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#508346 - 05/26/23 02:51 AM
Re: Re-learning old equipment
[Re: cgiles]
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Member
Registered: 11/16/08
Posts: 636
Loc: Arbroath,Angus,Scotland
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Thinking about as you move from arranger to arranger through time, but you may also also learn new skills in areas such as sound design, and more in depth editing skills..
Whilst you may have more features / sounds In your newer arrangers, if you knew what you know now would it have made the Arrangers you had previously because you have gained a more in depth knowledge.
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Gem Wk4, Solton Ms60, Technics Kn5000, Korg Pa50sd, Yamaha Psr k1, Tyros 4, Korg Pa700
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#508356 - 05/29/23 01:06 PM
Re: Re-learning old equipment
[Re: cgiles]
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Registered: 04/25/05
Posts: 14245
Loc: NW Florida
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No matter how hard we try, Chas, there are times when our fingers let us down. A sampled sax, for instance, can play two notes at a time, and unfortunately, putting it into monophonic mode isn’t really very close to how an actual reed or brass instrument works. So, even if just a fraction overlapped, there’s a sax playing two notes! Then, like a B3, there’s the issue of where does the tongued note go into the un-tongued notes? As if you have a choice! Just like sampled B3’s, either the sample has the percussion at the start, or it doesn’t, it has the tongued note at the start, or it doesn’t…
You like to put technology down chas, but you completely ignore the technology you already have working at your fingertips making what you play more musical…
I can only imagine a post of yours on a Hammond forum in the 50’s, where you dismiss the differences between multiple trigger percussion and single trigger percussion..! But you know the difference, and use it in your playing, every day. Single trigger percussion allows you to phrase the line, to emphasize the starts of phrases, to articulate what you feel in your heart.
The truth is, just like a sampled sax sound, you ARE making mistakes with your fingering on the organ. But make that break in the line, and the percussion will sound every time. And it’s not your search for fingering perfection that got it. It’s technology (the horror!)…
It’s just old technology. Technology you are so used to, you don’t think it’s there, or don’t consider how important it is until it isn’t. Well, Chas, modeling saxes are the exact same thing. Technology, for sure. But technology you don’t really have to know about, that you don’t have to understand at all. It just makes what you play more musical. You get used to how it helps you phrase well, and then you just forget about the nuts and bolts of it and get back to making MUSIC without a care in the world of how it works!
So, think about your B3 for a moment. In a real one, that’s some amazing electromechanical engineering. In a clone there’s some extremely sophisticated modeling going on just to let you sit down and play it, and it sound and respond JUST like a real one. Would you have not bought your Hammond clone if anyone like me had explained how the magic happened? Would you have got your hackles up and started muttering about not wanting to deal with sophisticated technology?
Damn good job you didn’t!
We ALL benefit from how technology helps us to achieve our musical goals. All SWAM is is one more example.
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An arranger is just a tool. What matters is what you build with it..!
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