I do a LOT of scripting. From writing Bash shell scripts, to Python code to AppleScripts, I do a lot of coding. It makes life easier. Why reinvent the wheel when you can script it once and be done with it.
Anyhow, since about 2011, I’ve been formatting things for use on an iPad. One thing you can do to get your printed things out of Finale on to an iPad easy is to format the page for an iPad. Sadly, there is no “default page setting for iPad” thing in Finale. However, with a little bit of FinaleScript-ing, you can format things for an iPad. Here is my script
This script basically sets your top page at .5″, left and right to 0.10069 and then the bottom to .12153. These are sorta the settings I found that look good on an iPad. I leave just a little bit of boarder “whiteness”.
The script can be fired off by doing a Ctrl + Opt + Shift + I, or from the FinaleScript menu.
Yet another entry into the Electronic Wind Instrument category, the Aodyo Sylphyo. Seems to be completely wireless (that is a plus), and has interesting things like gyroscopes in it so you can do gestures with it, like tweak it to the side, and it can trigger another sound or effect.
Most musicians are using some sort of tablet to store music. And why wouldn’t you? A tablet is small, allows you to store tens of thousands of pieces of music, and you can organize your music for whatever you need. Set lists, practice lists, etc. And you can “write on it” using your finger or a stylist. Heck, I’m STILL using my original iPad as my primary music reading device for gigs and practice.
Ebook readers use e-paper displays for two reasons. First is the innate nature of such screens, which are easy on the eyes and batteries. Second is the cheaper costs of such components, which translate to a more affordable retail price. If you thought the latter would be true of the Gvido music sheet “tablet” and its two 13-inch e-ink screens, you’d be shocked to find out the truth. Because when the Gvido launches later this year, it will cost just as much as two 12.9-inch iPad Pros.
Ridiculous. If this product was like $400. Maybe……MAYBE. But $1,600? I could get 4 iPads for that. FOUR. FOUR. Or I could get a 12.9″ iPad Pro (maxed out), with an Apple Pencil, a stand mount and a bluetooth foot controller and still have money left over.
Insane. Though I LOVE my iPad for music. I really hope an iPad Pro with pencil is in my future…..
A lot of saxophone players are using pedals to change their sounds and stuff. I found the video below where they guy is going through equipment setup of Dennis Chambers and Victor Wooten for an upcoming gig of Victor Wooten’s Trio (which is most excellent by the way). Anyhow, they focus for a few seconds on Bob Franceschini’s (the saxophone player in the trio) pedals. From what I see, he is using the following:
Line 6 DL4
TC Electronic Ditto Looper Pedal
MXR M82 Bass Envelope Filter
Morley ABY Switcher
Xotic EP Booster Pedal
Dunlop DVP4 volume pedal
Digitech CR7 HardWire Stereo Chorus
The first part of the video there is a Line 6 M9 (like what Jeff Coffin uses) shown, but it appears not to be set up. I think there is also a Dual DI box under the Booster pedal(?), but there is one pedal, left of the Eventide I’m clueless on. Anyhow, check out the video, and see.
You can get these “mutes“. But honestly, they aren’t going to do much if anything. Maybe the low Bb will be damped, but if you are practicing palm keys stuff……forget about it. There is the E-Sax practice thing, but that seems to be for Alto sax? No tenor sax? And there seems to be this bag, the Oval Saxophone mute. But it doesn’t seem unavailable to purchase? Not sure how much damping it does.
The most promising muting device is the Saxmute ONE for alto and tenor saxophones. At almost the price of the E-Sax mute, it doesn’t have the bells and whistles the E-Sax mute has like a built in mac, line in, or reverb. Though I’m not sure how good those things are on the E-Sax Mute. The Saxmute ONE seems bigger, and has a TON of padding in it (check out the Facebook page). And one reviewer did mod his Saxmute ONE out with a microphone setup.
Enter the Pyle-Pro PDMIC78 Microphone. This microphone is basically a Shure SM57 clone. Except they wired it strangely (or wrongly). Basically, you need to re-solder two connections and then you have a mic that sounds like a SM57….for $20 rather than $100. In fact, there is slightly more gain and it sounds a little more “crisp” than my SM57. Actually, it sort of sounds almost like a BETA 57. I have all these microphones and will link to a sound shoot out of them.
In all, a great deal if you can handle doing the small bit of soldering required. Amazon sells these guys for $20, though the author in the video below got a bunch of them for something like $10 each.
I have modded 4 of these now. You basically need to take the red (hot) from the capsule to pin 3, take pin 1 to ground, break the bridge they have from pin 1 to 3 to ground (so they have 2 pins going to ground) and run the other wire from the capsule to pin 2. You then get a balanced mic that sounds like a SM57 for 1/4th the price.
There are a TON of books out for saxophone. Go do a search of Amazon.com. Everyone seems to have a book out, be it on jazz improvisation, or perhaps a book just dealing with cool patterns or ways to play over certain types of chords, or using a specific scale in jazz. Lots of books. I know, I own just about every saxophone book known to man.
With any one of these books, anyone can acquire some great technique on saxophone. But having a book or set of books isn’t the complete solution. How does one use the books? Once you get through the books, is that it? Is that the end? Did you reach the goal and now you are the master and you don’t need to practice anything anymore? You can acquire a tremendous set of skills if you can play through all the Joseph Viola books. But how do you maintain those skills? Do you start the books over again? Play them backwards?
Saxophonist Dann Zinn has been pondering this issue for over 20 years now. Perhaps longer….it is hard to tell, Dann is a man of few words (other than “go practice”). His new books Zinn and the Art of Saxophone is the culmination of decades of teaching, and thought about saxophone. What skills should one acquire in their pursuit of saxophone? In what order should one acquire the skills? How does one go about acquiring the skills?