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Making this backing track was a part of practicing for me. :) Being able to play the chords like a backing player helps a lot in maintaining a sense of what's going on.

What version have you tried? This is in the same key as Bobby Caldwell's original. On the recording the tuning is not exactly A=440 Hz though.

@ Oh really? Guess I was mistaken about it being in minor key then. I’ve sung both the original and slowed version(multiple ones) but neither worked out for me. The former was too fast a tempo for my voice to properly resonate while the latter required me to hit really uncomfortable notes that weren’t as clear as others.

Thanks! I'm completely self-taught so I don't know what my playing is based on, but I _think_ my phrasing comes from playing melodies and chords by ear, pretty much exclusively. That's all I ever did musically when I was young - play melodies, riffs, chords, other solos by ear. Any aspect of music I heard, I wanted to be able to reproduce. And play live in all sorts of live settings, where I just had to follow by ear what was going on, little or no notation used or available particularly in church meetings where it wasn't uncommon to have to accompany a song without ever having heard it and no written music either. Piano and keyboards were my first self-learned instrument, and I got a very strong practical harmonic framework from playing keyboards by ear. I think I was over 40 when I started to do any kind of systematic guitar technique practicing. My biggest problem is inaccurate timing and blurriness of phrases. I should decide on and nail down the specific rhythms when improvising, and try to to make the notes sound as precise as a drum beat. I must not leave any ambiguity as to what the rhythm is, but like everywhere in this video, I'm starting notes at imprecise off-beat and making late decisions, a fraction of a second before or even after starting a note. It doesn't have to be that messy. This was almost two years ago and I hope I've progressed a bit. If you want to learn phrasing in this style, I suggest repeating s phrases by ear. Listen to a phrase, for example in vocal music, and repeat it on your guitar. Of course you should first find the key so you can reason about what's where and what the notes are relative to the key center. Another very musical thing to do is listen for pauses in a melody, and play licks or counter-melodies in the empty spots. Slow rnb/soul music is full of practice material. :) Here's an example playing over George Michael's Careless Whisper, it's in D minor ruclips.net/video/BblTd3XaTZ0/видео.html I can't promise it works for you, but it's worth trying, and I think it's a very useful musical skill anyway. I like the LTD Mirage Deluxe '87 a lot. With that, a strat and a 335 clone I have all styles covered that I like to do. The neck pickup with the humbucker split works even for blues. The only downside with the LTD is the Floyd Rose tremolo which can be a hassle sometimes. I hate changing the strings and adjusting the intonations etc. But that's the way they are.

Here's another example of what I mean with leaving space, now actually using the space to play responses. If I actually play the responses or just imagine them, letting my left hand "breath", it doesn't matter so much, the main point is to use the breathing spaces as punctuation marks for phrasing. ruclips.net/video/dsopN7IxAFc/видео.html

Do you have a Steinberg UR44 and an MPC? Go ahead and test it. I got rid of the MPC three years ago already.

The drum part was just some quick-and-dirty MIDI copying of a short snippet of what's on the recording. You can extract the drums from this audio with Ultimate Vocal Remover or Demucs.

Thanks. :) There are mistakes in my charts too. I'd like there to be more comments about errors, and opinions about what works and what doesn't work etc. It seems to be the norm to only say bland things like "wow nice". ;) Perhaps it's not considered polite to be openly critical. Or maybe people have figured out that it doesn't do anything good anyway.

no idea anymore but I think it was really straight-forward, crank stuff to extreme settings, minimum or maximum

kill eq

no

The voice cloning tool is called Applio or Applio RVC. It has very good documentation which should explain all aspects about it in great detail. Basically, an audio .wav file is fed into the AI application, and it produces an output.wav file.

Thanks! It was a coding experiment, trying to construct a 1k Windows music routine completely differently than what I had been doing previously. Oddly enough, I made this on a trip to Japan, on a laptop with a very low-spec GPU. Looking at this prod always takes me back to a certain time and place in my life. :)

It apparently only works with Odyssey. For some reason, Akai hasn't implemented poly aftertouch to any other synth.

Note that I'm using the Odyssey plugin specifically, and the Force's pads, on this video. Odyssey understands aftertouch i.e. "polyphonic aftertouch", and the Force's pads send (poly) aftertouch. If you mean MIDI Learn and channel pressure, it doesn't work. Channel pressure i.e. "monophonic aftertouch" is not one of the parameters that MIDI Learn understands. Generally speaking, if you can get something, anything, to work with the Force, you should stick to that and consider yourself lucky. Everything is somehow crippled down, there's always something that prevents you from doing exactly what you had in mind. For example, the mod wheel cannot be used with the Odyssey for vibrato, because it bends pitch to positive direction only, not positive and negative around zero. You cannot use Keygroup instruments as leads, because there's no real legato - every new note re-triggers the sample and envelopes. And if you use mod wheel with keygroups, it's not saved with the project, it resets to no mod wheel every time. Envelope followers are a nice feature, but when loading your project back, they don't start actually doing anything until you switch them off and back on.

What you could try is, use an Odyssey plugin to translate aftertouch to audio volume, or some other plugin to translate channel pressure to audio volume. And then use an envelope follower listening to that audio, and control some other parameter with the envelope follower. Dunno if this works or not.

@@yzimsx TY very much for your effort to answer. I see...the FORCE is very complete...but still needs some complementary equipment with it.

@@abbyncanarias5954 Something like a Blokas Midihub will solve a lot of problems and make impossible things possible.

The small black box to which the RJ45 cable goes from the Line6 Floorboard, it contains an Arduino microcontroller which translates the analog signals from the Floorboard to MIDI messages, which are sent to the Mooer Ocean Machine.

Just plain Pygame and some programming :)

@@yzimsx thanks I'm going to work on something similar. This seems so useful for learning.

Is there some bar in particular that throws your modal sensor off balance? IMO, when I start soloing over this, it's kind of vague enough to let me maintain a Lydian illusion, but some parts tend to lead me off if I don't concentrate, even out from tonal center E, even though the bass is playing E all the time. Particularly the highest chord notes seem to be effective in this.

if listening for pleasure, overall surely has that lydian vibe, even when it shifts tonal center...when jamming lydian works until a few notes clash with the chords. Its all good, though, I just note when the chords dictate where i need to change available notes. Its easier if I create the chords myself ( (if you write it you know when you are shifting keys or tonal centers), but its also great exercise in using just my ears and shapes as tools to figure out what works and sounds good/interesting/expresses what want from that progression@@yzimsx

@@clydespace411 For listening this is a bit repetitive because it's just an 8-bar loop. ;) But yeah, a single bass note is in some ways optimal for modal jamming, because it lets the soloist freely create the harmony. The quartal chords are a very interesting device too, being mostly accustomed to tertian harmony. If you're interested and you have a looper, try creating a pentatonic line and improvise the chords, like this ruclips.net/video/SeVYQ2-FoFE/видео.html or this ruclips.net/video/CKwIjORXsuM/видео.html It's a very different feeling compared to the usual setting where a chord progression is provided, and you have to "ride" it. Now it's the other way around - you improvise the big waves.

@@yzimsx thanks, that's a great an interesting idea for an exercise, I haven't exactly tried it (inverting improvising the chords over the existing lines). But the idea its close to something I do in my improvising, I often work playing a full chord over the looped progression... sometimes sounds so cool to play a full chord over a different chord and yet it works. It can be such ear candy when it works, and I don't hear it real often in other playing. Of course you can arpeggiate it but i'm surprised how often it works playing it as a chord. Your exercice also has me thinking---when writing--- if I start writing with bass instead of on guitar, its like I wind up fitting chords over the lines when adding the guitar. I can see why so many bass players wrote songs. But its a really different approach from writing chordally.

@@clydespace411 I think you're on the right track! I suggest spending time on accompanying songs by ear, so that only the melody is given and you get to or have to produce the whole accompaniment. If you keep doing this, it will teach you arranging skills.

It's the factory default but octave up, knobs at 12 oclock and sound type 1 "lead", variation 2. There's not much more in the recording, I took this small bit because it's enough to show the idea, I think.

I don't think so, sorry. You purchase a suitable Arduino or compatible microcontroller with an ATmega32U4 chip, such as Pololu A-Star 32U4 Micro. And then you program it using the Arduino IDE or Visual Studio Code with the needed plugins/libraries. Source code is in the description. If you're not into programming and DIY stuff, it's not for you unfortunately.

The chords in bars 3-8 are diatonic quartal chords in E Lydian (or B major). If you want to play them on the guitar, here's a diagram for C major, and once you learn these patterns, it's easy to shift it wherever you want on the fretboard ruclips.net/video/rIGKdHJwr8k/видео.html

I found an old simple version of the code and put it in the description.

​@@yzimsxthanks a mill ❤ I will try this, my coding skills are pretty basic but I enjoy a challenge.