- Bass (fingered, picked or acoustic)
- Drums
- Piano
- Organ (B3-ish if ossible)
There are so many choices ... I can't tell which ones to try ... or how best to choose.
SF2midi Sample Files?
SF2midi Sample Files?
I'm trying the MTS Sample for MIDI and seems pretty good. Can anyone narrow down a couple of simple choices for me to test?
- Bass (fingered, picked or acoustic)
- Drums
- Piano
- Organ (B3-ish if ossible)
There are so many choices ... I can't tell which ones to try ... or how best to choose.
- Bass (fingered, picked or acoustic)
- Drums
- Piano
- Organ (B3-ish if ossible)
There are so many choices ... I can't tell which ones to try ... or how best to choose.
I would be willing to spend the money but first I want to try out the technology first. I'm still confused on the VSTi versus Sampler thing. Although I have a piano working in VSTi and drums working in Sampler ... so I'm getting closer to understanding.
I've purchased the new M-Audio soundcard which can still be used in a new PC. Also, this morning I picked up a set of M-Audio monitor speakers. I can see now why my cuts have less bass than they should ... my PC speakers with sub-woofer added a whole lot of bass to my playbacks compared to these flat speakers.
Jamstix would not run on my machine ... so I'm probably in need of an upgrade first.
So this is a journey for me ... a little scratch at a time ... I want to see if I like working with the sampler before I spend a bunch of cash.
I've purchased the new M-Audio soundcard which can still be used in a new PC. Also, this morning I picked up a set of M-Audio monitor speakers. I can see now why my cuts have less bass than they should ... my PC speakers with sub-woofer added a whole lot of bass to my playbacks compared to these flat speakers.
Jamstix would not run on my machine ... so I'm probably in need of an upgrade first.
So this is a journey for me ... a little scratch at a time ... I want to see if I like working with the sampler before I spend a bunch of cash.
You are using a very common sense approach. Much the same way I ended up where I'm at right now. In my case, I made the recording stuff pay its way to upgrades via the jingles. Even so, I'm pretty frugal about it. (grin)
VSTi and the MTS sampler are just two different ways of accomplishing the same end result. Give or take.
I try to use the sampler for most things when in MTS, but there are certain few VSTi's I find very useful.
For freebie, be sure to google up a copy of Mr. Ray. It is one of the best at simulating the classic Wurlitzer Electric Piano, for one. And the Rhodes. Would complement some of your musics I've heard.
--Mac
VSTi and the MTS sampler are just two different ways of accomplishing the same end result. Give or take.
I try to use the sampler for most things when in MTS, but there are certain few VSTi's I find very useful.
For freebie, be sure to google up a copy of Mr. Ray. It is one of the best at simulating the classic Wurlitzer Electric Piano, for one. And the Rhodes. Would complement some of your musics I've heard.
--Mac
Cool. Hey ... I love a good Hammond B3 sound ... when I was giggin' around in the '70s we had a B3 & Leslie ...
What would you suggest to make my best attempt at that sound ... given the MTS version I have has the Leslie effect included? Any specific approach?
I do love that sound ... in fact ... we had the B3 and a Fender Rhodes ...
What would you suggest to make my best attempt at that sound ... given the MTS version I have has the Leslie effect included? Any specific approach?
I do love that sound ... in fact ... we had the B3 and a Fender Rhodes ...
All you really need is ORGANized Trio and a knowledge of playin' the B.
The latter part is what bites most...
Midi patches will not do it unless you realize that you gotta switch patches throughout the performance to simulate the animations that a real knowledgeable B player does. Static tonewheel organ is boring. What makes the excitement is the changing of drawbars with the knowledge of what that means and entails, the changing of the B chorus and vibrato settings -- and knowing when NO chorus is a good thing -- the knowledge that pulling the single white 8' drawbar is often powerful enough for soloing or pads, spinups and spindowns and where and when to use them, knowledge that before the mid 60s there was no chorale setting on a leslie cab, just full stop or fast, that for rock tunes you lean on the chorale setting and for jazz tunes you leave the leslie stopped -- except at the last few chords in certain songs, that you NEVER use the percussion clicks when the leslie is spinning fast (can't hear fast passages when the horn is pointing away from you) and the knowledge that only ONE horn actually works in a Leslie, the other is a dummy put there for mechanical balance.
And knowledge of chords and open chordings and two note chords.
The telltale sign of the novice is a lot of close voiced triads on a B. Blechh. Real players use their ears and sort out all the rich harmonics available -- often with sparse note selection.
Also, be sure to assign it to a Stereo track, or the Leslie simulator will sound like poo.
BTW the organ simulator that comes with MTS is an excellent rendering of the M3 series, not the B3 IMO.
Don't let that slay you or deter you from using it, though.
Booker T recorded "Green Onions" on a stock M3 spinet organ with the internal single speaker and NO Leslie cabinet.
I've used the MTS organ to duplicate Booker's tune, man.
Green Onions is more like a puzzle than a song. You have to know and use the "foldback" inherent in the voicing of the organ to pull it off correctly. You also have to have the ears to know his drawbar settings. Which again, are not static, they change throughout the song, but there is a pattern to it. He did that thing by design, man. No question to it.
Incidentally, I figured it all out as a kid and many years later, my way of playing it turned out to be "Booker T approved" by the man himself.
Some guy named, "Paul Shaffer" thinks he's got it right.
He's missing a key ingredient... Has to do with performing it on the B and not the M. It can be done, though. hee hee.
--Mac
The latter part is what bites most...
Midi patches will not do it unless you realize that you gotta switch patches throughout the performance to simulate the animations that a real knowledgeable B player does. Static tonewheel organ is boring. What makes the excitement is the changing of drawbars with the knowledge of what that means and entails, the changing of the B chorus and vibrato settings -- and knowing when NO chorus is a good thing -- the knowledge that pulling the single white 8' drawbar is often powerful enough for soloing or pads, spinups and spindowns and where and when to use them, knowledge that before the mid 60s there was no chorale setting on a leslie cab, just full stop or fast, that for rock tunes you lean on the chorale setting and for jazz tunes you leave the leslie stopped -- except at the last few chords in certain songs, that you NEVER use the percussion clicks when the leslie is spinning fast (can't hear fast passages when the horn is pointing away from you) and the knowledge that only ONE horn actually works in a Leslie, the other is a dummy put there for mechanical balance.
And knowledge of chords and open chordings and two note chords.
The telltale sign of the novice is a lot of close voiced triads on a B. Blechh. Real players use their ears and sort out all the rich harmonics available -- often with sparse note selection.
Also, be sure to assign it to a Stereo track, or the Leslie simulator will sound like poo.
BTW the organ simulator that comes with MTS is an excellent rendering of the M3 series, not the B3 IMO.
Don't let that slay you or deter you from using it, though.
Booker T recorded "Green Onions" on a stock M3 spinet organ with the internal single speaker and NO Leslie cabinet.
I've used the MTS organ to duplicate Booker's tune, man.
Green Onions is more like a puzzle than a song. You have to know and use the "foldback" inherent in the voicing of the organ to pull it off correctly. You also have to have the ears to know his drawbar settings. Which again, are not static, they change throughout the song, but there is a pattern to it. He did that thing by design, man. No question to it.
Incidentally, I figured it all out as a kid and many years later, my way of playing it turned out to be "Booker T approved" by the man himself.
Some guy named, "Paul Shaffer" thinks he's got it right.
He's missing a key ingredient... Has to do with performing it on the B and not the M. It can be done, though. hee hee.
--Mac