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#18993 04/03/09 01:00 PM
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Greetings,

I just wanted to let the forum users know how effective BIAB has become as an all around Arranging & Producing tool for Live Performance. I played in a Latin Jazz Fusion band for the Acapulco Jazz Festival and we suddenly had 10 extra minutes of showtime to Produce. I was given 2 hours notice of this. Using BIAB, I was able to compose the melody and chords, harmonize the melody, print out high quality parts AND rehearse the song before playing. The whole thing took 39 minutes, and the guys in the band (and the audience) seemed to be very pleased. Here is a very short Youtube video of the final performance:

https://www.youtube.com/watch?v=kuNzlv71ze0

A big thanks to BIAB and PG Music for making my musical life much easier!
Ed

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Very nice, Ed, and great band!

Or should I say, "So What"? We just had another thread about songs based on the changes from other songs...


BIAB 2025 Win Audiophile. Software: Studio One 7 Pro, Swam horns, Acoustica-7, Notion 6, Song Master Pro, Win 11 Home. Hardware: Intel i9, 32 Gb; Presonus 192 & Faderport 8, Royer 121, Slate VSX, Adam Sub8 & Neumann 120 monitors.
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Mucho tres kewl.


John Conley
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Nice gig, man.

You havin' fun!


--Mac

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I know it seems like I show up on this forum only to discuss BIAB problems,
but I need to say that BIAB has changed my musical life ever since that day
a dozen years ago whenI was strolling down an aisle at NAMM and met Peter
Gannon at the PG booth. After about 15 minutes of his demo, I had my
credit card out (and I'm a stingy guy)! I constantly use BIAB to:

* practice (play along)
* arrange tunes and guitar parts
* print out transposed charts for the horn guys
* illustrate theory examples when teaching lessons
* record backing tracks for some gigs
* reharmonize tunes
* find the right key for singers
* educate myself on Latin rhythms
* burn the head of an unfamiliar tune into my brain
* etc.

I could keep going with this list, but you get the idea. So thanks from me too.

Nate

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A huge thank you from me too. BIAB has changed my life, and has brought back the fun in arranging. I've used it for a few years now (OSX and Windows versions) and it's the best investment I've ever made in terms of software. The realtracks are truly awesome, jaw dropping insanely great. I'm currently recording an album with a female singer and we're using BIAB on all tracks.

So... thank you PGMusic!!!!


Hens Zimmerman

PS: Those waiting for the OSX version should simply install bootcamp. It's very easy and I kinda regret not having done this earlier.

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So here's a different take. I love BIAB, too, but from a different perspective. I'm using BIAB songs by others and modified by me for my wife and I to play at retirement homes and hospitals. We used to use canned karaoke tunes. Our use of BIAB has save us many hours in cutting and pasting in a wave program.

BTW, could that be a Kanstul 1525, like mine, being played? Now that's a sweet horn.

Stan


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Quote:


BTW, could that be a Kanstul 1525, like mine, being played? Now that's a sweet horn.

Stan



I don't know what is used in BIAB, but I have one. It is a great horn.


BIAB 2025 Win Audiophile. Software: Studio One 7 Pro, Swam horns, Acoustica-7, Notion 6, Song Master Pro, Win 11 Home. Hardware: Intel i9, 32 Gb; Presonus 192 & Faderport 8, Royer 121, Slate VSX, Adam Sub8 & Neumann 120 monitors.
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Greetings all,

Thank you so much for the kind comments!

Yes, that is my other ¨Baby¨Kanstul 1525, I´ve had just about every Flugel out there, and for me the 1525 is the bomb. I think Matt Finley is playing one also.
When the new Mac version of BIAB comes out, I will be in total music heaven. Having switched to Mac OS Leopard and the New version of Pro Tools, there has never been a better time to make music on your computer. At least for me, gone are the days of Driver and Latency issues, crashes, odd midi timing, etc.

As Peter says........¨Have Fun!
Ed

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You are so right on, Ed. I had a Kanstul 1025 which also has a nice tone, but the 1525 is even better. Even my wife, a flute player who hates trumpets, loves the 1525 tone. I got a custome trigger setup on mine to match the 1025 setup. Flute players absolutely will not tolerate sharp D's and C#'s.


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Slide on 3rd valve, trigger on 1st valve slide if needed, plus train the ear.

Don't use any slides or triggers for certain practice goals, "lip" it in.

Then, when you use the trigger, its a breeze to stay tempered.

Nuthin' hampers an ensemble of any genre like an out of tune trumpet section except an out of tune bass...

Judging from the heard evidence, far too many trumpet sections haven't worked on the above, eh?

First thing I do when I lead a section is set up the Stroboconn, give 'em some visual feedback -- really helps a lot for those who get into it and WANT to improve.


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No tempered 3rds in the Brass Band. Circle the note, Pythagorean thirds. Tough on a 3 valved baritone, marching or for brass band. Usually use the 3rd valve in lieu of 1 and 2, it's flatter.

Euphoniums with the 4th valve are easier to play in pitch.

And of course Trombones are the perfect instrument, in the hands of someone who knows what the are doing. Especially if I have an itchy ear. They sit behind me....!


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Modern US military bands tune and play to tempered scale though.

I dig that sound better than the Just or Pythagorean, which actually must be changed, either by lip and ear or sometimes via the slide too, if the song changes keys out of the four that the Pythagorean tuning is set for at the time.

Arrangers shouldn't write modulations outside of the magic diminished quad where that tuning works. The Tempered Scale may be a tradeoff, but it opens up those horizons, among other things.

Recreating the old band sound is another thing entirely though and has its own merits. I know very few players who are able to switch back and forth successfully without needing a time period to acclimate from one to the other or back.


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Hi John,

It is always great to read your interesting, honest and well informed comments
jazzman


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Now, now, we all know the trumpets are never out of tune except for the ones who play too loud.

I agree that lipping down is the way to go if you can get proficient at it. As for me, the triggers do make life easy.


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By all means use the triggers in performance, especially in ensemble work.

My reference to lipping down is a *practice* recommendation.

Practicing hearing the intonation and correcting like that makes the use of the slide a breeze after a bit of time, of course.

Just a practice tip.


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Well, Mac, I had to do some lipping down today. We were playing at a retirment home and the piano there was less than exemplary. Using the trigger didn't get the slide our far enough. As I was relaxing my lips a bit to hit those D's in tune, I thought of your previous post. Irony is alive and well.

Stan


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