So let me ask a question, does anyone here on the forum have a killer midi module software plugin they use for rending their midi tracks to audio? Again, my midi module's guitar sounds are pretty lame. Even I sound better on guitar than my midi guitar sounds. But I hear there are some good midi plug-in modules out there now. Any help?
Sorry. I'm too stupid to use MIDI. I can barely spell it. :oops:
I have a Roland 5050 that is pretty amazing. I was considering a sampler
but when I saw how much editing you can do to the sounds in the 5050 it
didn't make sense. The software is a steep curve after all it is Roland.
But the nice thing is that you can have presets for muting selected Midi
channels. If I'm playing with my bassist I can just mute the bass midi
channel or if I'm playing with a drummer I can mute the drum midi channel. Don't have rewrite every midi file. Or being that the 5050 has four assignable outputs you could have a stereo drum mix and a mono bass and just mute which ever on your mixer. They had a 2020 which was less money and fewer outputs but probably sounds just as good. Not sure if they are still in production. But then these are full outboard sound modules also.
MF doesn't sell the Roland 5050, but I did find some listings for used Roland XV-5050 rack modules. I was thinking more in line with getting software plugins to use with my DAW. I would think that the software route would be even better than the hardware route because the companies no longer have to be concerned about compressing all that sampled data unto a small chip to put into a keyboard/module. Now, we can get, I would think, the original uncompressed samples on DVD to dump onto our computers. That would be a better route to go, it seems to me.
I still use my Yamaha keyboard for lots of midi recording. But that keyboard is showing it's age and I imagine there must be newer and better ways to render midi data into audio. Other than the guitar sounds, I really like the sounds I get out of my Yamaha keyboard. But, I suppose I am more critical of the guitar sound because I know what I want the guitar to sound like and the midi modules I have don't cut it.
Our best prospect so far was a guy from my bassist's class. He didn't show up for practice yesterday, so we're not sure how interested he is.
Beyond that, our bassist and drummer have taken over several songs. We've had to transpose several of them down a few steps to accomodate their range. Have you ever tried playing Tush by ZZ Top, down a 4th in D? It sounds bad@ss.
We're not playing out until the two of them get better. If we get a gig offer we'll do it just to gauge people's reactions, but we'll do serious gigs once we have something stable together.
It can take awhile to grow a vocalist. Our lead vocalist was OK when we started, but he sure has improved over the past 10 months. The more we gig and the more he sings, the better he gets. But then, we all are improving. Hope you guys find a lead vocalist, or at least get to the point where you feel OK about singing the songs yourselves. Take care.
It can take awhile to grow a vocalist. Our lead vocalist was OK when we started, but he sure has improved over the past 10 months. The more we gig and the more he sings, the better he gets. But then, we all are improving. Hope you guys find a lead vocalist, or at least get to the point where you feel OK about singing the songs yourselves. Take care.
Your voice utilizes muscles in your throat therefore its like any other athletic thing you do the better you warm up those muscles before you sing and the more you work them out in a correct fashon...the better you will get at controlling the frequencies they produce.
Hearing yourself correctly is most important. Singing with too much volume or hearing the actual tone of your voice incorrectly are usually the things that dicourage my vocal preformance and improvment.
A good indicator is after your vocal prformance do you still have a voice? is it like a great workout that leaves you feeling good or are you totally thrashed...the later indicates a vocal setting thats not producvtive and is distructive to your vocal chords over time.
I use TC Helicon vocal monitors. a Vocalist live 2 that uses compressor and some reverb. and a great Mic to use would be a Shure Beta 87a.
I use a 58 but not for long. I love the 87a.
a great warmup tape makes a huge diffrence to the average vocalist (me)
too. http://www.jeanniedeva.com/site/444991/product/92-9788969
heck you can grow your own vocalist if you put in the time ...its like working out it just takes you doing it with conviction consistantly... untill you get a feel for your range and control your voice better. then you can work on range and style with diffrent instuctional stuff and pretty soon you'll be wanting to try some Journey LOL!
Well said, ODannyBoy. Years ago I took voice lessons from a semi-pro vocalist. I completely agree that singing at a professional level is like a atheletic competition. My voice instructor would spend hours a day working on breathing technique and warm ups. At that time, I was singing in a choir and had to step up to a more prominent role in my section. So I really needed professional help to reach that level. But that was many years ago, my voice is no where as good as it used to be (illnesses along the way). Anyway, it is has been really great to see our vocalist improve over the past 10 months. Like you said, it takes time and practice and if your singer(s) work at it, they improve over time. Heck, even my singing has improved just as a backup vocalist.
One last thought, although a great vocalist can really be an advantage to a band, the stage presence of your lead vocalist can be every bit as important as his singing ability. I have worked with vocalists who were not great singers, but they could really work a crowd. That too, is a vital skill for us struggling bar cover bands. If your vocalist can engage the crowd and relate to them, they are more forgiving if the vocals are not top notch. At least, the patrons know that they did not spend $100 per ticket to see the band and most just want to have a good time, so they are not really music critics at heart. Play something they like and have fun.
Comments
but when I saw how much editing you can do to the sounds in the 5050 it
didn't make sense. The software is a steep curve after all it is Roland.
But the nice thing is that you can have presets for muting selected Midi
channels. If I'm playing with my bassist I can just mute the bass midi
channel or if I'm playing with a drummer I can mute the drum midi channel. Don't have rewrite every midi file. Or being that the 5050 has four assignable outputs you could have a stereo drum mix and a mono bass and just mute which ever on your mixer. They had a 2020 which was less money and fewer outputs but probably sounds just as good. Not sure if they are still in production. But then these are full outboard sound modules also.
I still use my Yamaha keyboard for lots of midi recording. But that keyboard is showing it's age and I imagine there must be newer and better ways to render midi data into audio. Other than the guitar sounds, I really like the sounds I get out of my Yamaha keyboard. But, I suppose I am more critical of the guitar sound because I know what I want the guitar to sound like and the midi modules I have don't cut it.
Just wondering how it all turned out. What route did you take to find them, if you found somebody..etc. Doing the guitar - arokee ??
just being nosey
Beyond that, our bassist and drummer have taken over several songs. We've had to transpose several of them down a few steps to accomodate their range. Have you ever tried playing Tush by ZZ Top, down a 4th in D? It sounds bad@ss.
We're not playing out until the two of them get better. If we get a gig offer we'll do it just to gauge people's reactions, but we'll do serious gigs once we have something stable together.
Your voice utilizes muscles in your throat therefore its like any other athletic thing you do the better you warm up those muscles before you sing and the more you work them out in a correct fashon...the better you will get at controlling the frequencies they produce.
Hearing yourself correctly is most important. Singing with too much volume or hearing the actual tone of your voice incorrectly are usually the things that dicourage my vocal preformance and improvment.
A good indicator is after your vocal prformance do you still have a voice? is it like a great workout that leaves you feeling good or are you totally thrashed...the later indicates a vocal setting thats not producvtive and is distructive to your vocal chords over time.
I use TC Helicon vocal monitors. a Vocalist live 2 that uses compressor and some reverb. and a great Mic to use would be a Shure Beta 87a.
I use a 58 but not for long. I love the 87a.
a great warmup tape makes a huge diffrence to the average vocalist (me)
too.
http://www.jeanniedeva.com/site/444991/product/92-9788969
heck you can grow your own vocalist if you put in the time ...its like working out it just takes you doing it with conviction consistantly... untill you get a feel for your range and control your voice better. then you can work on range and style with diffrent instuctional stuff and pretty soon you'll be wanting to try some Journey LOL!
One last thought, although a great vocalist can really be an advantage to a band, the stage presence of your lead vocalist can be every bit as important as his singing ability. I have worked with vocalists who were not great singers, but they could really work a crowd. That too, is a vital skill for us struggling bar cover bands. If your vocalist can engage the crowd and relate to them, they are more forgiving if the vocals are not top notch. At least, the patrons know that they did not spend $100 per ticket to see the band and most just want to have a good time, so they are not really music critics at heart. Play something they like and have fun.