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Cameron MacKenzie

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Cameron MacKenzie last won the day on October 25 2015

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About Cameron MacKenzie

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  1. Life Is Very Short

    There's no time for fussing and fighting, my friend. How does one go about getting his song copyrighted? I've heard that in the old days they'd mail to their own house, and keep the envelope (with its date stamp from the Post Office) sealed.
  2. As the deer (CTK6300IN)

    Nice sound there. I don't know the song. It reminds me just a little of Lobo's 'The Albatross.'
  3. Would this constitute abuse of a Casio?

    Yeah, feeding the headphone jack signal to an all-electronic circuit to add effects to the sound has a lot of merit. I am pretty sure I could make a circuit that puts on a tremelo effect like the old Leslie rotating speakers (i.e. an oscillating volume), and make the oscillation frequency of the amplitude be whatever I wanted it to be. But a circuit that wobbles PITCH (vibrato) is probably beyond what I would be able to whip up.
  4. I've been looking online at information about the Arduino microcontroller. It is a cheap little computer, essentially, which can be wired to external components that one could build in the garage. On my list of jottings about what I might use the thing for is this: let the Arduino and its software control a device I could build in which a stepper motor wobbles a rubbery/spongy lever which would bear against the pitch-bend wheel of my CDP-230R. I would be able to specify the frequency and amplitude of the wobble. Then while playing my keyboard I would get a vibrato effect. I've heard that variable resistors wear out with repeated use. Variable capacitors, on the other hand, could be twiddled millions of times without wearing out, I would think. Does anybody know how wear-resistant the pitch-bend wheel's guts are?
  5. choosing the keys for a medley

    That is pulling me away from my idea of staying tightly clustered on the circle of fifths, since a half step change in keys throws one way over to the other side of the circle. At the risk of being overly pedantic, I ask about your "ii-vi-v-i progression in the key of C this would be d minor, a minor, g major c major)." Is it more standard to make those last two Roman numerals uppercase when it is the major chord? ... ii-vi-V-I. ... I thought that was the way music theorists distinguish major from minor in Roman numerals, though I've never taken a class in that kind of thing and may be wrong.
  6. choosing the keys for a medley

    That does indeed sound like the basic idea behind the circle of fifths. So maybe I am onto something.
  7. choosing the keys for a medley

    I can't argue with the "if it sounds good it is good argument." But to flesh out my original post, I thought there might be a rule like, "Stay close on the circle of fifths." For instance, it might clash if one piece is in D and the other is in A flat. I've read that producers back in the days of the LP album would order tracks to avoid incompatible keys for successive songs. I figure the same thing would apply to a medley, though I am not sure what makes for the incompatibility-- the circle of fifths thing being my best guess as to that.
  8. choosing the keys for a medley

    My basic question: Is there a rule of thumb for choosing the keys for the components of a medley? I've never heard anything about this. The first example that comes to my mind is from the Beatles. John wrote the "I read the news today / oh boy" bit that starts out 'A Day in the Life.' Paul met up with John and told John he had a song he had been working on, which starts out, "Woke up / got out of bed / dragged a comb across my head." They decided to weld the two together into one track for their album, effectively producing a medley of two songs. My songbook scores both of them in G, but just statistically speaking, it's likely that when the two fellows got together with their songs-in-progress, they would have been in different keys. So maybe this is suggesting that you should record both (or all in the case of more than two songs being joined together) in the same key. Complicating my example above is the fact that a lot of Paul's notes are unnatural to G, but natural to E. I don't know how relevant that is to my question, though. A point against matching keys would be that transitioning to a different key helps the listener identify where the different songs are welded together. But I don't have a feel for whether that is desirable, or whether one should keep things as seamless as possible by matching keys. Maybe you know a rule of thumb for this, or maybe you can point me to some examples of medleys I can find at some website such as YouTube. I have some specific songs in mind that I might try to do as a medley, with just a verse and not much more taken from any given song.
  9. And I love her/Beatles cover

    Very soothing piece. Has a bit of a Vince Guaraldi feel to it.
  10. Lady Madonna,piano cover by the Beatles

    Keep those hits coming, man! My favorite five acts--------- * Beatles * Supremes * Bob Dylan * Tijuana Brass * Rolling Stones
  11. Here there and everywhere( piano )

    Ah, so you ARE Hugh O'Kelly. I had not picked up on that.
  12. Here there and everywhere( piano )

    Great job! I think member Hugh O'Kelly also recorded this song. The Beatles catalog is a big fat vein of ore to mine. I see a headphone/earplug cable. Did that provide you with a click track?
  13. A little amateur music made using my Casio AP-460

    Nice. I couldn't pick up on any mistakes.
  14. Big thanks to Mike Martin!

    Did you have more butterflies for your first live performance, or for the first one that had a substantial audience?
  15. Post your Gear Pics Here...

    Do those microphones on goosenecks get used for anything? (If so, no more people's feet thumping above your head and making extraneous noise, now that you are out of basement.)
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