VADE's - Synth and midi build questions.

[Vade]

I tried to respond to your PM but your inbox is full so hopefully you'll see my reply here.



Morning rikardojsf;

I'm happy to help just like others on the forum have helped me. It turns out that you have helped me as well! I was looking over the following thread where Smash uses the freeze function to good effect...

https://www.vguitarforums.com/smf/index.php?topic=14750.msg105703#msg105703

But I didn't find "freeze" in the GP-10 manual. When you asked about "hold" like GR-55 I searched the GP-10 manual for "hold" and I found it as an assignable setting on page 8...

Parameter Explanation
Hold Mode -    specifies the Hold effect controlled by the [CTL 1] [CTL 2] pedals.
* In order to use the Hold effect, make settings for "Patch: CTL" (p. 11) or
"Sys: CTL" (p. 13).
MODE 1 Notes that are newly played while Hold is on will also be
held.
MODE 2 Newly played notes are not accepted while Hold is on.
MODE 3 While Hold is on, notes newly played on a string that's being
held are accepted.

I've not worked with it at all but it looks promising doesn't it? Thanks for helping me find it!

As far as the GP-10 goes I love it and I think it plays well with the VL3. I wouldn't hesitate to buy them both again. If you decide to buy consider requesting the "code" from Elantric for the VGuitar forums GP-10 group buy and save yourself a little money.

https://www.vguitarforums.com/smf/index.php?board=175.0

Cheers!

P.S. Sorry it took so long to get back to you but your inbox has been too full to accept new messages.

[Vade]

Open Labs Stagelight 2.1 Full Review

So what is Stagelight? Apparently it's the easiest way to create music, which is nice. And that's just about all you get from the website – there's lots of glossy images, lots of focus on the Timbaland and Linkin Park tie-ins, lots of lovely top produced videos but very little detail about what the software can do. But actually, underneath the glamourous exterior lurks a very interesting and capable bit of music production software. There's a free trial version so there's no excuse not to check it out......

http://surfaceproaudio.com/open-labs-stagelight-2-1-full-review/

http://www.us.openlabs.com/index.php/products/stagelight


That's nearly an hour of in depth opinion, demonstration and analysis of Stagelight 2.1 from Open Labs. Every aspect is delved into, from the instruments to the new effects, the drum track to piano roll, timeline to loopbuilder. I talk about the issues and joys of running it on the Surface Pro 3 as well as what makes it the perfect combination. If you want to know about Stagelight then give yourself the time to watch this review.

Link for OpenGL app - https://stagelight.s3.amazonaws.com/StagelightOpenGLSetting.exe

http://www.surfaceproaudio.com
http://www.moltenmusictechnology.com




Edit: I came back with the intent to round out the post a bit by adding more detail but Elantric beat me to it. Thanks as always Steve.

[Vade]

Some posted information about connecting an iConnectMIDI4+ to an iConnectAUDIO4+ that I have not verified since I don't own an iConnectAUDIO4+; but I might soon...

•   "@MiniDX said: I only record in the ipad (cubasis). I use hardware synths and samplers and a mixer. I want to use the icaudio4+ but i have an iconnectmidi4+ which is an essential piece of hardware in my rig since it syncs all my setup. Is it possible to connect the iconnectmidi4+ in the iconnectaudio4+ with the usb cable ? Also if the answer is yes, i am wondering : is it possible to connect 2 units of iconnectmidi4+ on 1 iconnectaudio4+ through usb so i could have 4+4+1 pair of midi i/o for my entire rig ?


@MiniDX, MIDI interconnectivity only. No audio interconnectivity between two iConnects but I have been using MIDI between an iConnectMIDI4+ and iConnectAudio4+ for a few days now and it works quite well. Sorry for the thick read below. I nerded out the last couple of days trying different things. Like most things where I explore several permutations of cabling and configurations, it turned out to be more straightforward than 4 out of the 5 things I tried. It has been said that sometimes, to find something, you have to find where it isn't.
*** DIN to DIN = Not so great. ***
At first I started with iCM4+ MIDI Din 4 I/O to iCA4+ MIDI Din I/O. Everything worked OK but I was having some issues with iConfig keeping an connection to the iCA4+. I do not recommend this.
*** iCM4+ USB Device Jack 3 to iCA4+ USB Host Jack = Nice and Fast ***
It's easier to do this with the PC. The iConfig iOS app makes me blind for stuff like this.
Before I connected the two I went to each iConnect and named the devices on the appropriate ports so my head wouldn't explode switching back and forth during this initial setup.
Switch back to the iCM4+. Go to "Audio Info" tab on the USB Device Jack 3 (iCM4 USB D3) uncheck "Mac/PC" and "iOS" since it can't be streamed over anyway. Maybe some day they'll enable it. Save/Commit to memory.
Disconnect your PC from your iCM4+. Connect iCM4+ USB Device Jack 3 to iCA4+ USB Host Jack. Reset the iCM4+ from the button on the front panel.
Now connect your PC/Mac to iCA4+ on a USB device jack. I use Jack 1 since my iPad is on Jack 2. Start iConfig on the PC/Mac. Look, they're both there in the initial device selection popup now and they pop up super fast now. Switching between devices is also much faster.
On the iCA4+ go to the "MIDI Info" tab and scroll down to the "USB Host Jack 1" section. Look at all those "Connected Device"s. Now select one of the ports in the "Reserved" drop down and then "Name" it appropriately.
Optional: On the iCA4+ you can crank up the "Maximum number of ports to use on multi-port USB devices" ..... setting to the max 8. Not necessary if you don't have that many devices but if you want to map more crap than 4 to the iCA4+ you can. Remember even if you only have it configured for 4 on the iCA4+ you can still select and map reservations in the "Reserved" column dropdown for any of the 16 ports hosted from the iCM4+. You just have to remember what is what and name them appropriately on the iCA4+. Save/Commit to memory. Not necessary to reboot the iCA4+ but when you jack with this max setting you will need to reboot the hosted iCM4+ so it can renegotiate with the iCA4+ host jack and repopulate the list.
Now they talk MIDI between each other. Go make some noise.
Questions I've asked myself and you may be asking.....
Q: Why is it faster and more reliable? A: I might run a trace on the USB vs MIDI communication with Microsoft Message Analyzer but I'm betting iConfig "likes" to talk to it's devices directly over USB protocols much better than anything passed through MIDI Din.
Q: What if I want audio from iThings that are hosted on both iConnects to record to my PC/Mac DAW? A: Business as usual; Connect both iConnects to your DAW and route appropriately.
Q: What if I want to stream audio between iThings that are hosted on both iConnects? A: You can't do it directly. Many have suggested it to iConnectivity since the announcement last year but it won't/hasn't yet happened. The solution is to setup two-way routing via PC/Mac. It's a hassle but it used to be how I used my iOS oscilloscope app on my synths.
Q: Will iConnectivity add the ability for interconnected audio streams between two iConnect routers (Yes, routers. That's what they are)? A: No one knows. Honestly what they've done so far is pretty monumental already. But that would really knock the ball out of the park. It also just makes sense, in many cases, we'd want to connect these two things together and be able to stream audio between all those connected.
Q: @MiniDx wants to host two iCM4+ on a iCA4+. Crazed Connectivity Addict or Misunderstood Genius? A: Yes. Same as my setup above but need a powered USB hub connected to the iCA4+ host jack to allow it to host multiple devices. You're still limited to 8 incoming ports allowed on the iCA4+ however. I also thought about an iConnect Daisy Chain (iCM4+[A] Jack 3 to iCM4+ Host > iCM4+ Jack 3 to iCA4+ Host) before I crapped myself. Hope this helps."

http://forum.audiob.us/discussion/7461/iconnectaudio4-news-price-availability/p6

http://www.sweetwater.com/store/detail/iConnMIDI4L

http://www.sweetwater.com/store/detail/iConnAudio4p

Uploaded at Snapagogo.com

[admin]

Suggest also read

http://www.iconnectivity.com/forum#/discussion/169/chaining-midi4-with-audio4
Chaining MIDI4+ with AUDIO4+
diggo

Hi,
I'm in a world of confusion trying to figure out the best way to chain and control a bunch of devices which I've previously had working "OK but not perfectly" with just the M4+. Now that I've added the A4+, I can't seem to figure out a workable method for chaining the two devices, particularly with regard to getting USB audio from an iPad connected to M4+ to an iPad connected to the A4+.

I'm also getting a lot of static-like clicks and pops which I'm guessing are lost buffers or incorrect master/slave clock relationships. This occurs even when only having an iPad connected (no other devices) to one of the device ports on A4+. Changing various clock/buffer settings doesnt seem to help.

The A4+ and M4+ both have latest firmware.

Until the arrival of the A4+, I've used the M4+ alone, resorting to using the analogue output jacks on some of the devices. It was messy due to iPad jack foibles, but workable.

I hoped the addition of the A4+ would release me from those restrictions/workarounds and I'm now hoping my brain is the problem - I'm finding it very difficult to figure out how to route USB audio from M4+ to A4+.

One problem is the missing iOS app for A4+, which means I have to give one of the device ports up to the PC I'm using to access and configure the A4+. When can we expect the iOS iConfig to support A4+? Months or weeks?

OK - some details:

I'm in a trio which uses multiple MIDI devices and loop stations. My setup is pretty much self-contained - the only "connection" between my system and the other band members is I supply global MIDI Clock to the band via an RC505, which routes to a DIN repeater which delivers the clock to the other members and back to me via DIN. I need that clock signal to propagate into the A4+ and the M4+, which should then propagate to my two iPads and a VoiceLive Touch2 which I use for vocals and vocal looping.

My MIDI controllers comprise an FCB1010 and a Roland GI-20 (I use a Godin Multiac guitar).

I use two iPads. One runs software instruments/samplers, the other runs Loopy HD.

IOW, one iPad (iPad A) makes sound, the other (iPad B) captures those sounds and loops them. Additionally, I feed analogue guitar and bass from our X32 mixer into iPad B for looping in Loopy. I monitor all iPad B inputs via Loopy, which should feed the A4+ analogue out. So iPad A only needs to route USB audio to iPad B.

RC505 - delivers MIDI Clock to all devices via DIN repeater.

VoiceLive Touch 2 - needs to receive MIDI Clock (from either iConnect device) and CC control from FCB1010.

iPad A - Currently connected to device port 1 on M4+. Needs to receive Control input from GP-20, routing audio to iPad B via USB.

iPad B - Currently connected to device port 1 on A4+. Needs to receive MIDI Clock, Control input from FCB1010, routing audio to A4+ analogue out.

Windows 8.1 Tablet - runs iConfig, connected to device port 3 on M4+ and (via second USB cable) is also connected to device port 2 on A4+. So that is the way I've chained the USB audio from A4+ to M4+. Is that supposed to work?

I could run software instruments and samplers on the Windows 8.1 tablet in lieu of iPad A, but I prefer iPad A for multiple reasons.

NOTE: I'm getting a LOT of crashes of iConfig on the tablet, nearly always involving msvcr120.dll.

As some others have noted, the A4+ seems to freeze sometimes.

Any suggestions appreciated!

Thanks.

Diggo

jsandeen wrote>
In order to use both hardware at the same time, while using audio (and MIDI) from both in your DAW/Recording Software, you will need to create an Aggregate Device on Mac or by using ASIO4ALL on Windows. Here's an overview of that process:



Then any special routing between the iCA4+ and iCM4+ (that is not physically connected by cables) will happen within your DAW.
So you know, there is no way to pair audio hardware like this on iOS.

We do not have a release date on the newest iOS version for iConnectAUDIO4+ Control app  at this time. Although, it is a top priority.
We will be sure to post on social media, if you are following us.

Let me know how I can assist further,
-JS


diggo wrote>

Hi Josh,

That is what I feared - despite the opportunity to chain iConnectivity USB audio host devices, chaining was outside the design scope. Seems like a missed opportunity with an ironic result - the A4+ can only manage two USB digital audio host devices while the M4+ can manage three USB digital audio host devices.

I dont use the iConnectivity devices with a DAW - I use the iConnectivity devices solely for live performance. I have RME devices for my DAW.

Regarding your question about further assistance, in my initial post you'll note I'm experiencing significant (showstopper) digital crackles/pops with USB audio in the A4+. I'm not experiencing those problems with USB audio in the M4+.

The crackles in the A4+ are also occurring when the A4+ is used in isolation (i.e. the crackles still occur when M4+ is removed from the system). Changing audio buffer and/or clock source settings doesnt seem to resolve the problem. I'd like further assistance to resolve that problem please.

I'm also seeing lots of crashes of the iConfig software in a fully updated Windows 8.1 environment when managing the A4+. I'm not experiencing crashes when managing the M4+ with iConfig. So I'd also like further assistance with that problem. I'm using the latest version of iConfig.

As others have noted, the A4+ seems to freeze when left idle for a while, which then requires the A4+to be restarted.

Are you the J Sandeen who previously worked in web based support for Alesis?

Thanks,

Diggo

jsandeen wrote>
May 5
Is there a specific action that is causing iConfig to crash? Is this consistent? Do you see any errors when this happens? Can you confirm what firmware version and iConfig version you are using?

Have you checked out the controlling latency article? It's a great place to start if you are dealing with pops and clicks: http://www.iconnectivity.com/blog/controlling-latency

Yes, I used to run the inMusic forums before coming to iConnectivity. Using the same avatar as well. Good to run into you again

Let me know how I can assist further,

[Vade]

@admsustainiac

Thanks for taking the time to share the  Chaining MIDI4+ with AUDIO4+ link in the previous post.


I posted the info about chaining because I wanted easy access to the info needed for setup in case I decide to pick up the iConnectAUDIO4+ as an upgrade to my Scarlett 2i2. I posted it here because I felt it might help others who might be interested in chaining the two or just learning about it in general.

I'm still undecided between the iConnectAUDIO4+ and the Steinberg UR44 and so I'm just doing a bit of research while waiting for the Memorial Day Sales.

http://www.sweetwater.com/store/detail/UR44

http://www.sweetwater.com/store/detail/iConnAudio4p


Elantric provided a great overview of some of the unique possibilities of the iConnectAUDIO4+ in post #33 of this thread.

https://www.vguitarforums.com/smf/index.php?topic=10419.msg104450#msg104450

But I'm not persuaded that those benefits outweigh the advantages of physical gain knobs and the extra inputs found on the UR44; in the compact form factor needed to fit onto my pedal board. Many of the benefits of the iConnectAUDIO4+ accrue to those integrating ios into their rigs and I have no plans to do that at the moment. I'd be trading the actual benefit of extra inputs found on the UR44 for the potential benefits of better ios integration.

At any rate, thanks again for your input and hopefully someone will be helped by the information.

[Elantric]

For me the big deal with the iConnectAUDIO4+ is i can route audio in real time in the digital domain between my from my Macs, Windows PC, iPad / Iphone - and use all my IOS Audio FX apps with Reaper or Logic Pro

To help clarify for our users, the designers have produced a whitepaper.
https://www.iconnectivity.com/WP-UnderstandingAudioPatchbay
http://www.iconnectivity.com/downloads/whitepapers/WP-AudioPatchbayV0-2.pdf

[Vade]

Mic to MIDI

I ran across a bit of beta software today and thought I'd post a bit about it. Imitone does realtime pitch to midi conversion and I picked up the basic beta version today for $25.  Apparently the $60 version is where the developer is attempting polyphony but I wanted to get a taste of it before jumping all the way in.

http://imitone.com/

It's too early to tell if it's stable or too glitchy to actually use but I enjoyed working with it and it seemed to play well with Sonar X3e. I'll attach a recording I dashed off where Imitone is driving two instances of Dimension Pro in Sonar and I'm using my flute for the mic input on track 2. I played the flute driving the synths by themselves towards the end to give a sense of the tracking and tone quality. There's a guitar bit on track 1 which is a GP-10 patch 16 (7capo 12 string) into VoiceLive 3 and recorded as two loops.

https://soundcloud.com/vadie/proof-of-concept

[Vade]

Using SoftStep 2 for midi control

Below is a picture with several elements of the SoftStep 2 control software opened as well as a photo of the SoftStep 2 foot pedal and Windows ease of access keyboard opened. I've "highlighted" a few elements in red boxes to illustrate some useful setup elements. I'm going to try to describe the setup in detail so that those who are less familiar with midi are able to follow the steps to get their SoftStep 2 up and running. I'm pretty new to midi myself and I found it frustrating to have to spend 20 minutes trying to google how to do something that's easy once you know how.

At the top left I've red box highlighted the SoftStep 2 Advanced Editor. I'm using this in "Hosted" mode (red box) which means I must have the Editor opened and running in Windows when I want to use the SoftStep 2 for midi control. This allows me to gain some functions that are not available in "Standalone" mode and I've had no issues arise from running the Editor at the same time as my DAW. For instance, I have opened the "Key 8 Modulation" window by clicking on the circle with the "8" in the Editor window. Note the red box to the left of the photo which contains the "mode" and "value" "inits." In hosted mode you can use these to set an initial level your control defaults to when the pedal is first pressed. I have the mode set to "once" and the value set to "100". This way when I first press the number 8 pedal on my SoftStep 2 the track volume I have selected for the Y increment goes to 100 which is the volume I wish this track to default to the first time I press the pedal. I have done the same for the x increment of init number 4. I use this setting for controlling the volume of the guitar and microphone. If I'm setting up the track for synths I prefer to have the initial volume at zero and so I set the "value" to zero rather than 100. So, pedal 9 on my SoftStep 2 is linked to the synth track I use for my FTP feed from my guitar and the synth defaults to zero volume. I then raise the volume using the pedal to bring my FTP synth up in the mix. Looking at the red box under "Output Settings" we see that I'm using a message type of "cc", a cc number of 61 on channel one, and the output is going to "LoopBe Internal MIDI." At this time, Windows requires a third party solution to route your output from the SoftStep 2 Editor into your DAW. LoopBe1 is a free bit of software that installs a virtual midi port to achieve this and it does so automatically when the software is installed. Just select it in the SoftStep Editor and then in your DAW's midi inputs. There are other software solutions that offer increased function and control for virtual midi if you feel you need it.

http://www.nerds.de/en/download.html

In the "Key 8 Modulation" window I clicked on the "LED+Display Settings" area which is now highlighted in blue near the top left of the "Key 8 Modulation" window. This opened the controls for the LED lights. I named the key TK12 to stand for Tracks 1&2 in my DAW. I have the green LED light up when I use the Y axis (up/down) and the red LED lights when I use the X axis (left/right.) This gives me a visual cue that I'm controlling the correct track volume I'm aiming to change which can be useful although I tend to look towards the volume slider of the track in my DAW to fine tune the level instead. I find I can use the controls with little trouble when I'm not wearing shoes. I can raise and lower volumes individually or together by pressing both arms of the cruciform button. Upper right for raising and lower left for lowering. I can cross fade volumes by pressing both arms in the upper left or lower right quadrants of the button.

In the upper right of the photo I have opened the "Key 1 Modulation" window and this is set to play a note. This note is set to play "middle" C since I've put "60" in the note value under output settings. You can see what values to put in for different notes and octaves at this site but it would benefit newbies (like myself) to read the text below the table...

http://www.electronics.dit.ie/staff/tscarff/Music_technology/midi/midi_note_numbers_for_octaves.htm

The SoftStep 2 has 16 different slots and so it would be possible to set up different variations. In this example I have the key of C Maj available on my SofStep 2 to drive samples/synths with the key number corresponding to the numbering of the scale so that key one is your tonic etc. But here I have only used the Y axis and it's also possible to use the X axis for sharps or flats although the fine control needed to accurately sound the correct notes could be problematic. It's possible to copy your key setup by clicking on the grey area in the key box and then pasting this into the next key box. You then just modify the particular changes needed such as changing the note value when setting up key 2 to note D for instance. I've considered using most of my sixteen available presets to give me easy and accurate access to some of the more common scales as discussed here...

http://www.hooktheory.com/blog/i-analyzed-the-chords-of-1300-popular-songs-for-patterns-this-is-what-i-found/

That said I'm not sure whether or not I'll pursue that option as using my midi control for more volume controls might be preferable. I might also set up some of my pedal keys to just control the volume of a single track to make it easier to use when wearing shoes.
I'm also considering using the SoftStep 2 for common keystroke commands to use in transport controls for my DAW as discussed here...

http://music.tutsplus.com/tutorials/quick-tip-midi-translation-midi-to-keystrokes--audio-6914

So, I've a world of possibilities in front of me but I have a lot of experimentation to do to see what yields the most sensible use of these capabilities. I'd be interested in what some of you more seasoned troubadours find most useful in a midi control pedal if any care to chime in.

I've also integrated my expression pedal into my SoftStep 2 but I've not decided what I wish it to control as of yet. Some of the default programs have an expression pedal setup that you can look into using the basic editor since I don't have a screenshot and it's been awhile since I set mine up. (see post #95 this thread) Feel free to ask if you need me to review and share pedal setup.

The last area I've highlighted shows my use of the "ease of access" keyboard I'm using with my touch screen monitor (find this keyboard in the control panel under "ease of access".) It provides keys useful in DAW control and some of those keys are unavailable in the regular touch screen keyboard. It's also useful to be able to dock the keyboard and in addition pressing the "Nav" button at the top right of the keyboard minimizes the keyboard so you can see more of your DAW.

I hope this is of use to some of you and feel free to ask or share as you wish.

Cheers!

Edit: KMI RE; SoftStep 2

"Windows Class-Compliant Device Limitation
Windows XP, Windows Vista, Windows 7, and Windows 8 do not allow a class-compliant MIDI
device to be connected to more than a single application at a time. As a class-compliant MIDI
controller, this applies to the SoftStep.
The result of this is that if you have two or more audio/MIDI applications open at the same time
(the Advanced Editor and Ableton Live, for example), only one of them will be able to connect to
the SoftStep. Because of this it is highly recommended to never edit the SoftStep with other audio
applications open — it could lead to connectivity issues, and a very confusing, frustrating
experience."

https://www.vguitarforums.com/smf/index.php?topic=8393.msg108402;topicseen#msg108402

[Vade]

I'm thinking of picking up a wireless transmitter/receiver system for my DPA D:Fine headset mic.

http://www.dpamicrophones.com/en/products.aspx?c=item&category=269&item=24062

Here is a list of tested models...

http://www.dpamicrophones.com/en/Mic-University/Wireless-adapters.aspx

I need it to be a small form factor such that 3.0" x 3.0" by 1" would probably be the largest I could use. Exact measurements are difficult to determine so even smaller would be better.

The units that appeal such as the Sennheiser SK 5012 at ~ $1600 for just the receiver are out of my price range although they can be had on ebay used for much less. There's also this model which seems quite the deal even though it's perhaps a bit old.

http://www.ebay.com/itm/Lectrosonics-wireless-M185-receiver-transmitter-mike-working-fine-/181774383253?pt=LH_DefaultDomain_0&hash=item2a5298f895

http://www.lectrosonics.com/US/phocadownload/m185man.pdf

I'm wondering if anybody has any experience with equipment such as this. Would it be safe to operate close to my body for perhaps 1-2 hours per day? If it's in good operating order would it be adequate for singing and miced instruments in the USA? I know a hardwired solution would provide marginally better performance than a wireless solution and that interference could occur but I've no experience to guide me as to whether these issues might be a deal breaker.

Any insight would be appreciated.

[Elantric]

Look for the  Belt Pack  Wireless headset mic system
Avoid the cheap VHF versions

The Pros use  UHF system 

or

Line-6 Relay G90 or the XD-V75TR
http://line6.com/wireless-accessories/#micro_title_h1

http://line6.com/support/topic/8955-close-to-an-xd-v75tr-purchase-quick-question/


Myself I'm hypersensitive to Wireless Mic Transmitter bodypacks  and suggest minimize your exposure  - use wired system for songwriting   /  rehearsing and only use Wireless body worn beltpack wireless Mic Transmitter at live performance gigs.   

[Vade]

Thanks for the info Steve. I did a bit of research based on your input and it seems to me these UHF wireless mic transmitters are pretty similar to cell phones with comparable levels of risk. I may contact DPA as their compatibility sheet, which I linked above, seems like it may be out of date; but if I do go with ebay for the savings I'd like to be sure the unit is compatible with my mic by selecting a unit vetted by DPA. About the only thing I find truly attractive about that Lectrosonics M185 is the price being that it's both ancient and VHF. But, for $165 it might be worth a roll of the dice since it used to be a much pricier system and it was vetted by DPA if their list is worth taking note of. More research for me but thanks again for taking the time to respond.

[Elantric]

As I said before:

In 2015 and foreseeable beyond, avoid gear that employs the VHF Frequency spectrum for Pro Audio. It's become crowded with consumer gear and toys.

In North America they have reallocated many bands in the RF spectrum. It's not 1999 anymore.

if you buy VHF today, expect to get spoken wedding vows breaking into your live performance - being broadcast from the wedding videographers remote wireless shotgun mic at the church across the street.

[Vade]

Thanks for taking the time to repeat your warning. I ran across some internet speculation regarding using the VHF frequencies which seemed to suggest the situation might be improving as gear moves into the UHF bands. I was going to research that further today but I'll take your word for it instead; UHF it is. Of course moving into high quality UHF, multi band, auto switching, digital systems adds fidelity and reliability but at what cost? Some of those systems run to many thousands of dollars and I'm in it for the convenience rather than necessity so that kind of cost is just not worth it.

The search continues...

Thanks again!

[Vade]

It's a question of convenience for me when considering a boom mic vs. a head mic. I have a VL3 and one of the expression pedal inputs is dedicated to mic volume which works well enough for dynamics and muffling the occasional sneeze etc. I play seated and I always found it annoying to have the boom mic in the way when I wanted to adjust something on my pedal board. I tried an omni directional head mic and found it too susceptible to feedback so I switched to a uni mic and went dual ear since the mic placement needs to be more precise with the uni mics. But now you have the hassle of placing the dual ear pieces which got old pretty quickly. So I decided to attach the mic to a nice panama hat and go for a bit of a tropical look. You place the hat on your head and mic placement is done; quick and easy. Currently I have the mic cord routed down my back to my belt and an XLR cord. When I can scratch together a bit more cash I'll probably invest in a small belt pack transmitter which I'll mount right in the hat with a bit of shielding to prevent the cell phone like radiation from beaming towards my head for hours on end. At that point microphone setup is just a matter of putting a hat on and going all out Joe Cocker...

! No longer available

My mic...

http://www.dpamicrophones.com/en/products.aspx?c=item&category=269&item=24062

Examples of a transmitter small enough for my needs...

http://www.sweetwater.com/store/detail/SK5212-A
http://www.sweetwater.com/store/detail/UR1M-H4

I'm in no hurry as there is some question as to bandwidths being available moving forward.

Uploaded at Snapagogo.com

[Vade]

[Vade]

Windows disk management:

Windows 10 installed a recovery partition in between two partitions I had on my SSD. When I went to delete the second partition I couldn't expand the first partition into the unused space due to the recovery partition. So I found this which you might want to use if you're familiar with computers and you're willing to take the risk.

[Vade]

[Vade]

Happy New Year all and this marks my 2nd year with high tech guitar. Many thanks as always for your advice and support on my journey. VGuitar rocks!

A live solo without backing tracks or post production tweaks.

https://soundcloud.com/vadie/cascade-live

Now this is not the end.
It is not even the beginning of the end.
But it is, perhaps, the end of the beginning.

Winston Churchill

[Vade]

A new adventure begins!

I picked up a Fender FTP Strat with an eye to adding an internal GK-3. When I'm done the idea is to have Roland 13 pin capabilities for guitar modeling, alt tunings, and synths using my Boss GP-10. The FTP is already built into the guitar which will give me access to fast wireless midi for triggering synths from the PC built into my pedal board. The advantage of this build, besides the function you gain, is that there will be no equipment on the guitar such as you have with the external FTP and GK-3 units. This will be my first serious guitar modification and so help and suggestions are more than welcome!

I included some information about the internal GK-3 kit as well.

Fender Fishman TriplePlay Stratocaster HSS Specifications

•   Body Material: Alder
•   Body Finish: Gloss Polyester
•   Body Shape: Stratocaster
•   Neck Material: Maple
•   Neck Finish: Gloss Urethane
•   Scale Length: 25.5 inches (64.8 cm)
•   Fingerboard: Rosewood
•   Fingerboard Radius: 9.5 inches (241 mm)
•   Frets: 22
•   Fret Size: Medium Jumbo
•   String Nut: Synthetic Bone
•   Nut Width: 1.650 inch (42 mm)
•   Position Inlays: White Dot
•   Bridge Pickup: Seymour Duncan Pearly Gates Humbucker
•   Middle Pickup: Vintage Noiseless Single-Coil Strat
•   Neck Pickup: Vintage Noiseless Single-Coil Strat
•   Controls: Master Volume, MIDI Volume, Headphone Volume, TriplePlay Dpad Control on Pickguard, TriplePlay Module  Controls (Power, Sync, Charging Port) on Backplate
•   Pickup Switching: 5-Position Blade: Position 1. Bridge Pickup, Pos 2. Inside Coil Bridge Pickup/Middle Pickup, Pos 3. Middle Pickup, Pos 4. Middle Pickup/Outside Coil Neck Pickup, Pos 5. Neck Pickup
•   Special Electronics: Fishman Hex Pickup, Fishman TriplePlay Wireless MIDI Module, Fender USB Module
•   Bridge: 6-Saddle Vintage-Style Synchronized Tremolo
•   Hardware Finish: Nickel/Chrome
•   Tuning Machines: Standard Cast/Sealed
•   Pickguard: 3-Ply Parchment
•   Control Knobs: White Plastic
•   Included Accessories: Software Loaded Fender USB Drive, Mini-B to USB Type A Cable, Fishman USB Transceiver, Power   Supply/Charger and Micro-USB Cable


More information available on these threads.

1. 13 Pin to FTP adapter

https://www.vguitarforums.com/smf/index.php?topic=8413.0

N.B. Per Elantric post #49 "Fishman hex PU employs identical 8 pin connector and wiring pinout as a stock Roland GK-3 PU. In other words - if you own a guitar that already has a GK-3 hex PU installed - you can easily swap the GK-3 "wart" for the FTP "wart"."

1.a. Fender Fishman Tripleplay Strat - install an internal GK Kit

https://www.vguitarforums.com/smf/index.php?topic=15974.0

1.b. Roland Internal GK-Kit-GT3 @ Andertons UK - (75 British pounds) or $135.03

https://www.vguitarforums.com/smf/index.php?topic=11241.0

1.c. Gumbo connectors

https://www.vguitarforums.com/smf/index.php?topic=8888.0

1.d. Install Internal GK-3

https://www.vguitarforums.com/smf/index.php?topic=133.0

1.e. Details of 8 pin connector used by both FTP and GK-3.

https://www.vguitarforums.com/smf/index.php?topic=9094.0

1.f. GK-3 Schematics

From post #20 "DA1 to DA8 are diode arrays which prevents the output exceeding the supply rails and damaging the op-amp chips from transients and electrostatic discharge"

https://www.vguitarforums.com/smf/index.php?topic=73.msg3281#msg3281

1.g. "You could install the GK Internal - but make a subtle but important change  - that is adding a 1/4" Switching jack for the Normal pickups output. With the standard GK-3 Install, the three way Guitar/mix/Synth switch slightly alters the sound of your normal pickups - due to impedance loading of the GK Circuit. Adding a switching 1/4" Output jack that removes the GK circuit from the Normal Guitar output anytime a 1/4" guitar cable in inserted is a good thing. This is exactly what the Fender Roland Ready and GC-1 Strats do as well. They actually use the same SwitchCraft Style Jack used on a 1967 Fender Twin Reverb Input Jack.
Switchcraft L12A 1/4" Mono 2-Conductor Jack, Tip Shunt, Long Bushing
But the big downer for me is that getting the three way "Guitar/Mix/Synth" switch to actually work is a daunting frustrating experience. Its not automatic, due to the fact that after the 2001 VG-88, Roland  13 pin processors Factory presets are all missing the important programing to make this function work.

We have several threads that talk about this - its related to the GK Volume as a Control Assignment for non Volume duties, this clobbers the Three way "Guitar/Mix/Synth " switch operation.

Roland should have addressed this years ago, but instead they felt a need to maintain a flawed "standard" that was fully compatible with the old GK-2A.
I know many here never use "Normal Pickups"  - I'm NOT in that camp, as I always view the Synth Tones are there to augment my Guitar sound- not replace it.

Show me the best COSM Modeled Guitar sound with a VG-99 / GR-55. and in 15 seconds I'll show you a few sounds it can Not duplicate that my Normal Pickups faithfully deliver. Its mostly Palm Muting styles."

https://www.vguitarforums.com/smf/index.php?topic=7699.0

[Vade]

"Recorded music was once incredibly fragile. Before the days of digital music, an independent band might press only a few thousand, or even a few hundred copies of a vinyl record. Those albums only became more rare over the years as copies were scratched, broken, or thrown out. Likewise, master recordings could be damaged or lost, making the record difficult or impossible to reissue.
But today, thanks to the wonders of digitization, recordings can be backed up and saved indefinitely. When a formerly obscure band hits it big, fans can instantly find their early work, without having to hunt it down in used record stores or waiting for a reissue, thanks to streaming music services.
The trouble is that, even as music has become more durable, it has—paradoxically—also become more ephemeral. Your physical records don't evaporate if the store you bought it from closes shop or the record label that published them goes out of business. If a streaming music company goes under, a stockpile of important cultural artifacts could go with it.
Fears that exactly this could happen erupted this week when a financial statements from popular audio hosting site SoundCloud surfaced online. The company, which has become a vital resource for independent musicians and podcasters, lost $44.19 million dollars in 2014 even as it increased revenue to $15.37 million, according to the regulatory document filed with the UK government. The revelation led to immediate speculation that SoundCloud could go offline, taking with it the 110 million audio tracks it hosts.
It wouldn't be the first time a massive trove of digital music disappeared. In 2003, CNET shut down the original version of music publishing service mp3.com, which once hosted 750,000 song files. Three years later, the Internet Underground Music Archive, consisting of over 680,000 songs, went offline as well.
Threat to the Underground
SoundCloud says those fears are overblown. The financial document in question is now more than a year old, and it doesn't reflect the $77 million dollars in funding the company secured last year. "We're focusing on enabling creators to get paid for their creativity," a spokesperson said in a provided statement. "And on building a financially sustainable platform that our community can enjoy for years to come."
It's too early to write the obituary for SoundCloud, but it isn't the only audio service struggling to make ends meet. Last November, Rdio confirmed that it would file for bankruptcy sell its assets to Pandora.
Now Pandora itself is rumored to be for sale. Spotify, meanwhile, may be looking for a $500 million cash infusion. Losing SoundCloud, however, would be a bigger cultural blow than losing another of the major streaming sites.
While those services all host a similar catalog of music, SoundCloud has become home to countless unsigned musicians and independent broadcasters. Although unsigned artists can upload their music to services like Apple Music and Spotify, they generally have to pay a middleman like CD Baby or Tunecore to do so. SoundCloud enables musicians to publish their work directly and for free, without the need for a lengthy approval process. Meanwhile, more established artists can use it to preview tracks or connect directly with fans.
"If the service goes the way of Grooveshark, it won't just be underground artists like Plastician that lose their access to a wealth of undiscovered talent," FACT Magazine wrote last year of the company. "It'll be the majors losing their access to the next generation of hitmakers too."
Saved From Oblivion
Fortunately there are alternatives to SoundCloud, such as Bandcamp, which a spokesperson told us has been profitable since 2012, and YouTube, which has become an increasingly important part of Google's overall strategy. But SoundCloud users would have to re-upload all of their work—if they even still have copies of it. Much of what lives on SoundCloud today would likely vanish forever.
Of course, someone could end up hosting backups of the site. An organization called the Archive Team has dedicated itself to preserving the web, and has already managed to save many sites from oblivion–sometimes years after the fact. For example, in 2012 the Internet Underground Music Archive made a surprise comeback when the organization uploaded backups of the original site to the Internet Archive. Archive Team founder Jason Scott says the group is already looking at SoundCloud, though there are several other sites the team plans to archive first.
But history tells us that today's most financially stable companies and organizations could become tomorrow's nostalgic memories. Even the venerable Internet Archive could one day disappear. That's why the Archive Team started a project to backup it up. Perhaps something like Interplanetary File System, which aims to create a more distributed way of storing data online, could one day make the web more resilient to the ebbs and flows of corporate dollars. But until then we must remember that nothing lasts forever, not even on the Internet."

http://www.wired.com/2016/02/music-cant-last-forever-not-even-on-the-internet/

[whippinpost91850]

Just received my replacement FTP strat. All the ftp accessories are with this one. But it's way heavier then the first one and the paint blemish is much more like damage then just a blemish. Even though I got a pretty good deal. I'm gonna try for an additional discount. Also just like the 1st one I received it desperately needs the fret ends dressed. I'm guessing it had been in stock for along time in a dry environment

[Vade]

I'm sorry to hear that. For what it's worth you managed a bit better deal than I did and I have a very minor blemish on the back as well. Other than that I'm still researching and trying to figure out my build plan. I can only imagine what you must be going through to get yours planned out. I was just looking at this from Elantric...


https://www.vguitarforums.com/smf/index.php?topic=7699.0

"You could install the GK Internal - but make a subtle but important change  - that is adding a 1/4" Switching jack for the Normal pickups output. With the standard GK-3 Install, the three way Guitar/mix/Synth switch slightly alters the sound of your normal pickups - due to impedance loading of the GK Circuit. Adding a switching 1/4" Output jack that removes the GK circuit from the Normal Guitar output anytime a 1/4" guitar cable in inserted is a good thing. This is exactly what the Fender Roland Ready and GC-1 Strats do as well. They actually use the same SwitchCraft Style Jack used on a 1967 Fender Twin Reverb Input Jack."

Which got me thinking about what effect the FTP Strat's USB connections might have on my wiring - if any? I guess I'll be looking into that more closely tomorrow. (Along with how to tell if my fret ends need dressing;)  Hope your plans are progressing more quickly!

[Vade]

@ Whippingpost

Once again, I'm sorry to hear of your troubles. Here are a few observations for comparison.
I think my FTP Strat is in pretty good shape although I'm no set up expert. When I got it I looked carefully for cracks, warping, blemishes and the like and only found one tiny spot of missing lacquer lower rear; no biggie. Every note rang true without buzzing but I didn't examine the relief or truss rod. Action looked and felt good. Pickups passed the eye test but I won't measure heights until I do the setup. On the down side, I didn't think the guitar sounded very good but I suspect that was the fault of the strings which weren't in very good condition. I reexamined the frets today and they seem to be in pretty good shape except for a few which protrude a bit and I didn't notice the overhangs until I went looking for them. It's late winter, cold and dry, plus the fret board needs to be oiled. They seem level using a straight edge with no pitting etc.  I'll give em a bit of a polish and see how they feel as the weather warms up. I'm planning on doing my mod and then doing a more serious setup following the advice of Dan Erlewine in his "How to Make Your Electric Guitar Play Great."

http://smile.amazon.com/Make-Your-Electric-Guitar-Great/dp/0879309989/ref=sr_1_1?ie=UTF8&qid=1457037359&sr=8-1&keywords=How+to+Make+Your+Electric+Guitar+Sound+Great.%E2%80%9D

One way or another I will whip this beast into shape as it's going to be my go to guitar for mods. I'm not worrying about resale as these guitars are a niche market and so it's all for my enjoyment.

Much luck to you moving forward and keep us posted.

[whippinpost91850]

Vade, sounds like your FTP Strat came in a little better condition. I won't have much time until tomorrow to really check mine out. I'll decide then if I will return this one. I'm gutting it , but want to be able to sell the body and neck. and this huge chip on the top edge of the body will make that much more difficult.

[Vade]

@ I'm gutting it , but want to be able to sell the body and neck. and this huge chip on the top edge of the body will make that much more difficult.

"Huge chip" sounds really bad so I hope you get it all worked out and that your run of bad luck doesn't continue. It sounds like the quality control of the seller could use a little sprucing up as well.

In the mean time my evil plans are ripening. Gumbo has been kind enough to work with me to get my 8 wire jumper cable made so I can connect the FTP PCB to the GK-3 PCB and review my thoughts on the jumper configuration that I outlined in post #62 of the FTP Strat Mod thread. I'll be picking up one of his SYNTH-LYNX 13 pin jack replacements as well.

https://www.vguitarforums.com/smf/index.php?topic=15974.msg123924#msg123924

(Many thanks Gumbo. I have commissioned dozens of bronze statues of you to be erected in the major capitals of the world. Enjoy!)

I've put together a build plan as follows...

The cavity I'll make for the GK-3 PCB is directly below the ¼" jack plate oval cavity. I intend to start by drilling a hole in the jack plate oval cavity floor through the back of the guitar, widening the hole to match the oval shape, and then flipping the guitar on its face to router or dremel the rectangular cavity needed for the GK-3 PCB around the oval hole. I'll mount the PCB on the cover plate facing up and the wiring will pass through the oval hole for wire routing. I hope that's clear and also that it's not such a poor rookie design idea that it will end life as we know it throughout the western world – killing an innocent bunny in the process.

Other than that, I intend to install the S1, S2, and "mix" switches as they are laid out on the Roland Strats.

Best of luck to you moving forward and keep us informed. I'm guessing you're building a beast for the ages...