Calling all ear-playing KN7000 players.

Have sent to Bebop a rendering of 'Days Of Wine And Roses'. Purely as an experiment, I recorded his solely in the 'composer' then transferred it into the sequencer. If you are one of those (like me) who cannot read or write a note of music, this is a super way of recording. More scope - more convenient - easy to manipulate. But how. ?
Apparently in this instance 42 'stretched' bars of music. ? Can this be, ?
Anyone interested in giving a shot at the 'whys' and 'wherefores'. ? Good luck.

obviously I haven't seen your sequence but if by recording solely in composer you mean the melody was recorded in the composer? -then either any repeats occur before 16 bars or you used A, B and C and switched between them for the complete melody? adding custom also in this way would expand the possibilities for a total of 368 independent bars.

This type of principle would be the same as pads bank 5 and 6 where chord sequence and melody are preprogrammed and played from any starting key, and also the solo composer variation of the old Americana software series, and is a very good way of giving either hand (or both!) a rest

Hey "The Leans"!

How great to "meet" another "ear-player" here on the Forum! I was begnning to think I was the only weird-o here, with just an elementary knowledge of music theory. I guess I can figure out individual notes on a staff, having memorized where they all are placed, but, like you, in no way can I sight read or transfer what is written on the page to the keyboard, except by instinctively "feeling" it. (You know what I mean, I'm sure.) I can, however, work out a piece of music that has chord symbols included in the "score" because I do have a knowledge of chords and chord sequences and can follow the music in that way. I look forward to hearing your musical contribution, although I really do not understand how you recorded it. I use Easy Record but would love to know more about your technique. I assume--(although you didn't mention it but did call attention in your message to "all... KN7000 players")--that you have the fabulous 7000, as I do. Really makes even amateurs like me sound good; even my wife is impressed by my playing!!! Good to have you here on the Forum!

Cheers,

Ted

To - Technicsplayer - Re my composer recordings. Thanks for response to my challenge, but wrong. ! If you go into the composer, you will see that the 'ENTIRE' recording was done there. Not just the melody. This was done in one bank only, no 'custom' used, no performance pads, and no panel memories. ? So, how. ?
I'm sending through another effort. This time, (also an experiment) it's that wonderful song 'If'. See if you can figure it out.

Ted Rose - Thanks for your response to my composer effort. Will be sending e-mail to you with more to say.

Just like you, it's nice to come across another ear-playing soul, who understands chords and melodies, but nothing else. We will stand firm against the army of readers at all times. !!!! Cheers.

well, I haven't seen your recording, but obviously not only the melody will be in the composer because you have used it as a pattern mode sequencer. If you have any of the Americana software series that I mentioned then the solo composer variation will be exactly the same as the principle of your recording having a complete melody and backing "mini-song" multitracked in the composer alone.

Here the melody and backing were played into the composer as a pattern mode sequencer, you can use the composer just like the sequencer except that you are limited to 16 bars in each variation.

You can obviously multitrack your song in the composer in any key so it plays back in that key. But to digress for a moment, the solo variation that I mention has another interesting use in that the "mini-song" is recorded in base C major because the solo variation was meant for real time apc playback too. So if you played the variation in C you heard the melody, backing and chord progression of the song as recorded, but if you played the variation in F or G the start and end keys and all the intervening chord progressions of melody and backing were automatically transposed for you during live apc play.

Since your recording is 42 bars, more than one variation could be used, if the full melody line could not be achieved by repeating parts of the 16 bars in a single variation, or obviously intro, ending, and fill could also be used for 16 bars of the song each. In fact if you total up the number of independant bars available it is way beyond my previous guess if you add in custom etc, although with very complicated arrangements you might end up hitting the note limits using all available bars in all variations, intros, endings, fills & banks etc.

Technicsplayer:- You're almost there. ! Firstly, I haven't got the 'American Software Series' and I don't even know what you mean when you refer to 'solo composer variation'. However, it is irrelevant.

Basically, what you've said is right.Well done. However, your comments regarding the key of the composer recording, is irrelevant to what I do, and why I do it. Quite simply, recordings in the composer can always be done in the same key ('C' being the optimum), because when recording from composer to sequencer, the split keyboard setting for the APC, automatically means, that whatever note (and I mean a single note), is depressed in the left hand, will determine the key being sequenced. In fact, to start the actual recording process, only the playing of a single note is required. Isn't technology marvellous. !!

You also appeared to miss the important factor of 'stretching' the bars in the composer. So that in 'realtime' 16 bars can take either 30secs (at 120 tempo), or 1min 30secs if set at the minimum of 40. In terms of a complete arrangement, this is a vital factor. Cheers, and thsnks.

hi, without ever seeing it I'm working through all the logical possibilities

You slowed the tempo to avoid using another variation? Cool! ... as long as you're not cramming the Flight of the Bumblebee into 4 bars it probably is not too critical

The solo composer variation of the Americana series was exactly the same principle. Instead of a normal style variation, the solo was a 'mini-song' multitracked in the composer with melody riff and complete backing including a chord progression. Because it was in the composer, while playing live apc, you could start it in whatever left hand chord you were playing at that time and it would continue it's melody and chord progression from that key. At the end you just switched to the next (normal style) variation and continued playing normally, but once it was triggered you did not need to use right or left hand at all since the complete 'mini-song' played automatically for you. To start the solo variation you only needed to play one note in the left hand and sit back, just as you would to record it in the sequencer. The idea was to give you a little break for the middle eight or whatever - useful because that's what you tend to forget how it goes anyway!

thanks for the thought-provoking 'who dun it?' ... ( or 'how dun it?' )