...without me having to map or manage or enter many settings - just the one that changes which synth is in use (or close to it).

Hardware or software synth? Price no object or within a price range? When you stated you don't want to "map or manage many settings" to me that means you want it to be general midi compliant or for PG Music to have a patch map available for download.

The most inexpensive solution is likely a software solution. Two choices are Coyote Forte and Roland TTS-1. Coyote is available from PG Music while TTS-1 is included with any Sonar (Cakewalk) product.

Hardware choices are keyboards that include sound modules and sound modules. Both are available used or new at prices ranging from $10 (yardsale) to $$$$$$$$$$$$$. The two most popular high end sound modules are Integra by Roland and Motif by Yamaha. PG Music sells a sound module made by Ketron. It has a good reputation for good sound at a reasonable price.

...in my mind only one very short answer is needed here! I am surprised you would not already know the answer.

Coyote Forte Dxi

The Roland Canvas softsynth is supposed to be a very good sounding GM/GS softsynth:
http://www.roland.ca/products/sound_canvas_va/

Note that I have no experience with this sound source.

That's interesting MarioD. Soundcanvas has a pretty big reputation. It's only $125, too. Hmmm....

I'm a big Roland fan, and the Sound Canvas series in general. I really want to try this, but the "Reminder" section concerns me;
"No plugin bridge will enable to run 32bit SOUND Canvas VA on 64bit OS/DAW environment."

Just thought I'd mention it. Has anyone with 64 bit OS used this?
It wouldn't bother me if they meant it ran only as a 32bit app, but if it can't run in a 64 bit OS (even when using a bridge) that is quite different.

Yes I run win 7 Pro 64

I ran the demo just for grins (I have an external SC-8850, besides all the other gear and SS's I own, and the sounds of this plug-in are IDENTICAL with IDENTICAL maps so not worth it TO ME at $125 - duplicative)


The 32 bit version makes no sound within BIAB and didn't spend a lot of time trouble shooting but the 64 bit version works just fine in BAIB (using JBridge obviously)

I sent PG support few questions on this an their reply


"

Hi Larry,

I have seen plugins with very larger control panels get cut off, but the Sound Canvas VA's control panel is pretty small so wouldn't normally get cut off like this. I do see why it's happening though.

When you first select the SC VA, its control panel is pretty tiny, and only expands to show more information when you hit the Part, FX, or Options buttons. This is fairly unusual behaviour, most plugins' control panels have a fixed size. I've never seen one that shrinks and expands like this before.

The size of the window is set when the plugin is first selected, and simply doesn't refresh when the plugin is expanded. Frankly, I wouldn't have expected it to, this was an odd design decision on Roland's part.

Regarding the "no sound" issue, the trial version of the plugin is silent for me too, it doesn't seem to be responding at all to the General MIDI patch changes or notes being sent to it from BIAB.

I have a feeling that if we could see the entire interface I'd see a setting that would affect this. I'll let the development team know about the control panel getting cut off, hopefully this can be improved. Once that's resolved we'll likely be able to figure out why it's silent.

I've only tested this with the 32-bit version, but will test the 64-bit version on a different computer once things have slowed down here a bit following the sale.

Thank you,
Kent
PG Music Inc.
Important Reminder: Please include all previous correspondence when replying to this message.


On 1/06/16 12:33 PM, Larry Kehl wrote:

1. I’ve mentioned this in a previous version(s) of BIAB (and PT and RB)

Issue: some VSTi/VST plug-ins when you open their “window” (edit , etc.) BIAB/RB/PT doesn’t allow for or open a large enough window see whole app’s working window.

A GREAT NEW example is the new Roland Sound Canvas VA plug-in (http://www.roland.com/products/sound_canvas_va/downloads/ )


You don’t need to buy it you (for trouble shooting) can download the trial version and see for yourself.

2. While you are at it the 32 bit version of this sound canvas makes NO sound in BIAB, RB or PT (no audio) but you can see the parts playing in the display window) . However, the 64 bit version DOES generate audio.



BTW this new Sound Canvas VA - both the 32 bit and 64 bit versions: work in Music Creator ( 32 and 64 bit) Sonar Platinum (32 and 64) and Mixcraft (32 and 64 - with some issues there) and Reaper 32 and 64.

"

Weird; the Reminders section on the Roland page seems to say the opposite to me (regarding 64 bit OS and bridges).
If it sounds 'exactly' like a SC-8850 then it may be worth investigating. Thanks.

Ketron SD 2

Thanks for info Mario.

Will this be the same set of sounds that I already have when using the Roland dxi on my 32 bit windows7?

Thanks
Musiclover

I have a Ketron SD2
I have to say that for its size and price, it's pretty impressive as a hardware device.

It seems to me - the next logical question or suggestion is - and I don't know who would bother but it sure would allow people (like me ; ) to judge for themselves:

Have our best sound engineers on this forum select between 3 to 5 songs per genre, and record playback from each of the Synths listed above. Create a soundclips page so we could all listen for ourselves - and THEN continue this discussion.

Ok - who's gonna do it : )

Kontakt by Native Instruments would be my recommendation.

1. It is a software synth and it will work with any inexpensive midi controller/keyboard.
2. It is a sampling synth, which means it has sampled instruments in it's library and not just the patch based lower quality sounds you find with many synths that are lower priced.
3. It's in the $400 price range
4. It is professional quality and many pro's use it in their scoring work
5. It has the most after-market sound libraries out there and available at a very reasonable cost.
6. It works as stand alone or as a VST in a DAW

You want samples created by the synth mentioned? Kontakt as well as some other NI synths were used in these productions. These were before I got BB/RT

March To Tobith Rey-Al http://soundclick.com/share.cfm?id=8968632

End of the Line http://soundclick.com/share.cfm?id=7202047 notes on EOTL drums are programmed in Jamstix using a Battery (NI drum)kit. and bass is Kontakt. I really enjoyed working up the guitar parts for this song.

Give Me A Chance http://soundclick.com/share.cfm?id=10977017 Kontakt is used in this at 3:10 for the female choir in the background behind the little girl singing. The song is essentially done in BB/RB with Kontakt for the choir.

This is just a sampling of what you can do with Kontakt. It is a very versatile synth, adding the unique touches to a BB/RB production to laying down the drums and bass parts for a more conventional style rock/country song, or into a more full orchestral kind of thing with cellos and french horns and viola sections. It's limited only by your imagination and skill set.

I quite often will use a synth of one kind or another.... my 2 favorites are Kontakt and The Cakewalk Sound Center. If for example, BB/RB isn't giving me the kind of bass line I want in a song, the quickest path to the right one is to load the synth and play it myself.

The Caddy song https://app.box.com/s/8zwr48mczf1isj64tnwu classic example of a bass line that is synth since I could not find a satisfactory RT that worked like I wanted.... it needed to channel Dusty Hill... as I recall, this is the CSC Ricko.

Hope this helps you a bit.

Joe, your initial message states "...without me having to map or manage or enter many settings - just the one that changes which synth is in use (or close to it)." Thus it appears to me that you are looking for a General MIDI sound source. This would eliminate Kontakt, SampleTank and all of the other best sounding sound sources. Note the best sounding comes from the more expensive, sometimes specialized, sound sources.

What genre of music are you going to play with this sound source? Some GMs have better sounding strings than others, some better horns, or ensembles, or guitars etc. The only GM that allows you to change sounds, AFAIK, are the old soundfonts(sf2). With a free sf2 player and a free sf2 editor you can pick the best patch for you and place it in the GM sound source. But these will only sound as good as some entry level sounds like those that come with BiaB/RB.

Thus my advice to you and anyone else that wants to really get into MIDI is to quit using GM, learn about setting up non-GM MIDI sounds and learn about MIDI controls, i.e CCs. More work, yes. More cost, yes. But one hell of a lot better sounds. DL the free Kontakt player and listen to a few super MIDI tracks through it and you should see what I mean.

http://www.native-instruments.com/en/products/komplete/samplers/kontakt-5-player/free-download/

I think the Coyote and Roland SOFTware synths sound lame.

Ketron SD-2 is probably your best all-around choice for a reasonable price.

That's my opinion anyway.

Yep. The synths that are included with most music software like Cakewalk and others are the GM basic synths that use patches.

I never wanted to spend the time to learn how to map midi and use controllers. All I wanted to do was hit a key on my controller and hear the sound of a cello, or a violin, or a piano on a concert stage. I didn't want to program or map anything.

I have Kontakt as I stated. I insert it as a synth into my project. All I have to do is tell the software what channel my controller is sending on.... in my case, channel 6... (yeah I have my reasons for that) ... and it could just as easily be OMNI in which case it would be Insert, select the sample and play. Nothing is fancy or complicated about working with the better synths.

The advice to "quit using the GM synths" was, in my humble opinion, spot on. You get better sound from the better synths. Setting them up is a quick and simple matter once you do it a time or two.

The BEST? Careful what you ask for.

Software:

http://www.americanmusical.com/Item--i-NAT-22833?src=Y0802G00SRCHCAPN&gclid=CjwKEAiAluG1BRDrvsqCtYWk81gSJACZ2BCerSvrM9RaR2XUKapD3FVdkIOR0rtLbZqdLxdEybUO1RoCwDHw_wcB

Hardware:

http://www.sweetwater.com/store/detail/I...DV-wRoCvLzw_wcB

And forget simple plug and play GM stuff, no setup required and all that. No, you get to learn how this stuff works if you want the BEST sounds.

Now if you lower your sights a bit and want "good enough" sounds with GM capability then yes, the hardware Ketron SD2 for about $500 is right there or Sampletank 3 with some expansion soundsets. Oh, forgot no GM with Sampletank either except for the old Omnisynth that's not bad. There's even a good post about using it in the Tips & Tricks forum because it's still not easy plug and play but it can be made to work fairly close to that with a few hacks.

And..



Already done, been there for years:

http://www.pgmusic.com/dare-to-compare.htm

Bob

Tried this in biab and rb and though the GUI in the Rooland VA shows midi getting through to it, no sound. Messed around for a while to try and get it to work but no joy.

Musiclover

GM synths have an unjustified bad name with a few users - mostly users who have never had a good one.

GM simply assigns standard patch numbers with the same instruments so that sound (patch) #1 is a piano #33 is an acoustic bass and so on on all synths.

Some synths with GM banks are lame, and others sound excellent.

Some synths without GM banks are lame while others are excellent.

The presence of a General MIDI bank has absolutely nothing to do with sound, simply a standardization of the numbers used to call up various instrument sounds.

The Ketron SD2 and the Edirol SD90 both have excellent GM banks along with other sounds. I own those, that's how I know. Plus I'm sure there are plenty of others.

And if you don't want to learn to use continuous controllers, that's OK, but when making your own music, you will be limited by the sounds and not necessarily the nuances that make those instruments expressive. It's like learning to play guitar but not learning to bend the strings, adjust the angle of the pick on the strings, or use the pedals and whammy bar.

Insights and incites by Notes

what Notes said!

I think it can be hard to wrap the brain around Midi, so let me say the same thing about GM in a slightly different way.

1) BIAB MIDI is presented to the synth using the General Midi patch numbers. So if you start with a GM synth, your piano parts will be played by a piano patch. string parts will be played by a string patch etc. In other words, a GM synth makes it easy to get your songs to sound right when used with BIAB or RB. Really no learning curve at all.. it just works.

2) Hardware synths that have a GM bank also typically have several NON GM banks... which means they probably include patches for lots of other instruments as well as many variations of the GM instruments.

3) If you like one of the non GM pianos better than the GM one, BIAB, RB and just about every other DAW provides a way to select any of the patches available in the synth. If you use a patch map, its as easy as picking the patch from a list (same as the GM patch map, only a lot more choices)

so it doesn't have to be any more complicated than picking a patch right now if you use patch maps. And this is one advantage hardware synths have over soft synths: for most hardware synths you can find a patch map that's already made and ready to use in BIAB or RB.

Sonar/Cakewalk users have compiled a huge list of patch maps (they call them "instrument definitions", or "INS files") but BIAB has a built-in conversion utility that can make a sonar INS file work as a BIAB patch map.

quoting Notes Norton again:

Joe, you and I have talked in the past, and I feel like I know where you are coming from pretty well. If you want the convenience of good sounding MIDI in BIAB and RB without any learning curve at all, the Ketron is a good choice for you. And later, if you want more, it also has the non GM banks that will give you more options and many more instruments from which to choose. And I'm sure somebody here on the forum already has the Ketron's patch map, so you wouldn't have to search for it.

MarioD or others can you suggest sites where we can learn about this not just the list of the controllers but examples of application of their use

thanks

The problem with GM is the number of instrument choices even if you have the very best GM sound bank in the world. Example, say you're doing a country tune and you want a nice steel string guitar. Your GM sound bank has one. Count em, one steel string guitar. It also has one electric one jazz and maybe another one. That it. Now that one steel string may be a very good one and it sounds great. But, my Sampletank using the Sonicsynth library has at least 25 different electric guitars to choose from, none which is GM. I've got distortion, amp modeling, one called Dark Prince, another one called Chet something, many different choices.

If you're happy with one good guitar patch great. GM is simple and easy.

As far as cost a decent but not the best, softsynth is about the same as a good hardware module, roughly $500 and there are good and bad points to each.

The biggest plus for software is no desk clutter with midi and audio cables running around plus the big one is fast rendering of your midi tracks to audio. When you look at your "save as" choices one is to render all DXi/VST tracks to audio. A typical 4 minute song will render in 15 seconds to a minute depending on how fast your computer is.

A hardware module can't render. You have to route the audio out from the module back into your computer record it in real time just like the old days with a live band. A 4 minute song takes 4 minutes to record.

Bob

Google/bing Learning MIDI and you will find a ton of information.

IMHO you will learn more by looking at the list of controllers and comparing it with your synth's MIDI implementation chart. Note some soft synths don't have one but they do have a learn MIDI function, more on that later.

Most but not all synths (by synth I mean hard and soft synths) use CC7 or CC2 for volume with CC11 as a subset of them. However Garritan and possibly others use the mod wheel, CC1, for volume. Others use CC1 for vibrato or filtering. In other words CCs can be left to the discretion of the MFG, thus setting examples may or may not work exactly the same for you depending on your synth.

MIDI learn function is a system were you can dedicate any knob. slider or button on your MIDI controller for a function on your synth. For example my keyboard controller has 9 programmable sliders and 8 programmable knobs. I have two knobs dedicated to volume and pan on all of my synths. For my Hammond B3 soft synth (NI's B4II) those sliders are programmed for the synth's drawbars but are programmed for other things in other synths. It's not hard as you can just right click on a soft synths function, select MIDI learn then just move a slider or knob on your controller, then that slider or knob will control that function. You can also program a specific MIDI controller knob or slider to send a dedicated CC. For example one of my keyboard controller's knobs only send CC7, usually volume, while another only sends CC10, almost always pan.

Actually these things are harder for me to explain than to it is to do. It is very easy to do and I can show you a lot faster if you were here.

The main point is giving you examples may or may not work the same with your synth.

I hope I didn't confuse you too much.

Here is my response:

PG music has some pretty decent stuff built in to Real Band, like the free Sample Tank synth that comes with it (IK Multimedia) and ye olde Coyote for very basic stuff. Moving beyond that you may want to check out Garritan's sample libraries for piano, orchestra, and Jazz Band. The Garritan Personal Orchestra and Jazz Band samples are great. The Abbey Road Grand is amazing. All compatible with Real Band. Garritan libraries can also be bought in packages on the PG Music site. Google Garritan.

If you play the notes yourself, any decent keyboard with a midi out will do, because you are only looking for the keys to drive the software synths, such as the Aria Player. Obviously in this case, you are playing the keys into a midi track in Real Band or another DAW and assigning an instrument patch from Sample Tank, Garritan or another software synth. (Soft synth.)

If you are simply taking BIAB generated midi tracks such as strings, you probably still want to run them through a player such as Aria if you want a real piano sound, for example.

I use Sonar to produce in, and that comes with a lot of free and excellent built in synths that are probably more than you will ever need, if you also have some classical stuff like Aria. The Session Strings in Sonar are actually very, very nice.

The learning curve on all these soft synths can be pretty steep but it is worth it once you figure it out. To start with, why not fool around with Sample Tank in Real Band and get a feel for how it goes? Then check out some of the other synths other folks have recommended, once you know what it is you want the most, orchestral strings, or Motown. Different synths suit different purposes.

As a side note, I am finding that is is actually easier to record and edit audio in Real Band than in some other DAWS. I think Real Band gets overlooked or underrated sometimes when actually it is totally awesome for recording a nice clean audio signal, and editing is a snap. I almost never get clipping with Real Band even if I have my amp turned up to 11 and the mic shoved right in front of it. Then once you have really clean audio tracks and Real Tracks you can move them to a DAW like Sonar that has all the fancy production stuff and more soft synths for midi than you will need, probably. The midi export dashboard in Real Band is a dream. Another piece of really sweet programming that doesn't get the praise it deserves.

I hope this makes sense. Tell me if it doesn't and I will try and be more specific. It takes a while to learn the ropes with midi and soft synth production. It isn't always easy so if you're frustrated any at all, you're in good company.

In a natural progression... most folks start with the basics and them move up the ladder one step at a time as they discover the need for something better.

My progress was along this line, and followed it very closely in this order.

TTS basic synth..learned how midi worked and made music with it.

SFZ sound font player: Sounded better than some, but not all, of the TTS patches

Garritan Personal Orchestra: a nice step up in quality over the GM libraries and fonts.

Miroslav Philharmonic: similar in quality to GPO but had different tonal qualities

Kontakt (actually the Komplete Kollection package): Step up to the big leagues in quality and versatility. Nice quality sounds, and huge libraries and after market products.

East West Silver << this was a free full function limited version. It contained some really nice string sections, but it was limited and simply intended to give you a taste of the full, very expensive, but extremely nice sounding E/W offerings.

Bob (jazzmammal), judging from your last post, I suspect you just never had a good GM synth.

Only one acoustic guitar?

The General MIDI bank on my SD90 has 16 different acoustic guitars for patch 26

It also has 16 different acoustic guitars for patch 25.

Clean Electric? 16 different electrics on patch 26 including Tele, Strat, 335 and others.

GM patch 27 provides 4 jazz guitars and 4 pedal steels including a Hawaiian

16 different muted guitars (GM patch 30)

12 different distorted guitars (patch 31)

and 8 different harmonics or feedback patches (#32)

All GM patch numbers and it's easy to get to the alternate sounds. You can either twist the knob on the sound module or assign MSB and LSB numbers in the patch assignment dialog box in your sequencer.

So not all GM synths give you one sound per patch number. Like all things synth, it depends on the synth you use.

And as I said before, a couple of nice things about hardware synths are

(1) you can use 16 or 32 at a time without causing any problems with your CPU maxing out

(2) since the sounds are stored in ROM instead of each note being created by the CPU, in a good synth, the sounds can be much more complex

(3) since there is virtually no latency [about 5ms] you can mix and match as many synths as you want, picking the best sounds for the particular song

(4) when your computer OS upgrades or if you decide to switch platforms or even use them with a tablet, keyboard or other computer, they still work and will probably work for decades to come.

Insights and incites by Notes

Ok, didn't know that. I see it's been discontinued so I can't find the original price but Amazon has one for $875. It looks like that's a very high end module.

I stopped using my hardware for a variety of reasons. I think my comment is still correct for all the softsynths.

Bob

As always - thank you all for your informative responses. I like to throw these open-ended questions out to learn what I don't know I don't know...and I did learn some of those things for sure.

Sometimes - I jot down a few of the comments - and when I see a sale or something, just buy one of the new largely recommended toys listed. I'm not nearly serious enough about my recording (hek, I really don't do much recording at all) - but I LOVE knowing what's out there and tinkering with some of it.

Yes - this sure is an expensive hobby for someone that likes to discover and tinker rather than professionally record his own music, but - as Popeye says "I am what I am"...

I have found Recording is one of the best ways to improve your playing

Bob, it's true that a high end synth costs a few bucks, but when you consider that by the time you collect a few soft synths you are going to spend that much anyway, and add the longevity of a hardware synth, you end up saving money.

When the OS changes, even 30 years later, your hardware synth will still work. Even after USB changes to whatever is next your hardware synth will still work.

And you can pick up a Roland XV-2020 for around $200 and still have a few banks of sounds. It's a nice sounding module as well.

And unlike Real Tracks, the synths will play whatever you create.

I see we have two different approaches here, and as I've always said, there is more than one right way to make music.

Insights and incites by Notes

ABSOLUTELY 100% right on target.

Like singing, you can sing or play along with the radio and imagine you are as good as the artist on the record, but when it's just your singing and playing coming out of the speakers, man I'll tell you what, reality sets in might fast....and it's brutal at times. That's what makes karaoke so hilarious. You get folks who have sung along with their favorite songs and artists and suddenly, it's just them.....

Think you can sing, play or have good tone? Record it, listen to and and make adjustments, practice, develop your techniques accordingly. Recording is in your face honest. It doesn't lie. But it can also be your best friend towards improving your chops quickly.

Melodyne, not for it's ability to correct the issues, but for it's ability to SHOW you the issues, is one of the better tools for working on your vocals.

Very well said!

I wholeheartedly agree.

Recording yourself is a great practice tool.

It doesn't have to be studio quality, just good enough to show you the places where need to work on.

Insights and incites by Notes

To GuitarHacker's point about Melodyne - are there any entry-level articles to teach me how to use it to improve my vocals ? Also - what's the best price I will get it if I keep my eyes open (and which vendor).

Also - to the point about the brutal discovery of how one actually sounds...I've experienced this way too many times...it is truly eye opening to record yourself and only yourself performing a song.

The voice always sounds different to your own ears than other peoples - mine sounding so bad to my own ears I pretty much gave up on singing (in front of people, that is ; ) I'm not sure my voice could be pleasant enough to others to warrant all the singing practice it would take to make me feel like I can actually deliver a fair to good performance best utilizing my God-given abilities.

People don't care about your voice, they care about expression. Work on that.

Examples of multi-million sales singers with bad voices: Bob Dylan, Stevie Nicks, John Lennon, Dr. John, and the list goes on and on and on.

If you can express yourself well, and in a manner that resonates with the audience, it doesn't matter how bad the tone of your voice is.

Working on the fundamentals of singing can improve your voice, which will make it sound better to yourself, and will also give you enough control to be able to express yourself better and therefore connect with the audience.

Tone is over rated. Of course, it's important to musicians, and it should be, but we listen with musician's ears, the general public does not.

Just think of all the bad sounding popular formats people listen to when there are or have been better alternatives. 45rpm records, cassette tapes, 8 track tapes, mp3s, and on walk things or phones with tinny ear buds.

And what is good tone anyway? Since there are a lot of guitarists on this forum I'll take one example. Answer me this, who's tone is better? Jimi Hendrix, Jimmy Page, Eric Clapton, Slash, Carlos Santana, Jim Hall, Eric Gale, Kenny Burrell, Joe Pass, Zakk Wylde, Terry Kath, Dimebag, Johnny A, John Abercrombie, T-Bone Walker, Scotty Moore, Eddie Van Halen, Kieth Richards, Brian Setzer?????

IMHO in order of importance what you need is

1. Expressiveness - this is what connects to the audience
2. Technique - this is what you need to be able to get your expression from your soul to the ears of the listener
3. Tone - least important of all, but definitely a plus if you have it so don't ignore that, but work on the others more

Back to the original question, I still recommend the Ketron SD2. But since I haven't heard all the synths I'd like to, there might be a better one out there that I just haven't had the pleasure of playing with.

Insights and incites by Notes

Thanks for the encouraging words Bob...very inspiring.

to enhance what Bob Norton says:

Tone is THE property to make YOU sound unique.

The better YOU are, the better the chance you might be copied.


(There are many sound-a-likes around, but they never came close to Elvis, Garth Brooks, Frank Sinatra... For some reason, some singers have a quality to outsing their copies on the long run.)

How true!

Back 'in the day' many wanted to sound like Elvis, and a few came close in tone. But they never quite got Elvis' expression. And those that finally came close came with too little and too late.

I suppose a number of people could cover the Dr. John gravel voice, but I doubt that they could copy his personal expression too.

The Knickerbockers released a song "Lies" that sounded quite a bit like The Beatles, and they did an excellent job at it as well, but they would never be as big as The Beatles.

Your voice is unique, and your expression should be the sum total of all who influenced you plus your own instincts all blended into something that comes out unique. You don't have to be a copy of someone else unless you want to be in a "Tribute Band".

Of course having a great voice helps, but it's the expression that counts. So don't sell yourself short by saying you have a bad voice.

Take at least fundamental vocal technique lessons, breath support, projection, pronunciation, etc. and then sing, sing, sing. Every day, out loud, holding nothing back. The muscles need to be toned.

I had days when I thought I could never be a singer. I started on easy songs and in time I got to be a very good singer. I'll never be an Elvis, Tom Jones or Sinatra, I don't have that fine of an instrument. But I am expressive, have good control of my voice, and the audience loves it.

Charlie Parker (a great, innovative sax player of the bebop days) had a drug problem (not recommended) and had his horn in pawn shops from time to time. He would play loaners, or el-cheapo horns to gig, and even played with a plastic sax. Nobody cared because out of the horn came Charlie Parker's expression.

Just remember, voice is an instrument and it requires learning the fundamentals and practice to get decent.

Insights and incites by Notes