TapperMike

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TapperMike last won the day on July 8 2016

TapperMike had the most liked content!

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About TapperMike

  • Rank
    Senior Member
  • Birthday 01/11/1961

Profile Information

  • Gender
    Male
  • Location
    United States of America
  • Interests
    Music, Coding.

Music Background

  • Musical / Songwriting / Music Biz Skills
    Composer, Arranger, Studio Engineer, Live Sound Engineer, Sound Developer (synth, sample)
  • Musical Influences
    Steely Dan, Steely Dan and then there is Steely Dan.

Collaboration

  • Songwriting Collaboration
    Maybe

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  1. Wow, you've got great setups. Yes I know Matt Raines can be unbearable to listen to. Arrogant ugly american. He seems to have a lot of anger issues. Another thing of note.... When ever I've bought in an actual brick and mortar store (as opposed to online) They would always do setups in store before placing the guitars up for sale. Some guitars by design simply can't be set up to such an exacting standard. And some stores (ones that I no longer visit) have had the audacity to tell me that low action is a hindrance and causes compression issues (yeah right) as well as response issues.
  2. Everywhere, anywhere. I'm sure there are more than a few in my couch as well as scattered under my car seat. The coin is 0.75 inches (19.05 mm) in diameter and 0.0598 inches (1.52 mm) in thickness. The best fast action setup on any guitar passed the dime test. It's .705 inches (17.91 mm) in diameter and .053 inches (1.35 mm) in thickness. On most guitars it's near impossible to get it set up so that there is no fret buzz and yet the coin stays in. If the coin slides through at the 12th fret than it's action is higher. Trying to get that type of precision. With only minimal bow and no buzz on a guitar fretboard is hard work.. The frets have to be level with one another while tension is applied to the neck to create the precise bow. This level of precision gives one impeccable intonation across all the frets. Depending on the heat and humidity changes it will often send you back to a tech to keep it that way on standard electric guitars. Usually one needs a lot of reinforcement on the neck. (like parker's carbon fiber exoskeleton or other means. String gauge changes will require setup changes. With regards to Matt Raines rough playing. It's all about his mix of heavy metal and Coltrane bebop styles. He likes to play fast and loose on the spot improvisations rather than set pieces he's worked out. When one improvises using 'trane" patterns there will always be spotty performances. especially at high speeds and when you don't have a chord sheet to set the path. While Coltrane is most commonly associated using a 1-2-3-5 pattern he actually had about 10 different patterns for any chord. http://www.jazzguitar.be/giant_steps_coltrane.html When you are doubling or even tripling the speed and trying to play to all those different patterns and playing a pattern for each half measure and adding on to that the bebop scale and adding to that tritone substitutions super imposing half-whole scales/melodic minor and more it gets sloppy. He's trying to hold an ideal for a chord progression in his head while working out each 4 note phrase for each chord while trying to play connect the dots. Coltrane had some sloppy playing in his years improvising and many time trane would simply work out the entire score as a composition rather than trying to simply freeform an improvisation. Matt Raines can't practice anything slow. It's his nature. He'd rather play fast and play fast to get things down than slow everything down and work it out at slower levels. While I didn't try Trane stuff at breakneck speed myself I used to study Coltrane methods back in school. It was hell for me. Trying to jump from one pattern for one chord to another in a single measure while not "connecting the dots" jumping to unrelated keys and on and on. I finally threw in the towel and went back to Bird (Charlie Parker) methodology. My lines were much cleaner / clearer and rhythmically sound. Even if it wasn't as "hip" or "cutting edge"
  3. Recently I was watching a few Matt Raines video's. He reminded me of something I did quite often when buying guitars in the 80's.. The penny test. Apologies for his crude remarks in the video below. Nonetheless. My shredder guitars in the past used to have amazing action and I'd be very very very specific about the matter with my guitar tech. (Who does great work) And yes it did make a huge difference in my playing having super fast yet playable necks. He himself owns a guitar company of which some models he designs and others he has a master luthier design for him. Then he has a company in Thailand produce them for him. Before he ships he'll go through and give the guitar a full setup. Can your guitar pass the penny test?
  4. Audio equipment. It's still makes me wonder why or how Bang & Olufsen have survived. I remember as a kid going around to various Hi Fi stores. B&O had mediocre sound quality compared to everything in those shops. Yet they sold surprisingly well. It was all about looks. The systems looked pretty So it's not always about price point. My Brother in law spends a lot of money on home theater systems. He has several to choose from for watching / listening pleasure. Often I think he keeps them around to show off how many he has. I'll never understand why one room needs four distinctly different audio systems. He's not in the music / television production industry, he's an investment consultant. like....... Bernie Madoff
  5. I'm not seeing apple tumble into oblivion either. Apple users have a blind passion. So long as they have that then apple will always have a steady stream of income. That doesn't make me a PC/Windows fanboi. Cakewalk was the first daw I used back when I was running Windows 3.1 They have many great ideas. Sometimes having a great idea doesn't mean customers will run to you. One has to remember that Cakewalk for many years was run by a bank. It had actually gone belly up but the Bank kept it alive thinking it would be marketable if the right ownership / management came along. I've seen quite a lot of this in the private sector. But that's a story for another day/
  6. I think Cakewalk finally accepted the inevitable. It takes a lot of money to enter the mac game. And If you can't get an ROI quickly you'll find yourself out of the game quickly. This is no place for short term planning. On the otherhand many a mac user I've encountered runs some for of dual os. Bootcamp (preferred) Parallels VMware. The problems with both VMware and Parallels are many however one usually has to find out the hardway. VMware uses "masking" to create a virtual machine. This masking causes issues with many software products that utilize the HDSN as part of the software protection system. Software protection is rarely if ever resolves around a single method. Masking the hdsn has consequences every time you reboot where the hdsn value magically changes. If that doesn't match a stored index then the software will no longer work. Parallels work via a gateway. Unfortunately it's not a direct path to registry information and there are checks and balances along the way to insure that a pathway is direct. Ultimately they both fail. Usually when someone is considering purchasing software they like to try before they buy. As well they don't like having to buy a copy of Microsoft Windows (bootcamp) to install on their machine or are just to lazy to reboot. When they do try a product designed for Microsoft Windows on a Mac using VMware or Bootcamp it often can and will fail. Rather than blaming the "gateway" software such as parallels or VMware they blame the software. It re enforces the concept that windows software is buggy and not to be trusted and sends them back to Mac only software. Yes I know this well. I was (among other things) a support technician who had to explain it time and time again to mac users. I was also on the development team that built the software protection for our product. Companies like Cakewalk have a rough go when they try to port from a windows OS to a mac OS. Not only in the coding because it's not like sprinking faery dust on code. But as well in users perceptions. If you've had a bad run trialing software before and it didn't work at all or stopped working you are less inclined to trial it again even when / if they say they've made improvements for better operability.
  7. As I age the magic heartstring pulling moments become less and less especially when it comes to new music. Even if it's an old song by an old artist that I simply haven't heard before. That's the one thing about jazz standards...they are subject to greater interpertation. Every-once-in-awhile I'm awestruck. Musically playing for myself I'm in yet another one of my topsy turvy flipflops where I'm bored to tears with what I'm playing so I go out and dabble in something else for awhile. I don't know if it's healthy as a musician to switch genres. We can love many styles and try to bring them into our own world but we can't be all things to ourselves let alone the rest of the world.
  8. Here are some things to ponder.... Now the second part applies to everyone of every genre regarding the emotive value of singing / playing When you are listening to what seems like a stirring emotional sound that pulls at your heartstrings... It's not just played it's acted. The articulation note emphasis timing is something that is practiced. Like any good actor or con man they believe what they are telling you and they work towards you believing in it yourself.
  9. A funny thing about this thread. When I read the title I thought the concept was more like this thread .....
  10. Thanks for your insights Rudi and Rob. I agree with you about musical fixes. I find myself listening to music much less than I have in the past. And often when I do I feel age setting in. My age and the age of the music. There are sometimes I feel I have to stop listening to things I've listened to for far to long. Take Steely Dan which I love. I purposely have avoided listening to any steely dan for the last few years. I listened for the love of the music, I listened for the theory and arrangement behind the scenes. and I listened for performance analysis. I also covered over 40 Steely dan songs in my lifetime. I'm not the boy/young man I was when I first heard them and it doesn't reach the same soft spot it used to for me. In time I'll return to Steely Dan but not immediately.
  11. One of my favorite pastimes is chasing "Famous Sounds" I'll surf for demo's of various products which recreate the instrument sounds of famous songs. The other day I was doing just that when I happened along a Korg Kronos video featuring the famous sounds included in the latest version. It was so inspiring it turned in to bad Karaoke night at Mike's where I'd chase down a youtube video and sing the song and then listen to another famous sound, chase down the song for it and so on and so on. It was a highly enjoyable night for me. (though maybe not so much for my neighbors) My point is this. Sometimes I listen for attempting to recreate the "sound" of a song. Sometimes I listen for a glimpse at the theory / mentality / approach to performance. Sometimes I listen to it's production quality. Sometimes I listen because I want to transcribe a song and only a very small amount of time I simply listen for the sake of personal enjoyment. Do you ever feel that your pursuit of music listening is less about the emotive qualities a song brings to you and more about how you think you might benefit from study?
  12. My car stereo is broken. If I have the proper time at work or in the car I'll listen via in ear bluetooth headphones for my phone. As I live in a small apartment with thin walls I've simply adjusted to listening at low levels via my Yamaha THR-10c. They are nearfieild speakers that are less than 4 ft away from my head.
  13. Blues jams and I'm usually working. So any collaboration would have to be done during daylight.
  14. I'm the type of guy who is constantly seeking music video's on youtube. And when I find myself really enjoying someone's music they are often offering lessons. I often wonder why they simply can't play and that will be enough. Obviously it's not for them. Offering lessons gives them more views and allows them to supplement their income. Sometimes I think that the only one's interested in instrument performance are musicians. I say this as... I've been thinking of taking jazz lessons again. Simply to have someone to jam with. While I love playing with biab it will never replace playing with others and showing off my chops.
  15. I have no idea on how the velocity is. I'll tell you a story though. Back in 2007 I got a Baby Z. I loved it to tears and rather than trying to work out velocity issues with tapping (which way more about me than the controller. I did a few videos. And the only thing was I wanted more. The baby z only has 16 frets. Anyway someone was interested in my thoughts about the instrument and I advised for it. When the Babyz arrived he put no passion in his playing so none came out in the performance. He blamed the instrument saying "It didn't feel organic". Well they aren't guitar strings on a guitar. as I told him before purchase. I also stated that the organism was him not the instrument. Eventually he adapted to his ztar. With every technology advancement some considerations have to be made. As well performance always begins and ends with the performer. So far I'm impressed with the performances I've seen. Will it answer all my prayers? Will it have the fit and feel of my favorite guitar? Will it make me a virtuoso? Will I gain talent where I had not before? Many of these questions are the same ones that keep players away from expanding their horizons. The stick with what they've always done because they are afraid to venture out and explore new mediums and have to face the consequences of doing things differently. Believe it or not there was a time when a keyboard player wouldn't do a gig unless the keyboard was already provided and was one they enjoyed playing. It would be in the rider for the contract to do the gig. They would cry crocodile tears if they had to play a fender rhodes or a Wurlitzer student model. They effectively lost gigs and those who made the most of what was already in them along with not being afraid to try new things surpassed them.