I went to NAMM

[@averyscanlon2347]

Have to agree, the Hilton Anaheim is very musician-poop friendly...

[@tomasbelisle3746]

Avery Scanlon I

[@samuraiguitarist]

"I'm going to make them regret giving me a media badge".... I know the feeling

[@AdamNeely]

Your video was definitely my favorite thing to come out of namm this year

[@samuraiguitarist]

Adam Neely appreciate ya dude. Check your Skype msgs btw

[@mileynick88]

You are great both!

[@JosePabloEstradaCarrillo]

collab please!!!!

[@auxchar]

I ship it.

[@ronanmcintyre]

2:46 Guy: do you know the lick? Guy who's played the lick for 5 consecutive hours: **the lick**

[@saam6768]

i was thinking the same thing. "Do you know who you're talking to?!"

[@PCasino]

Pretty sure he said it on purpose

[@UlisesRockerHR]

5:15 -He plays bass too! -Oh I'm so sorry

[@jimmyalderson1639]

'Do you know the lick?' You'd better believe he knows the lick

[@emmywillow6599]

*snickering increases*

[@casetanner]

I was who asked him. For real

[@casetanner]

jimmy alderson that was me btw

[@lifeontheledgerlines8394]

@@casetanner Oh my gosh, that's hilarious! You got to meet Adam - that's so cool!

[@fudgesauce]

Wow, Adam is really getting the flowing locks. His hair is 5x longer than normal. He is still at 5 millifabios, but he normally is at 1 millifabio.

[@nossi7129]

fudgesauce my name is fabio

[@genghiskunk]

How long is 1 fabio? A full Fabio?

[@genghiskunk]

yep that's a full fabio

[@user-rp3jt4ik2l]

The standard measurement for hair length is Fantanos and he’s at about 10.2

[@keytonbush3925]

Samuel McGuigan 10.2? 🤔

[@technoturkey5528]

my woodshop teacher also went to 'nam. all of his friends died from an explosion. he told me that the art of woodcraft is therapeutic to him

[@saulo4302]

Took me a second. Dark, but funny.

[@bonusgonus429]

"The memes have followed me to California." -Adam Neely

[@CalvinLimuel]

3:21 "tuition dollars at work here" you sir are a true Berklee guy hahaha

[@treyxaviermusic]

ah hahahaha when you manned the Berklee booth

[@dannybrown3870]

"Do you know the lick?" If only he knew

[@ilanlopez9826]

Should've done a recital right there and then

[@saam6768]

"I think I do... you got 5 hours?"

[@ulrik.lynnebakken9660]

Ehmmm it's called ... THE LICCCCCCC

[@DovydasMusic]

The Real NAMM Vlog TM, all rights reserved

[@hheerth]

Ayy look I found you in the video and in the comments. Love the stuff man

[@pdxsaintjohn]

I was just going to say, Hey, it's Dovydas!

[@gab4186]

DOVYDAS at 5:13 !!!

[@timworley3235]

i saw you in the video and it took me a second to realize who you were, holy shit dude your sick!

[@gab4186]

Dovydas do you watch Adam Neely much?

[@RealGengarTV]

Literally LOL'ed when he asked you if you knew "The Lick" P.S. Sat down with my Ibanez SR505 and tried to learn the lick from your 5 hour stream... After the whole thing, i'm not sure I really REALLY understand the DEPTH of the lick.. Do you mind maybe doing a 6 hour stream of the lick? (Or perhaps only Fender Real Jazz basses can TRULY play the lick)

[@TonyWinston]

The Atlanta band, Little Tybee at 4:29. They usually have a violinist with them, they are pretty damn good, they've done some cool videos too.

[@АмиЛаза-г1ю]

Tony Winston Humorous to Bees is one of the best albums I've ever heard, the music is sooo soothing and well written

[@dnch]

Thanks!!!!

[@dnch]

what is the song they are plaing?

[@atom_c]

Thanks so much man! Was wondering how I'd found out who that was. It sounded great...

[@coletakkish4389]

Tony Winston, I just want to let you know that you introduced me to Little Tybee and that I am eternally grateful

[@davidpo5517]

Adam Neely goes to Vietnam!!! ...oh wait.

[@tony_301]

What... :))??

[@Smoobloob]

The longer this channel goes, the danker it becomes.

[@Chaosdude341]

Didn't know you'd predict a meme, did ya?

[@BenD_Bass]

Lol idk if its an east coast thing or what but I'm from Southern VA and apparently it's super common for people to refer to anything good or cool as "dank." It's not stoner exclusive like in most other places.

[@cooxy9964]

"He plays bass too!" "Oh, I'm so sorry!"

[@garrisonpeters539]

Something like Rocksmith VR is all I could imagine. You load up the "cover band" scenario and have to fight back requests for Freebird, or you can do your "Jazz Club" scenario and have to play Blue Bossa with the college kids because it's jam night. Thanks Adam, I can now revolutionize the music industry.

[@flohardy2000]

4:20 hey vsauce, Michael here!

[@malcelinho]

Michael Getgood

[@williamromig3812]

Also at 2:52

[@metromancer]

Flo Ryan nah thats binging with babish

[@shredthegnar987]

Love the point about consumer tech in music. Would love to hear you talk about any half-brained ideas about cool ways these types of tech might be applied. Even ignoring feasibility, what types of dream products might be cool to see in the music gear market in your opinion? Curious to hear from other folks in the comments as well.

[@martinvloka3780]

@4:20 Since when is Michael from Vsause a photographer at NAMM?

[@JimDooley]

You are so right Adam. My 4 year old phone hat a 64 GB card. How much do you think that $4000 plus Nord has? 4 maybe 16?

[@jay8819]

Jim Dooley love your beats mate

[@JimDooley]

Thanks!

[@DeanoPiano]

No only 2 GB, but you can't perform and play music as a pianist on a 4 year old phone, since a phone is for communicating with people, it's not a musical instrument you see.

[@JimDooley]

Sounds like someone has card envy. Seriously though, my old drum module came with 4 GB and I upgraded it to 32 GB. Memory is cheap, It seems like they're putting a Briggs and Stratton engine into a Ferarri. That goes for a lot of companies, not just Nord by the way. The cooler stuff like Adam is talking about will probably come from small companies and startups.

[@InXLsisDeo]

your phone sells in millions, most music manufacturers sell in thousands at most.

[@bryanowczarzak3402]

As hard as I tried, I just couldn't find someone at NAMM slapping out a hackneyed funk line in E minor (said no one ever).

[@YojiFlea]

Jordan Rudess @ 8:00 (outside the Korg booth)

[@colejohnson66]

Jayden Watkins how do you notice that?

[@YojiFlea]

Cole Johnson I don't know haha!

[@creaksbass8953]

Its him

[@educostanzo]

Boy, what an eye! It was less than a second, lol

[@MichaelPuterbaugh]

Jordan Rudess is always easy to spot at NAMM, except every once in a while it's Scott Ian

[@MisterDoctorBaconman]

I’m an industrial designer in training currently (which really means conceptual and technical product design) and I’ve been hoping to merge new tech with music for a long time now. Hopefully I can help the industry catch up some day! Great video Adam, as always.

[@CyanKash]

"Nice" -Tosin Abasi

[@AdamTheBen]

""Do you know the lick?" If he only knew...

[@artakha14]

The presence of hair makes me question the genuineness of this Adam

[@lunogyt]

As a student going to school for computer engineering with a dream to some day design music technologies, that little ending bit felt very much targeted towards people like me lol

[@Captain__Obvious]

The thing is equipment manufacturers and software developers follow trends, they don't lead. Those analogue circuits from the 70s you mentioned were first built by musicians pioneering the technology themselves, not by buying them off-the-shelf from NAMM retailers. And the future recipients of the Grammy in music produced using Machine Learning are currently jamming, tinkering and coding away somewhere. Not reading iZotope's website or the Ableton patch notes...

[@WhesliMusic]

Haha that's me at 3:26

[@AdamNeely]

nice! you and your band sounded killer!

[@ats1995]

Cool. Don't mind me checking out your music

[@tommyholladay]

you sound great!

[@Remnantsofadam]

You sounded awesome!

[@robin_beek]

Hi, what is the name of the song you are playing? its really awesome!

[@proflowery30]

Possible Q&A: I am a bass player and thanks to you I have been much more aware of keeping a straight wrist. I noticed at a gig this past weekend that I am having a difficult time playing with a straight left wrist on my Traben Chaos 5-string which has a wide neck. Do you have any advice on how to keep the left wrist straight in this case?

[@soloh_ugo]

Little Tybee at 4:29, if you haven´t heard them, they´re amazing!

[@DieMimik]

So how often did you hear the lick while walking around NAMM?

[@flutechannel]

who that end statement is something I've been told to by music industry people and tech people. I would farther and say there almost 20 years behind. but at least companies like ableton are doing amazing things. Looking forward to see whats next.

[@Filosofrum]

You are making here such a valid point, Adam! Music is full of people, who are reluctant to any changes since the 60s (Hey Mark Agnesi and your hate of jazzmasters). The algorithms can emulate the sound of any amp really precisely, but the whole elitist ethics and aesthetics of guitarworld pushes everybody to hunt for 100-year-old Fender that is on the verge of death and pay catastrophic amounts of money. I know a handful of musicians who prefer BIAS over a generic tube amp of less quality. Untill we stop this gerontophilia and start being acceptive of new technology, none of that cool new stuff will be demanded in the market.

[@iunnox666]

Tube amps have a quality to them I haven't heard from anything else. It doesn't matter how "closely" the algorithm can model an amp, because that isn't what's amplifying the signal. You still need to send that signal through a real amp and speakers, and you can't get away from it's inherent sound. It's like listening to different amps and speakers on youtube. Yes, you can hear what they sound like, but playing a recording of music being played through a $50000 system is not going to sound as good as the real thing. It's the exact same thing with amp modeling. An emulation of a tube amp will sound similar, but certainly not exactly like the real thing. It's like that Variax bass, it kind of sounds like the basses it's modelling, but you can still tell it's a piezo pickup, and has all the characteristics of one. Tubes will always be better for music, their characteristics naturally work in a musical way, whereas chips need a lot of work and tricks to get them to sound good. Having said that, I'm not a fan of the whole "you need a 70 year old amp to sound good" thing, either. The Peavey VB2 sounds better than an SVT imo, and it's a much newer design. A lot of older stuff has higher build quality, but if you can get that in something modern, it's almost always going to be better. The best sounding amp I've ever heard was a simple Class A tube amp made by a small custom builder a few years ago. I've never heard anything like it before or since, it's so clear it almost seems like the sound is in your head, like you're imagining it at high volume. You're never going to get that from amp modeling or any other software. Modern equipment built on what made old technology great is fantastic, digital bullshit trying to fake it is not.

[@kalikay]

The real question is, do emulation systems has to sound exactly like old stuffs…when I use Bias FX, it is not to emulate, it's a great creative tool…same with a 1995 thing as the Roland VG-8, it never sounded as real amp, but who care actually ?

[@9_H0ur]

I feel like people are scared to stop looking at analog because they think technology might go to far. We might end up not using instruments anymore and the old school talent would go away. Just a theory though. If we could use the technology to increase the old school stuff and still keep instruments in a way would be ideal.

[@matsomo]

8:00 is that Jordan Rudess?

[@frosty6845]

I'm pretty sure it is

[@raulperez2308]

Adam is slowly morphing into his final memelord stage

[@yasirazhari3794]

2:47 This is the moment we've been practicing for, bois.

[@slaughterround643]

Adam, I have a weird sort of question / research suggestion. I've recently been trying to get into the analysis of music a lot more (keep in mind the last formal music theory lesson I had was over a decade ago when I was 9) and I've started to notice something. I really struggle to compare keys or notes in music that I'm listening to and I can only really compare two notes if I have an item that can make that note and if I make the other note with my mouth. I discovered in the last year I have something called aphantasia (which I totally recommend researching) and I was thinking about how having this condition effects how people listen to, remember and learn music and what your thoughts on these may be. Of course, if you don't care at all, then discard this completely, you owe me nothing except more great videos and dank shitposts ;) keep it up Neelio

[@112niemand]

Adam talked about aphantasia a while back if I recall correctly, for some reason it comes to mind with a video with a dancing bird. Have you seen that already?

[@slaughterround643]

I don't believe I have, do you know what the video title might be?

[@slaughterround643]

*AUDIATION - play what you hear [AN's Bass Lessons #31]* Found it! "The reason why singing is _so_ important with the study of music is because it's _literally impossible_ to sing without first conceiving of the melody and the notes in your head first." Adam my boy, I think I have a little something to say about that. I have aphantasia and I can sing just fine (I think! I also have tinnitus so it might sound different in the vibrations in my ear compared to someone else's ear). Anyway, whether I can sing well or not, I can still physically hit notes... duh, right...?

[@mikeshanahan7264]

HAHAHA!!! I love how you made a video like this. You made a video about NAMM, which is all anyone is talking about in the music world this week, and made anyone who viewed this to feel a disturbing sort of dis-ease and terror. Making fun of the grandiosity that is the music gear world was hilarious and refreshing. Especially in comparison to the plethora of other channels feeding this beast that is GEAR. They all really take themselves very seriously and you, Adam Neely, do not. A+

[@burakeren]

That midi guitar was soo cool and i'm not even a guitarist or a bassist. About the technology though i think it comes to people who want to emulate their heroes. And since that sound is their childhood, its what sparked the interest in the music they try to get to that "sound". As said not a guitar player but i can see amps that are clones of sometihng that is clone of another thing. And its not much different in synths either. The pioneers of technology is at software, or its complete opposite modular stuff for synths. Cant make a comment about pedals.

[@cerebralaudio5587]

Your closing comments nail it, Adam. I only started messing around with a lot of audio stuff a few 5-6 years ago as a podcaster and was stunned when people were saying that you needed to get an external interface, mixer, compressor and mics... Here I am thinking, "Wait. This is digital technology, we're doing digital based broadcasting. As long as you have enough inputs on your system, why isn't all the effects, processing and mixing done digitally?" Fast forward a few years when I started getting into more music production (mixing / mastering / sound hacking) and I saw how many VSTs were still based on reproducing older out-board hardware devices, and I was scratching my head thinking, "Why? Why reproduce all the flaws and limitations of physical devices?" (In essence, this is taking the concept of backwards compatibility to an extreme level, IMO.) And, I think I had a bit of an epiphany... It's generational and population / market based. The audience / market for studio /artist audio technology is very different from the broader consumer market. Many of the creators and technical people involved in the music "industry" are from older generations, while newer generations are slowly finding their way into the population. The population of the music industry doesn't follow the rate of change of the consumer population. Many of the producers, engineers, studio operators and (dare I say) musicians that were around in 70's are still around today. Take Studio City for an example, they closed down a few years ago (2011, I believe), but they were a major studio back in the 70's-90's. The owner(s) were in their 70's or 80's when they decided to finally close (and Dave Grohl bought their Neve console). All of this tracks with the way academia is slow to integrate musical changes into their curriculum. It's based on the generation of instructors. As the demographics /generation of instructors changes, so does the curriculum. It's not a matter of the demographics of the student base or the general population changing as much as the instructors. The instructors form a much smaller population which is demographically substantially different (over time) from the demographics of the student population, much less the demographics of the general population. None of this is to say it's an "old fogies slowing down progress" argument (even though it could be read that way). It's a matter of realizing that the underlying structure and demographics of these populations is fundamentally different, and are responding in a different manner than the general (consumer, student, artist) populations / market. Combine this with many of the newer generations were instructed on the previous several generations ideas and concepts, and you run into a situation where the ideas and concepts are much slower to change.

[@noisegate2124]

For Q&a Hi adam i m an italian fan, in italy we use do,re,mi etc... While in usa you use A,B,C etc... why? And why you start on the 6 grade of Do ? Thanks

[@janminor1172]

Regarding innovation and stuff: the music industry is a much smaller market than consumer electronics and musicians more often than not quite a conservative bunch, so it s no wonder that companies go for the tried and tested stuff.

[@AdamTheBen]

Love your outlooks, Adam. Really nice to see someone seeing through the glamour of "18-string guitar" and into the depths of how we can make this industry better. Keep on the good stuff!

[@bobby9847]

Adam I gotta say I love the way you play. Like a robot. No matter how technical you get you remain professional with no guitar O-face in sight.

[@TylerSantinelli]

Cool to see you checking out almost everything I was interested in at NAMM. And I agree with what you said about moving forward. I talk to so many people who are focused on recreating how things WERE instead of looking at what we could be doing. It's okay, the future will just be cool and underground for a while.

[@nagynorbie]

I also like vintage sounds, because that's what I've grown up listening to, but I don't want to get stuck living in the past. I understand why people are weary of digital sounds, as when they first appeared, they were nowhere close to analog, but that was a long time ago. Nowadays technology can massively improve tone and it's a pity to not make use out of it.

[@lucatoni6402]

4:20 vsauce, micheal here

[@oisin_smith]

Luca OMG ITS VSAUCE

[@hanssondaniel]

FYI it's Sarah Longfield

[@RealKingChief]

Does Nolly = Vsauce?

[@diazzsama]

Kich Nolly=Vsauce=Tai Lopez

[@alejandro.rondon]

Hey Adam ,what's your opinion on fan fretted basses ?

[@sum1onsteam451]

"Hey, do you know the lick?" Adam: Bitch P L E A S E !

[@msl777]

Here, let me do it for 5 hours! :D

[@brandonvu5429]

He must be smoking rocks, real shit.

[@infinitered3107]

7:59 Jordan Rudess?

[@marek.p]

Yup

[@tubridge]

NAMM's show floor is for taking bets about what will pull the most money from the music-making public next year. That's why iZotope is in a trailer, while Chinese design and manufacture is in booths. That's why all the analog circuit modeling, that's why no one doesn't have pedals. They should have printed this on the badge. But good job anyway, iZotope marketing!

[@tarquinnff3]

Two Thumbs up for the wicked soundtrack. 1:06 Yaoooooooooooooooooooooohhh! 2:07 Sounds like a sped up Oneohtrix Point Never - Problem Areas 3:50 Hello Squarepusher.

[@FirahFabe]

This just came to my mind just now after Adam mentioned wanting to see where music technology can be implemented into today's technology. Hear me out: VR Practice Room or Practice Session If you don't have access to being in rooms without soundproofing, like living in an apartment or so and if you currently don't have your instrument with you. It would be like a VR with your Virtual Instrument (aha VST) like a piano or guitar to play on. I know it sucks if you are not actually physically holding your instrument but hey, it's something. Maybe you could look at music sheets/scores in a wide spectrum while listening to separate backing tracks, or the main audio. Maybe the VR system could allow online control to collaborate and practice with friends, especially if you work with people internationally. I'm just throwing ideas since I'm part of the game music community and I would see how music is aiming to be implemented more into today's technology.

[@james_subosits]

5:12 is that DØVYDAS?

[@cameronmastoras2292]

Yeah, I think so. Thats a dream collab right there lol.

[@francoisbonzom9826]

I went to 'nam too... I can still remember the smell of the Napalm...

[@MsRobstar]

I went to NAMM. I had a very similar sensation❗️ it was very back to the future ish. Roland’s both was pretty cool.

[@kiffzool]

Well said Adam, you make a great point. As a music teacher, I cannot WAIT for augmented reality to become applicable. Music Ed revolutionised.....in 20 years

[@INSPIRITM]

i am developing an app for exactly that for the microsoft hololens at uni rn

[@kiffzool]

Nice! Mate, you need to keep me posted on that. And if you need any test subjects, I have classrooms FULL of them. Would love to see what you come up with

[@frooeessaa]

Man you sounded so good on that Dingwall, you should consider buying one, best basses I've ever played/owned

[@HazyShwayze]

I can't wait to see the future of music technology, especially in a VR setting. VR Concerts maybe? VR Jazz Gigs? VR Vaporwave Aesthetic World?

[@StormKillerChannel]

Soon my friend, Soon...

[@AntonioKowatsch]

Adam is absolutely right: the music industry is way behind compared to the consumer electronics industry. I am a composer myself so I like to use "weird and experimental" interfaces and electronics to get "exotic" sounds. Things like MIDI breath controllers which are huge in the live music scene in Japan but seldomly seen anywhere else. I've also been to an art exhibition where a guy made music with interactive holograms. Some next level shit LOL. It wasn't super practical thought because the room temperature and humidity had to be perfectly sustained for the effect to work. So yeah...

[@nikolapetrov4929]

You are so right. Similar idea struck me last year when I heard a gaming KZbinr complain about the whole RGB craze with glowing peripherals. While gaming headsets and chairs glow in millions of colors, many high-end MIDI controller still glow in a single one even though it would actually be functional and not just a gimmick. Oh and when they do have RGB they advertise it as this mind-blowing feature.

[@djacket]

Adam your remarks about the current music industry and technology is spot on!

[@SilentMrDave]

You mentioned VR in this video so I just have to ask if you think there are any practical applications for VR(or AR) in music sometime in the near future. Being a VR enthusiast myself, I'd be interested in your take on the matter.

[@BosseCory]

SilentMrDave Behringer was experimenting with implenenting it on their Deepmind synthesizers to provide novel control and access to parameters.

[@RCAvhstape]

The reason they are trying to replicate the sounds of the 60s and 70s is because people like those sounds, or perhaps more accurately, people are attracted to an era when music felt more "real" somehow. There is a romance associated with making music in your garage using cheap guitars and fairly simple equipment, and not getting wrapped around the axle of playing with your laptop. It's also part of the romantic nostalgia for 1950's chromed-out guitars and cool cars with fins, etc. (Thank you, Quentin Tarantino for helping tom fuel that aesthetic). We went through a phase of diving head first into music technology in the early 1980s, when the synth pop / new wave was big. Ironically, there is also nostalgia for that stuff as well. Your own band, Adam, makes extensive use of both technology and instrumental skills, so maybe newer, easy-to-use tech that allows guys like you to do that stuff easier is the ticket? Something that takes up less programming/setup time and requires less of a cable mess and allows you to focus on playing more would appeal.

[@santley88]

I would agree with the technology comment. Being a technologist and a musician, unfortunately I still find myself going back to old paradigms and to change that I (and the rest of us) will have to rethink how we approach music, if we want to find ourselves ahead of the curve instead of behind it. Telling off on myself. I still have a hell of a ways to go in that regard.

[@axelytreberg2364]

Hey Adam, can you make a video about Jaco Pastorius? That’s it really

[@MunsukAndTyranoTom]

I do actually have Adam Nolly's NG2 Combustion, and man I never realised your names are 2 letters away from being the same

[@hheerth]

Thomas Roncoli getting mine hopefully in November and also just realized the same

[@Juddypoos]

Yo dude your summary was accurate as heck, while I love all the vintage sounds (as most people do) they're always gonna be there so it makes sense that instead of reinventing the tubescreamer for the 10,000,000th time we should be looking at what other whacky sounds can be made, god knows there's infinite possibilities - short and oddly specific but ya'll get what I'm saying

[@Halfstronaut]

That's what I love about the Ableton/synth/etc. communities. Although I love the sound of a JCM800, it's so mindblowing the way that some people are incorporating digital technology into sound design and the like. Thanks for the vid!

[@codahighland]

I used to work for EastWest as a software engineer on the PLAY sampler. We always had a booth at NAMM but I never went, myself. I totally see that the stuff I was working on was technologically not all that impressive. Sure, the products sounded great, but like you said, it was all about reproducing sounds instead of pushing the envelope and making new sounds that you couldn't get any other way. The last few months before I left the company we were starting to get into some tools for mashing up sounds in novel ways by blending together the sounds of different instruments, but there's stuff I've been dreaming of in recent months that would be a way different way of generating audio instead of sampling or additive/subtractive synthesis. I've just about got the software chops to start diving into the idea but there's just so much labor involved that it's daunting -- I can see why adoption in the music industry has been slower.

[@neonjesus8831]

Seriously, what is the track that regularly plays throughout this song beginning with the start?

[@Unit27]

Totally agree on the untapped possibilities by looking forward on the technology side. I've been using the Live 10 beta for a few months and Capture has changed how I think of making music. Before it was a process of figuring out what I wanted a part to sound like, nailing it down, then trying to record it, often losing what made that "AHA!" moment special. Now I can try different ideas on the fly, and as soon as I hear something I like grab it just as I played it. It's funny how such a simple idea can solve a huge problem musicians have had probably since recorded music started.

[@Laogeodritt]

Hey Adam! Q&A question for you: How do you compose? What's your personal creative process when it comes to composition, from the blank page (or Sibelius's New Score dialog!) to a completed arrangement? I'm especially interested in the case that you're starting from a mood or emotions you want to convey, possibly with lyrics if it's a vocal piece-but any insight into your creative process would be interesting.

[@chasebunes2382]

Hey Adam, I'm researching computer music as an undergrad and am happy to hear you say that you want to have current tech applied to music making. I have noticed that a lot of people that are in this field aren't really musicians which could account for the gap between what musicians/the music industry is willing to invest in and which tech is actually available. Young developers in comp music seem to lack an understanding of what a musicians would want to do with a new instrument and end up making something clever which has no appeal to a music maker. That said, I have been working on an algorithm that interacts with Ableton in an interesting way through MIDI and am in the process of writing an album with it as my senior thesis. Let me know if you'd like to check the algorithm out/give me some user feedback on it's musical value from your perspective!

[@UndecimeBeatitudo]

Wow, there are Universum guitars there, at NAMM. They're my compatriots. Had pleasure to check their gear out at a similar music convention in Kiev this year. What do you think of their basses? Sure look top notch, eh?

[@JonnyProsser]

This is the best Namm 2018 video I've seen (Love those new Stingray basses too tho 🤭). Respect Adam!

[@drummaman1]

Getting "David Lynch" with the production. Well-played.

[@TiagoLageira]

drummaman1 *LAURA?!?*

[@drummaman1]

What year is this??

[@TiagoLageira]

drummaman1 yrev good

[@__donez__]

I worked at a musical instrument/lessons shop back in high school, and my boss would go to the NAMM Show every year. I've always wanted to go, and I hope I get to one day.

[@justkids2373]

7:09 "there are other companies like say abelton.. I was *abelton* check out a private......" sry

[@leemaples1806]

`they` did a study on music for sci-fi movies. you would think a big sci-fi movie theme would be all synths but, studies show the audience was more receptive to the sounds of a traditional orchestra rather than synthetic sounds. so i think there will always be a market in devices that sound like `traditional instruments` or sounds people have come acustom to hearing growing up.

[@eckhardtbernard]

Actually the 30 fret fretless guitar does make sense albeit ambiguously. It refers to the length of the fretboard as most basses are between 20 and 24, the one at 1:15 having the length of 30 frets

[@olymoon2008]

Thank you Adam. Finally someone that is not brushing shoes. You are right, we want to see this new technology. I'm far to be young, and still I'm tired with all this "analog emulation" ... Analog exist we know it, now we want the new analog and the new digital. When Moog, Fender, etc ...created their products, they were not reproducing the past.

[@malikdiao8212]

So journalism has basically become elaborate shitposting? Nice... :D Anyways I got a question for your next Q&A... Shouldn't lydian and dorian be considered the natural major and minor scales? For my part, I think they should. Simply because, since the natural fifth is the first non unison interval in the overtone series, it would kinda make sense, to construct a Major Scale by simply stacking fifths, kinda like how pentatonics are created, wouldnt it? Following that logic would result in a lydian, not an ionian scale and it's respective parallel, dorian... I do understand, that the raised fourth sounds kinda foreign to our western ears, but that could just be because of tradition and stuff, right...? I'd really like to hear your thoughts on that matter! Btw, pls excuse any spelling/ grammatical errors I might have made, english is not my first language... Keep up the good work my man!

[@cemvural7245]

Well that's what George Russel's Lydian Chromatic Concept of Tonal Organization is about. As far as I know, the idea of stacking fifths is coming from the overtone series which will go like I V II VI III VII and then the #IV however the sharp 4th(11th) is not really a #4, it's somewhere in between the natural fourth and the sharp fourt which is a quarter tone apart from both. So it'll either be a 4th or a #4th, I think the main reason tonal music is focused on ionian(the major scale) is because of the authantic cadance (V-I) which creates a very strong sense of resolution. In ionian the natural 4th serves as the 7th degree of the dominant chord which resolves to the tonic chord's 3rd (Bb to A in the key of F major) and the 7th degree of the scale is serving as the 3rd of the tonic chord which resolves to the tonic itself. This interval between the perfect 4th and major 7th is a very distinct one also known as the tritone (Bb - E in the key of F) which creates a tension and resolving back to the tonic and releasing that tension. In lydian it's harder to have this motion. Considering early era classical musicians might have wanted to go with a more natural sound might be the reason ionian is conaidered the "natural" major scale.

[@malikdiao8212]

While I do agree with your whole Authentic Cadence point, you could argue, that a plagal resolution in Lydian might serve the same purpose... Since the diminished chord is now on the fourth scale degree, it might as well be looked at as a shortened double dominant seventh chord... For example, in G Lydian, the C# diminished can serve as an A7 (without the root note)... Since A is the double dominant of G, you do get some sense of resolution if you resolve IV - I.

[@muchammadnurwibowo8255]

Adam Neely and Adam Nolly.. with GFI systems stand in the background. Great quote from your friend who work in Izotope!

[@selurusey]

I totally agree with you. The music industry doesn't keep up with the advances in consumer electronics. If the industry is behaving rationally, it could only mean the buyers aren't so interested in cutting edge technology in music.

[@paulmitchum8658]

Izotope and Ableton kinda don't need a booth. Speaking of which, I just found this thing called SamplerBox that's an open-source MIDI sample player made from a Raspberry Pi and spare parts for ~$100. So yah, you tell me where we're headed.

[@munzutai]

"Tyler plays bass too" "I'm so sorry"

[@MrMetalhorse]

Worst vlog ever. I LIKE IT. I WANT MORE

[@matthewoconnell8355]

The band that performed is Litte Tybee. I took a Skype lesson from the guitarist and saw them perform! I didn't even think about how we are behind compared to consumer technology. I would argue that technology has advanced pretty far in music. It sounds like NAAM isn't representative of forward thinking. I think there are a lot of forward technology but just not being represented in the conference.

[@tacutacu]

Adam that was a very precise take/critique ! Would be awesome to see newer tech / interfaces start to enter the music scape.

[@FranciscoHernandez-xp9yi]

I bumped into Lee Sklar like 3 or 4 times at times at NAMM! He’s constantly running around.

[@cheismillan9363]

Appreciated man, I've been playing guitar and drums for couple years unfortunately I don't have the means and especially the money to afford a professional career however this is very helpful for people like me. All that I know is by personal motivation even english is not my mother language however I really enjoy your vids. Thanks again.

[@themusicofgenesis]

I indeed wonder, what new tools machine learning will bring. I can imagine automated mixing/mastering plugins, unparalleled polyphonic audio-to-midi-conversion, calculate and change reverbs from live recordings,...

[@treyxaviermusic]

I done seen't'd youse at NAMM

[@GoviaM]

Ok

[@samelie]

04:29 Oh its Little Tybee!

[@captainkangaroo4301]

I’m a little older than you Adam. When people tell me they went to NAMM it has a whole different meaning. I thank them for their service and relate the story of how my birthday was the first ping pong ball drawn for the draft in 1972 but I lucked out because I was still in high school. Like I said, a whole different context.