - $89.99 “street”), so there are plenty of accessories available. The Yamaha P-121 uses Yamaha’s Pure CF sound engine. There are 24 preset sampled instrument Voice options available, including samples taken from Yamaha’s own CFIIIS acoustic grand piano. The sounds are divided into six groups: Piano, E. Piano, Organ, Clv./Vib., Strings and +Bass. Each one has a total of four different Variations, which are selected by the top panel Voice buttons. Pressing a Voice button multiple times cycles through the four Variations, with one of the options not lighting up the Variation LED indicator. You get a good, if not exactly huge collection of different timbres, and most of the ones that are included are actually pretty darned good. Acoustic grand pianos, electric pianos (including a DX-style EP), jazz and rock organs, harpsichord, clav, vibraphone, strings (including a slower attack string sound), choir, a synth pad, along with acoustic, electric and fretless bass sounds are all here, so you have all the basics covered with the 24 onboard sounds. The +Bass sounds can be added to any other Voice you want - just call up a Voice, then select the +Bass key to cycle through the bass options. By default the keyboard splits at G below Middle C, with the main voice playing from G up, while the bass sound is assigned to the lower part of the keyboard, from F#2 down. Sounds can be augmented with the P-121’s onboard reverb effects, with two halls, a chamber and a club reverb as available options. Reverb depth is user-adjustable, and you can also disable the reverb entirely if you wish. Several of the options on the P-121 are selected with the fairly common “hit a button, then hit a keyboard key” method, while selecting other options requires more than one button to be pressed simultaneously, so you’ll want to keep the manual and the single-sheet Quick Operation Guide handy as you’re initially learning your way around the P-121, although there’s labeling just above the keys themselves to help make the process a bit easier. Split, Duo and Layer keyboard options are available, so you can play two different sounds at once on different parts of the keyboard, or layer two so they're played together. Yes, this also works with other sounds besides bass. You can also divide the keyboard into two halves using Duo mode, with one for the student, and one for the tutor. You can even adjust the split point, the voices used, and the relative volumes of each half of the keyboard. The P-121 has an onboard sound system with two 7W amplifiers and built- in speakers and Yamaha’s Intelligent Acoustic Control, which adapts the P-121’s EQ depending on your volume setting. The volume levels available from the onboard sound system are fine for at-home use, and might even get you by at a coffee shop gig, but you’ll want to use the P-121’s two 1/4” outputs (mono and stereo are both supported) and an external amp for anything that needs to be louder. A built-in “Table EQ” option allows you to set the P-121 on top of a table without major compromise to the sound of the piano’s onboard speaker system, which projects sound both out of the top of the unit as well as from underneath it. There’s more to the P-121 than just piano sounds. As you’d expect, there’s an onboard metronome (with adjustable tempo) to help you practice in time, as well as a two track recorder so you can record your performance and play it back. This kind of self-analysis can be very beneficial when learning how to play. While there’s only one song memory for user recordings (with 100 kb of memory - about 11,000 notes), those recordings can be transferred to a computer as a SMF (standard MIDI file) over the USB connection for storage. USB can be used to send audio from the P-121 into your computer too. There are 20 onboard drum and bass rhythm patterns to play along with. These include 8 beat, 16 beat, 3 different Shuffles, Gospel, 6/8 Slow Rock, Slow Jazz, Jazz Waltz, Samba, Rumba, KidsPop, Bossa Nova, Salsa, Swing, Fast Jazz, 8 Beat Ballad, 6/8 March and Christmas 3/4 and Christmas Swing varieties. The bass part plays intelligently, based on whatever you play. Play a C note or chord, and the bass part follows along automatically. I tried to throw it off, but it actually does a good job of playing appropriately. Would you rather just hear some piano music and not have to play at all? There are 21 demo songs and the 50 classical music piano songs included that can be easily recalled and played. Clair De Lune, The Nutcracker Medley, Fur Elise, Jesus, Joy Of Man’s Desiring, Ode To Joy, and even Twinkle Twinkle Little Star are some examples of the included songs. Yamaha also provides you with a Smart Pianist app (iOS and Android) that can be downloaded for free. When used along with the P-121 it allows you to more easily configure the various settings; essentially becoming a touch screen interface for your piano. It’s also able to analyze the audio of the songs in your device’s music library and display chords for them, and even display music notation for the onboard songs that come with the P-121 so you can play along. It’s a nice extra freebie that you definitely should check out. The Yamaha P-121 comes with a limited three-year warranty from the manufacturer. Limitations There is no hardware 5-pin MIDI I/O on the P-121, making it less well suited for use as a master MIDI keyboard controller to drive other MIDI hardware in a live situation. In the studio, the USB interface works fine for sending and receiving MIDI, and yes, you could use that live too if you’re willing to take along a computer, but considering there is also no pitch bend wheel or modulation controller on the P-121, it is still not something I’d recommend for that purpose. It will work fine as a digital piano in a live situation - it’s just not a good choice for a master MIDI keyboard controller. Conclusions When space is at a premium, and weight matters, the Yamaha P-121 is a great choice. You do give up a few keys, but the high-quality graded hammer action and sound quality that we’ve come to expect from Yamaha’s digital pianos are all still here. While the keybed doesn’t really break any new ground other than its shorter size, the action feels very nice and will be instantly familiar to anyone who has played any of Yamaha’s other weighted-action keyboards. The selection of sounds is relatively limited (which is not at all uncommon for digital pianos in general) but still a lot more varied than what you get from an acoustic piano, and is in line with what is offered by competing digital piano models. Most of the onboard sounds are quite nice, and certainly useable for practice and performing. The extra features may appeal to some, but I kind of wonder how many purchasers will buy a P-121 for the relatively large selection of onboard demo songs. On the other hand, the onboard recording capabilities and the inclusion of the Smart Pianist app for iOS will make it very useful for those who want to learn to play, whether at home or in a classroom setting. Live performers who are looking for a good master MIDI controller will probably want to look elsewhere, but the P-121 would make a very good digital piano for stage use, and its smaller dimensions will make it easier to fit on to small, cramped stages. For those who like the features of the P-121 but long for a full 88 key version, Yamaha offers the P-125, which is otherwise identical. Regardless of which one you chose, you’ll be getting a very capable, nice playing, relatively lightweight, and very good sounding digital piano at a reasonable price. -HC- Want to discuss the Yamaha P-122 Digital Piano or have questions or comments about this review? Then head over to this thread in the Keys, Synths and Samplers forum right here on Harmony Central and join the discussion! Resources Yamaha P-121 Digital Piano ($899.00 MSRP, $549.99 "street") Yamaha’s product web page. You can purchase the Yamaha P-121b Digital Piano from: Sweetwater Guitar Center B&H Photo Video Musician's Friend Full Compass Videos: _________________________________________________________________ Phil O'Keefe is a multi-instrumentalist, recording engineer / producer and the Senior Editor of Harmony Central. He has engineered, produced and performed on countless recording sessions in a diverse range of styles, with artists such as Alien Ant Farm, Jules Day, Voodoo Glow Skulls, John McGill, Michael Knott and Alexa's Wish. He is a former featured monthly columnist for EQ magazine, and his articles and product reviews have also appeared in Keyboard, Electronic Musician and Guitar Player magazines.
  3. Is this drum machine analog or digital? Yes! If you like drum machines, the past 40 years or so has been quite a roller coaster. At first there was practically nothing available in terms of programmable beat boxes, then the late 70s and early 80s saw several classic analog based drum machines released, followed quickly by the first PCM sample-based models. Expensive at first, prices quickly fell to where average musicians could afford them. Throughout the 80s and 90s drum machines were essential tools for everyone from musicians practicing at home to songwriters working on demos, to live acts who used them on stage, as well as for producers and engineers who used them on major albums. But then the DAW revolution occurred, and people started using different methods and tools to create drum parts, such as loops and drum replacement software, and the drum machine began to go into a period of decline, with relatively few models offered for sale. It looked like they might even be on their way out… but then Hip Hop and electronic music genres began to explode in popularity and suddenly drum machines were once again popular. But unlike the earlier days when people seemed to seek ever more realism from their drum machines and manufacturers tried to make them sound more and more like “real drums”, today’s musicians embrace analog sounds as readily if not more so than digital ones. But why should you have to choose? IK Multimedia’s new UNO Drum offers you both. What You Need To Know UNO Drum is a hybrid drum machine that offers both analog drum synthesis and digital sample playback of prerecorded, onboard sounds. The dimensions of UNO Drum are 10.1” W x 8.9” D x 1.93” H - which is exactly the same as the UNO Synth that I reviewed previously. https://www.harmonycentral.com/expert-reviews/modules-and-midi/ik-multimedia-uno-synth-r661/ The housing has the same angled shape too, which makes it easier to see the front panel when it’s sitting flat on a table. In fact, with the exception of the UNO Drum’s white body, from a distance the two units look very similar. There are seven knobs across the top of each, and the rest of the user interface of both units is made up of a capacitive touch surface with various “buttons” outlined. These shouldn’t be compared with old-fashioned membrane switches - as with modern phones and tablets that also use capacitive touch interfaces, there’s nothing that actually gets “depressed,” so there’s nothing to wear out. One notable difference in appearance is the color of the LED displays on the two units - UNO Synth has a red LED display, while UNO Drum’s three-digit display uses orange LEDs. As with UNO Synth, UNO Drum was designed in partnership with Italian boutique synth manufacturer SoundMachines, and is made in Italy. UNO Drum can be powered with four alkaline batteries (a set is included) or through its micro b USB port, which is mounted on the rear of the drum machine. MIDI over USB is supported (but not audio), or you can use the two hardware MIDI jacks if you prefer. The UNO Drum sends and will sync to incoming MIDI clock, and it’s easy to sync it up with UNO Synth. The three-position power switch is located next to the USB port, with settings for selecting battery or USB power, or for turning the unit off completely. MIDI in and out jacks are on 2.5 mm TRS jacks. Two short 2.5 mm TRS to 5-pin DIN breakout cables are included for connecting to standard MIDI ports on other MIDI hardware. The Input jack can accept signal from external devices (such as a UNO Synth) and will sum that signal with the internal sounds from UNO Drum and present both at the output jack. The input and output jacks are both TRS, but the signals are summed to mono for both the inputs and outputs. Unlike UNO Synth, which only sums and passes along signals that are received at the input jack, UNO Drum’s onboard compressor can be used to process signals from external devices. The IK Multimedia UNO Drum is 11 note polyphonic. It has a total of twelve capacitive touch “drum pads” on the top panel - one for each of its 12 “drum elements.” So why only 11 voices of polyphony? The two hi hats (open and closed) share a voice, which makes sense, and 11 voice polyphony on a device like this is actually rather impressive. The twelve elements consist of Kick 1, Kick 2, Snare, Closed Hi Hat, Open High Hat, Clap, Tom 1, Tom 2, Rim, Cowbell, Ride and Cymbal. Each element has its own drum pad, and each has five different sounds available, and any one of the five can be assigned as the active sound for its associated capacitive touch “pad.” Analog-generated sounds are available for Kick 1, Kick 2, Snare, Closed Hi Hat, Open High Hat and Clap. In addition to their analog options, each of these kit elements has an additional four PCM sounds that can be assigned to the pad instead, if you prefer. All the other kit elements are PCM-only, with five different sample options per kit element to choose from. The 54 PCM digital / sampled sounds were sourced from IK Multimedia’s own SampleTank 4. Don’t expect modern high-fidelity 24 bit sound quality here - all of the sampled sounds are either based on classic vintage drum sounds (including samples of analog sounds) or have a lower-bit sound with some grunge to them - even the more “realistic” sounds are a bit rough around the edges. Don’t take that as a criticism - the PCM sounds really do work well with the analog sounds of the unit. UNO Drum is a drum machine with some character to its sound, and that’s a very good thing! The various sounds are only available for use with their own specific elements. In other words, you can’t assign a cowbell sample to the clap pad. Editing drum sounds is handled by the 4x3 Drum / Global matrix and the four continuous controller knobs located in the upper-left side of the top panel. Select a kit element by pressing on the appropriate pad, then select the Drum key to the left of the grid, then use the four knobs to adjust the various editable parameters. The continuous controllers are new, and an improvement over UNO Synth’s standard pots. You’re fairly limited in what you can edit, although each editable function can be adjusted over a pretty broad range. Level, Tune, Snap and Decay controls are provided, and all of these work with all of the kit elements, whether analog or PCM, with the exception of the Snap control, which only works with the analog drum kit elements. Holding down the Drum key for 1.5 seconds causes the LED to flash and gives you access to additional editing options for the Analog Snare’s low-pass filter, and Kick 1’s FM Tune, FM Amount, and Sweep Time. Pressing it again exits from the alternative menu options and returns to the standard Level, Tune, Snap and Decay controls. Selecting the next row down in the matrix section allows you to adjust the onboard FX, with controls for the onboard Compressor and Drive effects. These impact all of the kit elements simultaneously, and can’t be assigned different values for each kit element. The Drive isn’t too over the top, but it does do a good job of letting you grunge the samples up even more. The Compressor is nice for gluing the various kit elements together and punching things up a bit, and it is also added to any incoming signals received on the UNO Drum’s audio input jack, although the distortion from the Drive only applies to internally generated sounds. The third and final row in the matrix section is where you can adjust Sequencer parameters. Swing percentage (from 50-70%), Division (3/4, 6/8, 16 and 32) and Humanize can all be edited by the user. Even better? Up to eight different parameters can be edited per sequencer step, giving you the ability to drastically change the sounds on the fly. Like UNO Synth, UNO Drum has three additional knobs on the upper-right side, but owners of both will immediately notice a difference: where the UNO Synth has Cutoff, Tempo and Volume controls, UNO Drum replaces the filter Cutoff control (since it doesn’t have a user-editable filter) with a dedicated Data knob. The Data control on UNO Drum is another continuously variable control, and is much easier and quicker to use for data entry than the increment / decrement buttons on the UNO Synth. Tempo can be set from 30 - 299 BPM, which is a pretty wide range. The UNO Drum’s Tempo and Volume controls are the only knobs on it that use regular style pots, as opposed to continuous controllers. The area below the Data, Tempo and Volume knobs is called the Master Section, and consists of a variety of virtual buttons for selecting the desired drum kit, drum sound, drum pattern, as well as for adjusting the number of steps in a pattern’s length. In addition, this part of the user interface contains Select, Select All, Mute and Tap Tempo buttons that work in conjunction with the sequencer. You’ll also find a two-button set of transport controls located here. Play is also used to stop the playback - just press it a second time. One thing I really like is that you can switch out of record mode without stopping playback - which is an important tool for live improvisation. There are a total of 100 patterns, and a total of 100 drum kits. Drum patterns and drum kits are independent. You can load in the kit of your choice and then audition a variety of different drum patterns without yet another new kit being loaded with each new pattern. The drum sequencer is significantly improved over the basic 16 step sequencer found on the UNO Synth. You can set it up to use up to 64 steps. These are shown in up to four banks of 16 steps at the very bottom of the front panel display. Notes can be step-entered, in a familiar x0x-style editor format, by selecting the drum kit element you want and then using the 16 buttons and the bank button to enter in where you want the hits to occur. Alternatively, you can record elements in while the pattern is running, and yes, you can also use the pads in real time to “play” along in real time with whatever pattern is playing, without recording the extra performance data. You also get Song Mode that allows you to chain sequence patterns together. A maximum of 64 patterns can be chained to form a song, but unfortunately there’s only one song available with the onboard memory. IK Multimedia has said that a UNO Drum editor is in the works, and hopefully it will allow you to store and recall additional songs. In addition to the compressor and drive, there are a few other performance oriented effects include a Roll function (with 8th note, 8th note triplet, 16th note and 32nd note options), a Stutter effect, as well as Random pattern creation for individual kit elements. Limitations The output is limited to a single mono out. There is no stereo, no panning for individual kit elements, and no multi-outputs like you’ll find on many other drum machines. The mono-only output is going to be a real disappointment for some users. There are no velocity sensitive pads, so entering in a variety of different volume levels for different hits isn’t an on-the-fly operation, although the UNO Drum does respond to velocity when received over MIDI, so you can connect an external keyboard or pad controller to get around this limitation, or you can use the dual-zone feature of the pads to quickly enter in two different velocities. Battery life is rather short - I was unable to get a full two hours of use out of UNO Drum before I had to put in new batteries. USB powering is recommended whenever possible, and while a USB cable is included, no USB power supply is provided; for at-home use I’d recommend using a standard USB charger, and for mobile use, I’d recommend using an external USB power bank to power UNO Drum instead of AA batteries. There is no way to sample your own sounds, or to add different sounds to the UNO Drum. To be fair, at this price point, I really wasn’t expecting that capability. It’s clear that IK Multimedia put their emphasis elsewhere - this wasn’t designed to be a sampler. While UNO Drum offers a good number of patterns, you can only chain them together in one “song.” Being able to create multiple songs would come in handy for live use. Hopefully you’ll be able to use a computer and load in different songs using the UNO Drum editor that IK Multimedia has said is in the works, but that app was not available at the time this review was written. Conclusions The UNO Drum is an interesting new product from IK Multimedia, and a cool addition to their UNO line. The combination of both analog and PCM sounds is really ideal, and while the number of samples available are somewhat limited, it still manages to provide a wide variety of different sounds that would be suitable for a fairly broad range of musical genres. Price-wise, there are a few different products that directly compete with UNO Drum, from the somewhat less expensive Volca percussion synths to the slightly more expensive Drumbrute Impact, and the UNO Drum sits right in between them in terms of not only price, but in some respects in terms of features too. It has some really good drum sounds (both analog and digital) - more than the Volcas offer, but it also lacks the velocity sensitive pads and the multiple outputs of the Drumbrute Impact, although it offers PCM samples that the Arturia doesn’t provide, along with better portability. The 64 step sequencer is vastly improved over the basic 16 step unit found on the UNO Synth. The main thing IK Multimedia can do to improve things in this regard would be to get an editor / librarian finished and released - especially if it allows for storage and recall of additional songs - the single song of the UNO Drum is the main limitation of the improved sequencer. On the plus side, the ability to automate up to 8 parameters per step offers tremendous flexibility. While UNO Drum can be battery powered, the battery life is pretty short, so I’d recommend using USB powering (via a wall wart or battery pack) whenever possible. On a positive note, it’s very compact and portable, and the selection of sounds is good, if a bit limited by traditional drum machine sound sets, which often included hundreds of different samples and the ability to assign them to any pad. Speaking of the pads, I do appreciate the ability to divide the pads into two sections, with different velocities for each; it’s not as flexible as fully velocity sensitive pads, but if you need that, UNO Drum does respond to velocity information sent from a DAW or external controller. At the end of the day, UNO Drum will probably live or die in the minds of musicians by the quality of its sounds. And the sounds are definitely appealing - in particular, its analog sounds are very impressive. But it’s 2019, and you really shouldn’t have to pick between PCM or analog sound generation on a single drum machine. Fortunately, with UNO Drum, you can have both, and that wider selection of sounds is bound to make it a popular choice for musicians working across a wide range of musical styles. -HC- Want to discuss the IK Multimedia UNO Drum or have questions or comments about this review? Then head over to this thread in the Drums & Percussion forum right here on Harmony Central and join the discussion! Resources IK Multimedia UNO Drum ($249.99 "street") IK Multimedia’s product web page. You can purchase the IK Multimedia UNO Drum from: Sweetwater Guitar Center B&H Photo Video Musician's Friend Announcement video UNO Drum and UNO Synth performance. UNO Drum features overview UNO Drum tutorial - editing section UNO Drum tutorial - master section UNO Drum tutorial - play / program section UNO Drum stutter effects UNO Drum - create patterns UNO Drum - copy & paste Finger drumming with UNO Drum by Edward Bocanegra _________________________________________________________________ Phil O'Keefe is a multi-instrumentalist, recording engineer / producer and the Senior Editor of Harmony Central. He has engineered, produced and performed on countless recording sessions in a diverse range of styles, with artists such as Alien Ant Farm, Jules Day, Voodoo Glow Skulls, John McGill, Michael Knott and Alexa's Wish. He is a former featured monthly columnist for EQ magazine, and his articles and product reviews have also appeared in Keyboard, Electronic Musician and Guitar Player magazines.
  4. As long as you’re still using the same email address you should be fine. Most have a password retrieval / password reset tool. I end up having to use them myself from time to time... I still need to add some of my favorite DAW softsynths to this thread too....
  5. On a similar note, I'm a big fan of the Tech 21 VT Bass DI... https://www.sweetwater.com/store/detail/SACVTBass2DI--tech-21-sansamp-character-series-vt-bass-di
  6. Well, if you believe the Buddy Holly Story movie (and you shouldn’t ... ) he played a Tele too, as well as a Bronco... which of course wasn’t released until years after he died... I love both Strats and Les Pauls, but I agree that those early models had horrible bridges on them. Usually I’m against modding vintage guitars, but I could totally understand if / why someone would install a tune-o-matic and a stop bar tailpiece on a player grade example of a ‘52 Les Paul. IMO that’s really the only way to make them playable...
  7. There might be a bit of opinion thrown in, but it is an interesting article IMO, and it does appear that Buddy did have a ‘52 Les Paul that he traded in for a Strat.
  8. Which DigiTech looper are you using? Are you recording the loops by recording straight into that or are you using other pedals too?
  9. In the spirit of classic Mad magazine parodies, to be sung to the tune of Weezer’s Buddy Holly... Oh eee oh, did you know that Buddy Holly first played on a Les Paul, not a Strat? I don’t care what you say ‘bout it anyway... I don’t care about that. https://www.fretboardjournal.com/features/buddy-hollys-les-paul-guitar-changed-course-music-history-not-played/
  10. I believe Anton already warned you, yet you continue to push. I wouldn't recommend doing that any more... Let it go please.
  11. Thanks guys - we really didn't want to have a repeat of some of the past platform switch fiascos.
  12. I'm not sure why no one replied yet, but using tube amps with keyboards is not at all uncommon. In fact, I don't think that a B3 is quite the same unless it's running through a tube amp-equipped Leslie speaker. I'm not above reamping a keyboard part in the studio to give it some acoustical ambience, and sometimes I'll use a full-range powered (solid state) speaker for that, and other times I'll use a tube amp - it just depends on whether I want to muck up (warm up / distort) the sound a bit or not. I know a lot of big-name producers and engineers who will do the same basic thing, so while tube amps are generally not the first choice for live use with keyboards (outside of Hammond / Leslie players), they do get used occasionally - at least in the studio - so don't be afraid to experiment yourself and see what you think!
  13. Glad to hear it is going to be repairable! I thought it might. Please let us know how it turns out...
  14. Sure... but how often does realistic, practical, or HIGH-QUALITY apply to interns? I don't want to have to pay extra (as in, anything at all... ) for high quality interns... IF they can manage to create some.
  15. I wouldn't want to live there, but I definitely appreciate some of the music that came out of there. Thanks for the heads-up!
  16. Hey, while Bakersfield is hardly my idea of paradise on earth, it always could be worse. Ever been to Oildale? Oildale is hell on earth. IMO.. and right next door to Bakersfield. So while Bakersfield isn't hell, it's in the same neighborhood.
  17. Best laugh of the day so far, by quite a wide margin. Thanks Jesse! P.S. I'd also be in favor of them building some realistic, practical, low-cost, high-quality studio intern simulators...
  18. They're not using factory-predefined algorithms for the models, but basically it's still a form of modeling, just as using impulse responses and convolution is a form of modeling. You feed in the sound of the room (via a sample recorded in it) or the sound of a piece of gear (by running a test signal through it) when you create impulses for use in convolution reverbs. I could be mistaken, but my understanding is that the Kemper Profiler works in a similar manner.
  19. So why not just go through the presets then? The "problem" is that a modeling amp like that isn't supposed to have its own character - it's basically all about trying to ape the character of other amps. I'm sure a bit of research (via online videos, checking out the manual, etc.) would give you an idea of which presets were emulating which amps, and that you're probably familiar with the sound of at least some of those amps. How successful it is (to you) regarding the quality and accuracy of those emulations and the overall "feel" of the amp when auditioning it (again, comparing that to the experience you have with some of the emulated amps) would probably tell you whether or not such an amp might be "for you" or not.
  20. "You Ain't Seen Nothing Yet" - Bachman Turner Overdrive Triple word score.
  21. Wasn’t even aware of it until now - thanks for the heads-up!
  22. I can change that for you - and for anyone else who would like me to. Just drop me a PM and let me know what you'd like your custom title to say, and as long as it's not too risque', I'll take care of it for you.
  23. Is this rotary speaker emulator so good it will make your head spin, or will it have you going 'round in circles trying to get it to sound good? For the answer to that, you'll have to check out my full review... And as always, if you have any questions or comments about either the pedal or the review, please feel free to post them here.
  24. Hey puretube! Good to see you! So... what does everyone think of the new software? If you have any problems of questions, drop me a PM and I'll try to help you get things worked out.
  25. Actually, yes - yes they have. For all the details, check out my review of the new TF-5 stereo pair of small diaphragm condensers. And as always, if you have any questions or comments about the review or the mics, please feel free to post them here.
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