bitflipper

My transition back into popular culture was kickstarted by a heart attack. It's the kind of event that makes you step back, and if not completely rethink one's priorities at least encourages them to be resequenced. Necessity dictated that the flipping of bits would remain my primary means of paying the bills, but music shot up the list with a bullet. It was the return to live performance - a regular Friday-Saturday gig at a Chinese restaurant - that forced me to become reacquainted with the Top 40. In particular, Tom Petty's Refugee gave me hope that maybe pop music wasn't dead yet.

Correct. Still haven't. I didn't just abandon popular music in the '80s and '90s, but popular entertainment in general. I skipped gated reverbs, hackysacks, RotoToms, big hair, MTV and the DX7. Instead, I embraced old music. By "old" I mean 18th and 19th centuries.

Cool! Perhaps my reservations are unwarranted then. Assuming, of course, that promise exists somewhere in writing.

My feeling exactly. Even if you buy a "Perpetual" license and buy an extra SSD so you can download every library, should the company later decide that it was a bad idea and shut down their server, you lose it all. Not only are the libraries gone, you'll never be able to rework (or finish) any project you've used them in. Still, there's an awful lot of high-grade content in there for 200 bucks. Most of those libraries cost more than that individually.

Danny Elfman has long been one of my favorite composers. He can do epic and he can do silly with equal aplomb. Sometimes, both at the same time. I knew he could sing and I knew that, like Hans Zimmer, he'd been in a pop band back in the day. But that was about it. I had shut pop music out of my consciousness throughout the 80's so as to focus on being a serious workaholic cubicle-dwelling technogeek working up to my first heart attack. On a whim I pulled up this concert video of his old band. I am embarrassed to say I had no idea such brilliant creativity was happening in the 80's. Nor that apparently Eugene Levy seems to have been his bass player.

I expect you're not looking to spend money, but since you're discovering the possibilities of modulated filters we should at least mention the GOAT: FabFilter Volcano 3. This one takes the concept about as far as one can imagine. And it's compatible with any DAW.

No, Tutorials isn't a new forum. I keep forgetting it exists, too. No worries about being lost, though; will move this to the more appropriate Coffee House, the Miscellaneous backstop catch-all bin. btw, Canopus gave the correct answer to the query.

Yes, it's specific to the instrument. And condolences, but it's also a "yes" to "am I royally screwed?", as it's an unsupported product. It's not all bad news, though. The TTS-1 is based on Sound Canvas so if it's a General MIDI synth you're after, you've got one.

Glad to be of service, Craig. If we ever meet in person, I'll tell you how I met my wife...not a story for public consumption, albeit music-related.

Back in the 70's I answered an ad for a keyboard player that sounded promising, as they advertised themselves as a 6-piece working band with immediate gigs. I showed up on a Thursday for rehearsal, and was informed that we'd be heading out the following Sunday for three weeks in Montana. OK, I thought, I'm a quick learner, I can do this. Then on Friday I learned that the entire band had quit the previous week, leaving only the drummer as the "band". Not a good sign. But I needed the money. On Monday, our first night of six in Bozeman, I found out the drummer was a meth head who kept a loaded gun next to his bass drum out of paranoia. After a six nights it came time to get paid. That's when I was told that the drummer was paying himself double what any of us were getting, because he owned the PA and the two vans, and we shouldn't complain because it was still more money than we'd ever seen. (It wasn't) The next week, in Billings, things got weird(er). The drummer, now in the throes of methamphetamine withdrawal, would periodically stop playing mid-song and stare at his feet. The second night there, the bass player had a nervous breakdown in the middle of a set and crumpled to the stage. Turned out she couldn't stand the drummer and was there only because he was her landlord and had threatened her with eviction. On the third night, the guitarist got so frustrated he threw his vintage Les Paul onto the dance floor and walked off. I contacted the bar owner and told him we wouldn't be able to finish the week. He was cool and said he had a local band he could call in. Next day, the drummer loaded up the trucks and left - without me and without the guitarist. We were left behind in Billings with our gear (including my 400 lb organ and Leslie). We had just enough money from the previous week's gig for the motel and airfare home. I had to pay a moving company to return my organ. Lesson learned, I thought. But the lessons weren't done yet. A month later I got a letter from the musicians' union fining me $100 for "quitting without notice". I sent them my union card with explicit instructions as to where they might place it. Fortunately, the Supreme Court had just ruled that nobody could be coerced into joining a union, so every musician quit the union at once. The musicians' union had been just a mob-affiliated shakedown racket anyway. In short order the only union members left were the Seattle Symphony. Sorry for the long story, but reading Shane's account got me angry all over again. And this was not my worst band experience.

Reminds me of the Larry the Cable Guy joke: Sushi, that ain't bad. Take it home and fry it up, tastes like fish!

I dunno. The thought of hanging out with a bunch of vegetarians...how many times a day can one proudly proclaim their devotion to veganism, especially when everybody else is already one themselves? Anybody up for a band dedicated to bacon burgers? I'm thinking "Slaughterhouse Five" if it's a quintet.

Well it just keeps getting worse more interesting. We had rehearsal on Thursday and the pressure was taking its toll on our singer, who's married to the drummer. She and the guitarist let a trivial disagreement bloom into a big argument and he left in a huff, never to return. This is unusual for us, as we all generally get along really well. So yesterday we brought in a new guitarist and spent 4 hours working with him with the goal of deciding whether or not to cancel this week's gig, too. It's a good gig and we don't want to lose it - scenic location on a river, lively audiences and a decent-sounding room where we get to use our own PA. To everyone's delight, the new fellow really stepped up to the challenge. It looks like we'll go ahead with next Saturday's gig, even if it's with a somewhat truncated repertoire. The drummer has new drugs that are greatly alleviating his treatment's side effects. We're rehearsing again today and will get in at least one more session before Saturday. For my part, I am doing my best to project confidence that it won't be a train wreck. But there's a bit of a strain relief coming on Tuesday. I'm going up to Bellingham to see Penn & Teller, treating my daughter and granddaughter who haven't seen them live before. And since I'm not the one driving, it will be a pharmaceutically-enhanced evening for me. Brownies!

Back in the mid-70's I'd been shopping for an electric piano and had settled on a Roland product, mainly because it was only $400. That was nearly half my monthly day-job income at the time, but I'd managed to put aside just that amount out of a summer's worth of gigging. The week I was going to go down to Guitar Center to score it, my buddy - the band's guitarist - asked me for a loan. His old girlfriend was coming for a visit, and he wanted to show her a good time. The deal he proposed was that rather than paying cash for the EP, I'd instead finance it and give the money to him. He'd then make the payments for me. True to his word, he did make the $40 monthly payments - for exactly 10 months. Unfortunately, that left a balance of $150 due to interest. He claimed he'd satisfied his part of the bargain. That led to a falling-out that nearly killed the band and kept hard feelings going for a long time. In the end he agreed to keep making the payments until the bank said it was done, and we remain close friends to this day. But I've never forgotten the lesson I learned: don't lend friends money. That's why, when my current bassist needed a Sansamp, I just bought one without discussing it with him and gifted it to him on his birthday. That's why, when our former guitarist needed a new amp, I just bought it with the understanding that he'd buy it from me someday. Still waiting on that, but if any of us could ever become wealthy rock stars it would be him.

Back in the day it used to be an ongoing joke that a band would break up as soon as they ordered business cards. It was more often the case that band members just got sick of each other after enough time on the road. Or it'd be a fight over a girl. Or someone insisting on doing their original song that everybody else hated. Such trivial reasons to give up. And I just bought a new PA, too. I reckon I've got about 90 more gigs to go before I break even on that one. Can't go solo - I need at least one other bandmate to help move the bass bins.

Our drummer is undergoing radiation therapy for cancer, and the side effects are proving too much for him. We've cancelled Saturday's gig and will probably have to cancel everything else on the calendar. I am seriously bummed. Most would say "just get another drummer", but it doesn't work like that. Even though this band focuses on vocals and vocal harmony and exploits that as a differentiator from other bar bands, what keeps me going is tightness. I remember seeing Tower of Power in the 70's, at a bar long-time Seattle residents will remember, the old Aquarius Tavern. I sat there slack-jawed, unable to comprehend how a band could be so tight, especially with so many players onstage at once. Some day, I thought, I'll be in a band like that. Well, it's taken 50 years, but I'm finally in a band like that. And it's the drummer who's the glue that makes that happen. No band can ever be tighter than its drummer. My buddy Mark is a frickin' machine when it comes to precision, be it rock-solid tempos or never missing a cue. He truly is the glue.

If that's true, grab it quick. Excels at uber-squashing. [EDIT] Just checked and it's $149. My guess is they were adjusting (read:raising) prices and mibby just caught them mid-edit.

I've never tried the UAD endorsed above, but I've got a boatload of Hammond emulations to compare. And this one is the best of the bunch.

Here's an obscure one. Well, I remember seeing it peoples' record collections back in the day, but I don't think I'd ever given it a listen until today. I pulled this up after watching an interview with Leland Sklar in which he included No Other by Gene Clark in his list of his five favorite albums he's played on. High praise, given that Lee has played on literally thousands of records that run the gamut from straight-up pop to serious jazz and jazz-rock fusion. Many were huge commercial successes but most are appreciated primarily by music nerds. No Other falls into the latter category. I can see why this album wasn't a hit - there is still no tidy category for it. It's not Country, but has Country influences. It's not exactly Eagles-style Country Rock, although it does feature Timothy B. Schmitt on vocals. It's not folk rock, but Clark's former Byrds bandmate Chris Hillman plays on it. Here's the Wikipedia entry, which links to the impressive pedigrees of all the musicians who contributed to this album. I call it Country Prog. Some great melodic and inventive guitar work (7 guitarists are credited), and of course listening to Sklar is a master class for bass players. Here's a link to the full album. It's all good.

George gives me hope. He'll be 80 next week, still a one-of-a-kind talent and sharp as a tack. He relates detailed anecdotes beginning from when he started out on ukulele at the age of 7, remembering the names of every mentor and every great player he ever met, as well as the melodies of the first thing he heard each of them play.

Pretty cool software, and free to boot! I presume you've already been in contact with those folks? I see that although the product is free, support is not. I read a bit of their user manual. It seems to reinforce my theory that the Speakerphone problem is due to the browser section of the UI not being an actual subwindow, but rather drawn directly onto the main UI graphic. You are effectively interacting with a single window, the whole plugin interface being one window. Consequently, there are no standard Windows shortcuts nor NVDA shortcuts that will let you set focus to that portion of the display. If my hypothesis is correct - and I am not certain it is - you may have to find another product. That'll be tough, since Speakerphone is unique as far as I know. Unless AudioEase can suggest an alternate method for loading presets. That's what I was thinking when I suggested track templates. If you load Speakerphone with a specific IR file into a track, then save the track as a track template, every time you insert that template into a project it will include the plugin and have that preset/IR preloaded. I do this with complex instruments such as Superior Drummer, so I know it works. However, I do not have 400 presets in Superior Drummer, only 3. At best, the track template workaround would only be practical if there were only a handful of Speakerphone presets that you use regularly. A crude workaround, granted. Another possible avenue might be a VST3 wrapper, a VST2 plugin the serves as a VST3 host. I found this one, from the people who make the Sequoia DAW: https://www.xlutop.com/buzz/zip/vst3shell_v1.3.1.zip That's a direct link to the plugin. Here's a link to the KVR page: https://www.kvraudio.com/forum/viewtopic.php?t=565924 Sorry, this post has been a long stream-of-consciousness speculation dump, but I'm shooting in the dark here, so to speak.

Surely you're referring to the east and west coasts of Florida, no?