I work in clubs and build sound systems.. The one thing I know for sure is that no one is really listening to begin with. Lol

It's like an elementary class in how deep it doesn't actually go. I can show you how the golden ratio in the musical scale has the same numbers as the spiral of Pine cones. Pine cone symbology has been associated with human enlightenment for 1,000 of years. Watch the new Pinocchio (Pine eye) the pine cones are associated with Christ. In fact the word Christ adds up to 5.

It goes so much deeper. I just got the book for Xmas. It doesn't explain the stuff that undeniably points to creation.

My experience is the same as yours. After studying business in college, I found that what I really like is music, so this year I plan to go to the Conservatory of Music to learn how to become a professional audio engineer. Before that, I have also taken some online courses. At present, I also have some foundation, but I can't find my customers and no way to make friends with people in the music industry, so I want to go to school to improve my skills and make more classmates.does it a good choice for me?

check the email its for a business inquiry

? ? I thought this just shifted everything down a few cents, not changed the entire ratio of harmonics in music

whut up Meta Mind Music!? got some feed back for me on the mpc40? the context im asking from is; I have a push3 and am a beginner to ableton, have ableton 11. I have 3 years into live looping currently using the BOSS505MKII, and I run all my instruments through a analogue mixer then use the FX send dials on each track to send which instrument I am playing live to go to the looper. I always send multiple hand drums through the looper for looping and for effects to turn a pot drum into more of a synth sounding instrument, creating more melody with percussive hits and manipulating effects dials live. I sing with my live performance, melodically and lyrical and flow hip hop style. I want to be able to “multitrack record”my individual instruments simultaneously and move those individual tracks in and out. I sometimes bring a turn table to my live performance (ecstatic dance is my main performance space) and sample from records or even play a full track then bring back more live looping. so far im only using push as a sound generator or finger drumming instrument and not looping directly on the push. I do have an 8 input preamp with ADAT that i could integrate in place of my mixer perhaps? but haven’t yet. I am designing an instrument that is a blend of a live band style mixer and a sampler with input and track effect for each input and each loop but im wondering if there is something like what i am envisioning that already exists. I specifically want what im working with to be tactile enough and not tons of digital screen scrolling, hand on, you know?? What do you say on this topic you most down to earth and creative and learning zen mind beginners mind musician guy bro ?

whut up Meta Mind Music!? got some feed back for me on the mpc40? the context im asking from is; I have a push3 and am a beginner to ableton, have ableton 11. I have 3 years into live looping currently using the BOSS505MKII, and I run all my instruments through a analogue mixer then use the FX send dials on each track to send which instrument I am playing live to go to the looper. I always send multiple hand drums through the looper for looping and for effects to turn a pot drum into more of a synth sounding instrument, creating more melody with percussive hits and manipulating effects dials live. I sing with my live performance, melodically and lyrical and flow hip hop style. I want to be able to “multitrack record”my individual instruments simultaneously and move those individual tracks in and out. I sometimes bring a turn table to my live performance (ecstatic dance is my main performance space) and sample from records or even play a full track then bring back more live looping. so far im only using push as a sound generator or finger drumming instrument and not looping directly on the push. I do have an 8 input preamp with ADAT that i could integrate in place of my mixer perhaps? but haven’t yet. I am designing an instrument that is a blend of a live band style mixer and a sampler with input and track effect for each input and each loop but im wondering if there is something like what i am envisioning that already exists. I specifically want what im working with to be tactile enough and not tons of digital screen scrolling, hand on, you know?? What do you say on this topic you most down to earth and creative and learning zen mind beginners mind musician guy bro ?

I see some August Bradley vibes in there 🙌

Currently coming down from wee little acid trip and I find this video and the background behind main guy talking is perplexing my noodle.

Bro it's taking me days to get thru these tips. this video is RICH, so as a new push3 user thank you - I am slowly getting fluent with this thing. (will check out your 1 hour video soon) question. sorry if i missed it - Is it possible to have a 32 pad layout for the drum rack? like the bottom 32 are pads, and the top, a sequencer?

(intro monolgue)... and they are lizards.

Yes to all of your questions before I even watch it. That’s how sure

Racks upon Racks upon Racks upon Racks! Dope instructions on racks my man

I have noticed that when I play my 432 tuned soprano recorder (Mollenhauer) outside, birds are way more curious than when I play a 440 tuned recorder.

Has anyone set this up in Bitwig?

When I tune my guitar by ear it is in 432 .. thought I was tone deaf as others would return if they played it and if I used a tuning meter it was off. Then I got a tuning meter that was more detailed and thought." Oh that is why I am off closer to 432, BTW my Antique reed organ is closer to 432 and it sounds beautiful. Neil Young used an antique Reed Organ and all the band members had to tune their instruments to the 432 also. I am a nature person and not a people person so maybe that is why I tune to 432, long before I got my Reed Organ and probably when singing to myself also.

Just before @23:33. Yes I can hear the difference heh!

Saved me hours of fiddling ❤

So let me see if I’ve got this straight. If you use the four cable method and you put a block in for the send and return or you separate them in a two separate blocks one for Santa one for return. You’re mainly using your guitars preamp and allowing to play effects through That amp separating the distortion type pedals in the front and the reverb type pedals in the back. My other question is if I really wanna build a pre-set of my own and I want to be able to use different Sim amplifiers how do I set that up in creating my own presetsso that I can do that. Using semis instead of my Marshall preamp

Hey I was just wondering like tip number one or two The boss fs-5u i assume by the way you refer to it that it is then unlatched version? Or am I wrong? Awesome bid btw thank you for putting it together!

As a certified bipolar schizophrenic, Jazz is the only music that reflects my deepest emotions.

Dont understand how you move individual Midi notes around in the video! you jump in the video...

was it not explored that while i guess we all love the theory of the nine 432 was about war violence etc , whilst 528 was more peace n love regardless of 440 , either way its 9 n 6 bla bl bla if you x all the letters by their numbers you get the sampling rate 44.1 funny as pointed .we made it all up. they dont even use numbers , 100 years to them is just one hour of laughter , they must be in stitches ! again intrestingly as ever , no conclusion . but then , its not meant for the seeing bro inni

Such heat in here! 🔥 🧠

This is one of my favorite videos you've made, Alex! I've really learned alot from this one alone. I have been following along while you play to integrate the knowledge & feel much more confident now, even if it will take some time for it to click & build the muscle memory. Thank You so much! A Masterclass in Push Theory!

A few years ago I bought a cheap Fender acoustic guitar at a fleamarket for $30. It seemed to be pretty close to being in tune, so without using a tuner I adjusted the tension on each string so that, relative to the high E string, all the intervals conformed to standard EADGBA tuning. It sounded great! "Warm and sweet" might be an apt description. After I had been playing that guitar for a while, I clipped on a Snark tuner to check the pitches. To my amazement I found that every string was exactly a whole step flat, so it was tuned to DGCFAD! But when I tuned the guitar up to EADGBA, the lovely warmth of the instrument vanished into thin air. It just didn't sound as good. So I decided to loosen all the strings again and retune the instrument to DGCFAD, et voila: The beautiful sound came back. I still keep that guitar tuned down a whole step from standard. If I NEED it to be EADGBA, I just capo the second fret and instantly have a short-scale acoustic guitar in standard tuning. These tunings are both based on A=440, so that particular guitar's beautiful sound when tuned down to DGCFAD has nothing to do with any frequency standard. It is how the soundbox and tonewoods interact with the strings. I now think the most "natural" tuning probably has very little to do with tuning forks or specific frequency standards and everything to do with each individual instrument's physical properties. In a chapel at Goshen College in Indiana, there's a relatively new tracker pipe organ that uses "Bach Temperament" tuning. The organ professor there never uses an electronic tuner or a tuning fork to tune this instrument. Instead, he uses a method that he believes was used by J.S. Bach to tune an organ by ear alone. Not everyone agrees with the conclusions of his research into that tuning, but I have heard that instrument and it sounds truly amazing. Yeah, anecdotal evidence. But that's music for you.

Thats such a clever workflow and it takes jamming with ableton push in a very interesting and creative direction! thank you so much for sharing 🙏

You only hacked jazz harmony for people who don't know jazz harmony. There is much more to it than fitting your notes into chords, like playing alterations and tritone substitutions on top of the chords, within the different styles of jazz. Your timing and lines are also off, which is as important to jazz as the harmony. You need both ear, taste, instrument mastery and theory to find good musical lines linking complex chords together. Nice effort, though, and please keep exploring jazz! It is a rabbit hole which will keep expanding forever!

In Chromatic mode does this still say in key if you put in for example g minor.

Is the push in a chords layout. Amazon chords. Got a push 2 recently. Is there a mode to just have chords

Insta-sub sir! Such a joy to see you at work. Your delivery is very nice!

What a great way of visualising harmony. I’m going to see if I can find a way of doing this on my LaunchPad X and iPad. Thanks for putting this together.

This can be done way easier and intuitively (imo) all within scaler 2 itself, you can trigger scale changes throughout a programmed progression or on the fly.

Interesting..but not cool it took 30 minutes to mention we're talking about the A note above middle C on a piano.

Can this be done with Akai apc64 also?

Can you hook up the Push 3 to one of the recent Rhodes VSTs and do your jazz jam with the Rhodes sound?

Thx for the video.Sounds though very jumpy, is there a way to have a bit smoother melody?

Interesting. I know little about music theory which makes jazz even harder to grasp. But tools like this and Scaler 2 make for a nice hack.

hey Man -THX for this vid. I subscribe your channel now - because for me itˋs sometimes like a jungle, and Ím sometime lost in opportunities - now Ì´m new with push (I go for P3 Standalone). You are my safariguide ! So please go on & take care 👌

Hendrix played out of tune & bent the strings so much it didn't matter

If you divide My farts by 2 and then add 642 you get the same old sh---t 666

An interesting experiment would be: let people sing without a tuned instrument for reference - and measure if their voice naturally sings on a 432Hz scale. Or not.

Very informative and I agree, that many claims about the magic of 432Hz are speculative. One fact you didn't mention: in a 432 tuning a very deep C (our ears could not hear) is almost exactly 1Hz. When we agree that time measurement is based on the solar day and music is sound moving in time - than a scale based on a C with 1Hz (≈ 1 second) seems to be very natural and mathematically satisfying.

Before talking about hertz - vibration frequencies and telling, first of all, it is necessary to tell people when the name "Hertz" was adopted as a standard. The name "Hertz" appeared in 1935, and the name was chosen in honor of the scientist Heinrich Hertz (1857-1894). Therefore, it is not necessary to deceive and manipulate, some "smart" people and mislead people when talking about music of antiquity or the Middle Ages. No one in those days tuned instruments in "hertz", because such a term did not even exist. Therefore, it is necessary to agree once and for all, and not to dream senselessly about what kind of tuning there was and how many hertz the music of Mozart or Bach, etc. had. In those days, the strings of stringed instruments were made of completely different materials - I mean, if they used metal strings. And if not, then they could not first tune in very high tunings, because the durability of the strings was different from current materials. This was also the case with other instruments not related to strings, but musicians or orchestra leaders certainly did not tune instruments in Hertz. And there is no need to deceive yourself and others, with such examples, like someone who has already tuned some recording with Pitch Shift devices and here the music is already played in 432 Hz tuning, these are very different things to tune instruments in 432 Hz reference tuning and play music, and to simply tune a sound recording in a primitive way. There is no need to fool yourself or anyone else. Then you tune the instruments, use, for example, different strings for string instruments. Even now, different orchestras come to perform and use different music in different tunings. For example, French orchestras often use just a higher tuning of 443hz, then the orchestra sounds brighter. It depends on what kind of music is played, and what kind of mood effect is needed. Everything here is subjective. And someone there Goebbels in 1936 did not have any serious business, at that time, how to take care of the tuning standard of orchestras. :) :) :) The very concept of Hertz and the standard were adopted in 1935!!! Take note of this, and start talking about tunings and sounds from there. So now there are examples when, for example, guitarists use a plucked one-tone guitar, but this is done for other reasons, when a plucked guitar is used, then significantly thicker strings are used, and the resulting electric guitar signal from the amplifier is almost twice as strong, i.e. by doubling the diameter of the string, the sound transmission through the sound hole increases by almost 3.5 times!! In this case, it is convenient to drive all kinds of preamp amplifiers and add-ons connected to the amplification system, the lowered tone lowers the overtones, which are better heard by a person, and increases the sound strength, and a different specific - bluesy sound appears, as for example. with Steve Ray Vaughan. So in the old days, Paganini would stretch thick cello strings on the violin and get a very strong sound that had a larger amount of primary overtones, and not further ones, which at 432hz tuning already sounded quieter and buzzed like mosquitoes at night. :) :) :) Here, even "theoretically" one can think about who, why, and how uses different tunings and, accordingly, tools for instruments. In the first scientific studies of sound and vibrations, the concept of cycles per second was used, but in no way "Hertz", it is clear that anyone here can begin to object that it is one and the same, but this concept was used not so long ago, and another thing is when you start manipulating such small deviations, what is better or more beautiful, it is a subjective concept, the same as arguing about which acoustic systems are the best, which microphones are the best, and what music is most suitable for everyone to listen to. These statements, which are not substantiated by anything and are subjective, - we can conclude that you want to re-introduce 432hz tuning, which was or was not used in those days and is also a questionable thing, i.e. we are all fools here, and you want to enlighten everyone's heads ..., how do your proposals differ from Goebbels then? ... One is better for some, another is better for others ... . I know some musicians who play in an orchestra and cannot distinguish between two octaves, which notes are higher or lower, you press C -1 octave, and then press C2 second octave, a person sits for 15 minutes and cannot tell which of those notes is higher or lower, - keep in mind, a musician playing in a band cannot say that ... :) :) :) So what are you talking about here and who do you want to deceive ... . Leave that Goebbels alone, at that time he was more concerned about how many people were burned in some concentration camp, and not about the 432hz tuning ... There is no bad or good tuning of instruments, no bad or good speakers, no good or bad microphones, just as there are no bad or good frequencies, there are simply tools for different purposes. Amen . P.S. I apologize for my inaccurate English...

Would it really matter if people were deaf? I think not.

How do you know what I or anybody else expects??? Much too presumptuous. 😮

Fascinating!.. thanks

Could you please clarify 32:25 for me: "I do know that 6x6x6 equals to 216 that’s half of 432. Bring us right back to A. Maybe someone does not want you to know?" So according to this 432 Hz is the most evil frequency/chord ever or what does this mean?