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Everything posted by Paul_Hardy

  1. Given that I help run a music group called Greenshoots (http://greenshootsmusic.org.uk/), this would be a good theme tune! Do you have dots available?
  2. It doesn't! There is a standard technique of pressing lots of buttons on each end (e.g. by using two curled fists), so that no one reed gets enough air to sound, but the bellows can still close silently and gently.
  3. Bluetooth audio will be a problem, for anything other than listening to recorded audio tracks. The Bluetooth standard includes a latency (delay) of 400 milliseconds, so nearly half a second. This is so that lost packets (due to interference or distance) can timeout and be retransmitted, get sorted into order, and still make up a coherent stream. For playing an audio album this is fine, but problematic for anything where the audio should be synced with video (real or recorded). I encountered and investigated this for my MIDI concertina - https://pghardy.net/concertina/lachenal_30566_midi/lachenal_30566_midi.html. This doesn't apply to wired connections, so I wouldn't have expected significant latency on these - I find no noticeable latency on my iPhone with wired headphones.
  4. It's fun suggesting workable solutions to problems which because of combinatorial expansion would take a very long time to explore all possibilities exhaustively. As an ex-programmer who ran projects to do map generalisation (automated change of scale), we tended to use "Simulated Annealing" where a nominal 'temperature' starts high and then falls slowly. You set up an initial starting state, then while the temperature is high, you allow drastic changes, and as it falls, only smaller perturbations so that the overall system settles into a stable state. Not necessarily the best state, but a 'good enough' one. If I were to try this (which I won't), having allocated an initial default button and finger to each note of the tune, I'd get each note to assess (as a fraction) its overall 'happiness' (ease of access). if it was unhappy then try actions to improve its happiness (swap buttons/fingers). If the result improves the overall happiness of the tune (sum of all the note happiness), then keep the change, else roll it back and try a different action or a different note. The aim is to maximise the overall happiness. Implementation is left as an exercise to the reader!
  5. It's a website with a mix of videos, diagrams, articles to read, with quizzes to pass to prove that you have understood stages.
  6. Don't panic. I had an instrument with rusty reeds (https://pghardy.net/concertina/lachenal_32801/lachenal_32801.html) and was pleasantly surprised how application of a fibreglass pencil followed by retuning with a diamond file produced a quite playable instrument.
  7. I did the free Coursera course on Music Theory (https://www.coursera.org/learn/edinburgh-music-theory) from Edinburgh University, and found it useful. Like most music courses it does tend to assume that you play piano keyboard, but not excessively. I should declare that I did Music 'O'-level aged 16, so had a starting point.
  8. More the latter - If I want a concertina that sounds like a concertina I have several real ones! bs-16-i does support soundfonts, so It's quite capable of sounding quite tina-like - see https://www.bismark.jp/bs-16i. However I like it's ability to handle multiple MIDI channels playing different instruments. My MIDI concertina can output three channels at different octave transpositions, so with bs16-i it can play a viola at pitch, a piccolo flute an octave up, and a cello an octave down. More commonly I choose two instruments - saxophone and glockenspiel?
  9. I agree that Thumbjam is a very good app, but I also use Bismark bs16-i in my iPad, as a favourite synthesizer for my MIDI tina. See https://apps.apple.com/us/app/bismark-bs-16i/id388149926.
  10. Yes, I first saw a concertina aged 22, and got my first aged 40. However I've left some money in my will to the ICA to encourage concertina playing by young people.
  11. I use a CME WiDi Jack (https://www.cme-pro.com/widi-premium-bluetooth-midi/) to stream the MIDI signals over Bluetooth LE to my iPhone or IPad. Then a synth app like ThumbJamb. The latency is negligible. Works well. A recent recoding using that tech is https://pghardy.net/concertina/recordings/midi_concertina_cello.mp3. The same WiDi Jack can talk bluetooth midi to a Windows 11 laptop, where MidiBerry and LoopMidi can feed it into a synth that uses soundfonts, such as SynthFont2 or Syfon1.
  12. There are several apps that read midi files (e.g. output from EasyABC) and use soundfonts to render them to sound formats such as wav or mp3. I use Synthfont2, and Anvil Studio. Admittedly on Windows not Mac.
  13. I assume it's some standard barometric sensor - either resistive (strain) or capacitive (parallel plate). Google search for "miniature barometric pressure sensor" for examples. I will note that it is important to power up the concertina (which sets the zero point) before picking it up, or else you end up in a mode where notes are louder on the push than the pull or vice versa!
  14. I recorded https://pghardy.net/concertina/recordings/midi_concertina_cello.mp3 on World Concertina Day 2022. It's Planxty Irwin using a Cello voice synthesized using ThumbJamb on an iPad, driven by midi from Lachenal 30566 described up the thread. There are more midi recordings at https://pghardy.net/concertina/recordings/#midi.
  15. Yes, it has a bellows pressure sensor - I'd prefer it a bit more sensitive, but it's good enough to play Captain Pugwash with the repeated notes being a bellows shake. I might post a couple of tunes on it later.
  16. I also can suggest Roy Whiteley - he made my midi tina - see https://pghardy.net/concertina/lachenal_30566_midi/lachenal_30566_midi.html. I was playing it yesterday, so it is surviving OK. I have recently changed to using CME WIDI Jack (https://www.cme-pro.com/widi-jack/) to reduce the cables by using MIDI over Bluetooth - works well.
  17. My take on Alan Day's March of the Concertinas was recorded by the sea in Spain this morning, and is at World Concertina Day 2022 (pghardy.net).
  18. I have three George Case tinas, including my favourite 'round the house' instrument, and my only baritone, both of which are played often. Not bad for 160 years old! They are all described at https://pghardy.net/concertina/.
  19. I've been pleased with the Roccat Torch USB mic I bought earlier in lockdown from Amazon. I've used it for live Zoom sessions, for stereo recordings using Audacity, and to stream a gathering of players in a Village Hall. Recent recordings include Here We Come A-Wassailing in my Virtual Greenshoots series of slow/faster recordings. On the down side, it's big and heavy.
  20. As I said on Facebook: Nicely played, and interesting instrument, but I don't think that tune is O'Carolan. The Session says: "South Wind was written in the 1700s by "Freckled Donal Macnamara" in homesickness for his homeland in County Mayo, as described in Donal O'Sullivan's wonderful book, "Songs of the Irish."
  21. You could try contacting Steve Dickinson (Wheatstone.co.uk), who possibly still has unused sheets of the original brass from the Lachenal factory! He replaced a fractured brass reed starting with sheet brass for me while I waited once - but it was the best part of twenty years ago. It was fascinating to watch him at work.
  22. I think that "plays twice as fast" is wrong/confusing. A bar of 2/2 and a bar of 4/4 should both take the same amount of time, so no faster. The beats are twice as *slow* in 2/2. Hear hear - I systematically switched tunes to numeric ratios when including them in my tunebook. I agree entirely. Again I reset several tunes from 2/4 to 2/2 in my tunebooks to avoid use of semiquavers (16th notes for our American notation users) and make them much more readable. It's interesting how the default symbol for a typical note seems to have suffered inverse inflation over the centuries, starting with breve and semibreve, and through crotchets and quaver, and heading for semiquaver. 'Breve' means 'short', but its now longer than the longest note in common use (semibreve).
  23. I think of 4/4 as going | Rhu-barb Cus-tard | Rhu-barb Cus-tard | while 2/2 goes | Green Sheep | Green Sheep | where all four of the bars are all about the same time length. I think 2/4 is a case of the continuing inflation in ever shortening written note lengths. I think of it as | Tip Top | Tip Top | where the bars are shorter time duration than the Green Sheep.
  24. The first syllable rhymes with bash (or lash). Note that French pronunciation is very even without a lot of stress on any syllable. Unlike English, any stress there is rarely accentuates the first syllable - much more usually the *last* one. So it's probably closer to Lash-en-al, or even Lash-en-AL.
  25. Hello Michael, Having once attended in person a session at the Ould Sod, I would have been quite interested, except that 6pm Pacific is 2am in the middle of the night here in England! Any chance of using Zoom to record the session, and make it (or parts of it) available as a video for a week, to allow for catch-up? Well done anyway for keeping a session going. As an aside, I'm still continuing my Virtual Greenshoots slow/improver sessions (https://pghardy.net/greenshoots/virtual/) on Mondays - Tomorrow will be lockdown session 66!
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