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  1. Creator Jenaia Morane describes Braided Lives as “a multimedia, multiplatform initiative designed to bring people from around the planet together to create, collaborate, and build community.” It currently features a music installation called Songs for Ukraine. Jenaia has been a Resident for over 14 years, telling us, “the most important lesson I’ve learned is that people are people wherever and however they choose to appear, and virtual reality has a lot to teach us about what it means to be human.” As a response to the overwhelming emotions that many of us feel these days as a result of chaotic global events and uncertainty about the future, Jenaia applied those values to Braided Lives. As one of countless people who saw the devastation of the Ukrainian invasion and felt a frustrating sense of powerlessness, Jenaia realized “What I am, however, is a storyteller who has learned that sharing our stories through song is one of the best ways to open hearts and keep hope and courage alive in the world.” Jenaia goes into great detail on the various goals of the Songs for Ukraine project: Entertain, Educate, and Inspire: “Bring people from around the world together to enjoy live music that supports and celebrates Ukraine. The concerts are held in recreations of places in Ukraine - e.g., the subways where people are living to escape the Russian bombs. These spaces are meant to give attendees a sense of what the Ukrainians are experiencing, including the hope and courage they’re displaying through their music. (Each live concert is broadcast in both SL and on the web so that anyone, anywhere with an internet connection can enjoy them. They are also recorded and archived so those unable to attend the live shows can listen later.)” Support and Educate: “Though we do not collect money, the “Songs for Ukraine” concerts provide information on more than 14 organizations that are offering aid to Ukraine. We also share poetry by Ukrainian poets and are starting to interview and post the work of Ukrainian artists and musicians.” Build Bridges: “To be effective, the work being done in virtual spaces needs to become readily available, easily accessible, and seen as relevant to the rest of the world. This is where music has a vital role to play: it crosses any and all boundaries, opens hearts, and reminds us that what we have in common far outweighs our differences.” Walking through the region feels like an episodic journey through space and time, as each section has a unique aesthetic and feels insulated in a comforting manner. The air of serenity makes it easy to relax, and art pieces are perfectly balanced with the natural beauty of the outdoors. Eventually Residents happen upon a seating area on an enclosed square of sand, reminiscent of a zen garden. Just past that, a literal approach to the concept of a word tree that provokes visitors to think about familiar concepts in a new light. Jenaia’s endeavor to foster resilience, hope, and connection features banners with inspiring quotes at the entrance and multiple stages for speaking and/or performing. There is also ample room for quiet contemplation, as one can see at a memorial for Ebbe Altberg, who many Residents remember as the CEO of Linden Lab until his passing last year. The poem “Do Not Stand At My Grave and Weep” encourages the reader to live in the present moment and not be focused on the past or weighed down by grief for those lost. All are welcome to visit Braided Lives. In a world that teaches us to be constantly moving, allow yourself to rest. You deserve it, maybe more than you know. Video Production Credits: Draxtor Despres Musicians in order of appearance: Cylindrian Rutabaga, Frogg Marlowe, and Raspbury Rearwin. Braided Lives Braided Lives is a multi-platform initiative designed to bring people from all walks of life together to tell their stories and collaborate on the creation of a more equitable and sustainable future. The concept was born in response to the isolation, stress, anger, and frustration that have resulted from the COVID-19 pandemic and ongoing racial tensions. For more info, visit braidedlives.com Visit in Second Life
  2. ADVANCED NOTICE FOR SATURDAY 2nd OCTOBER LSH continues the Saturday "live" events with MERKABAH One of the best voices, most WONDERFUL performer and always so welcome for us Concert starts at 10.00 AM SLT On the stage of the LSH Roman Ampitheatre ALL ADULTS are welcome and allowed http://maps.secondlife.com/secondlife/Pira Targa/88/147/3006
  3. This week's featured artist is Oblee, whose performances in SL center around live looping to create a unique experience for the audience every time. Please check out his music on his official website, as well as his social media below: Spotify Facebook SoundCloud BandCamp Q: When/how did you hear about Second Life? A: I heard about Second Life shortly after its release, but didn't spend any time inworld until late 2007. It was an exciting time to be there! I had some friends in France who had done a little machinima pilot in SL and wanted me to do some voices. That's when my current avatar was born. At the time I was playing drums in a few touring bands and was looking for a way to play live, original music to people around the world without having to sit in a van with 5 other grimy musicians. I was becoming the prototypical and annoying drummer gone solo and SL was my accomplice. Q: Your music is hard to define. What genres would you say it draws from? A: Thank you! I think that in part, a lot of my original music was born in SL, or at least born when my mind was often in SL. As far as a specific influential genre, I really can't say. I've never been very proficient at describing music or knowing which genre was which. I'm a lousy critic, and can usually find something I like about any piece of music. That said, I think the musicians I look up to the most are the ones who just did what they were going to do without commercial pressure. I've never heard music that didn't influence me in one way or another. Q: Who are some of the musicians that have influenced your style? A: The musicians I've heard! While I say that with some degree of humor, I really have been influenced by everything I've heard. I do hear bands like The Cure or artists like Tom Waits pop up in my original material, and the band The The was always an inspiration to be a self-produced one man band kind of act. A lot of the musicians with whom I've played in bands have influenced my style and my attitude toward songwriting. The Country/Americana songwriter Sand Sheff was a huge influence on me personally and professionally, and all this after my first words to him were "I hate country music!" I guess in the end, the artists who have influenced me most were the ones I perceived as authentic or honest, playing their music because it was burning a hole out of them instead of playing it to seek some kind of commercial success. All this aside, I think that a lot of non musical things have affected my musical style as well, the natural world in particular. I used to describe my music as like the "house music on the Millennium Falcon" in an attempt to say it respected the old and the new, the classic and the modern, technology and nature, all at the same time. Q: What type of equipment do you use? A: At this point? OLD equipment! I've recently become a parent, which has, predictably, stopped my impulse buying of musical equipment and instruments. I use a Boomerang III looper run on a sub mix from a 16 channel mixing board. Into that looper goes a DW drum set, a few acoustic guitars, an electric bass guitar, a handful of vintage synthesizers, an upright piano, congas, djembes, bongos, and whatever else I can get my hands on. I'm not much of a gear head, and feel like the "feeling" far outweighs the instruments, but I am slightly addicted to old synthesizers. Outside the mixer I use the normal rack full of compressors, gates, and effects units to make a hopefully bearable, radio-like sound to my live performances. The looper itself has no permanent memory or click track or other bells and whistles. It is just a bare bones machine that records and plays. One of the reasons I've stuck with that particular looper is the fact that it has no safety net. Once a song is over, it's all erased forever. Mistakes can be song-ending and quite embarrassing. I think the potential for catastrophic, embarrassing failure is what makes live music live music. {In SL, Oblee likes to use Thunk equipment.} Q: Tell us about your favorite experience playing live in SL. A: I've had some amazing times in SL. Some of the most fun was on those wild nights quad-streaming with Los Federales, or dual streams with Beth Odets. (Ask her about what I did on her birthday.) Apart from the musical collaborations, my favorite experience, in a broad sense, is having an audience who wants to hear my original music. An audience who is listening, often alone, at home, is so much different than a real life bar audience because they notice musical nuances and they actually hear the lyrics to songs. I've had a lot more audience members tell me they liked the lyrics to a song in SL than I have in RL. The first time someone IM'd that the sim is full and they couldn't get in was a wild and exciting experience. It was so nice that I now play homestead sims as often as possible. After all these years, I have trouble pointing to specific moments in time as the best times, but I can say with confidence that it is the people that make those moments. Playing the SL birthday celebrations has always been a highlight to the year, and one of those moments that I am very proud to be a part of such a vibrant community. Oh yeah, Simon's party for the solstice was a real hoot! Q: What is the most meaningful aspect of the SL music community to you? A: Musicians need an audience. At the end of the day, I think we all write and perform music as an act of communication. The music industry can be a cruel beast, and a lot of times a musician's ability to reach a larger audience is inexorably tied to their location and/or willingness to take enormous risks. The Second Life community tears down a lot of those barriers and is a loving and supportive group who gives artists a place to shine, sell their music, and perform. I often say that my original music was born in SL and that is very true. When my paying gigs in RL demanded playing popular cover songs, my SL audiences were encouraging me to write more and cover less. I'm eternally grateful for the people I've met playing music in SL. Oblee was also featured in the Drax Files, a Destination Guide video, and his local paper. Thank you, Oblee! If you or someone you know would like to submit content to be featured in Music Mondays, please fill out this form.
  4. (Photo courtesy of Nina Setner) This week’s featured artist is Nina Setner, an incredibly talented singer with a broad range: jazz, cabaret, vintage and current pop/R&B, musical theater, and opera. She is a lifelong lover of music and has studied vocal performance in university, record stores, and beyond. Her music can be found on her YouTube channel, as well as SoundCloud. Q: When and how did you find out about Second Life? A: I'm an oldie in SL--I'm coming up on my 13th rez day this October, which seems particularly insane to me. Back in 2007, my life changed radically because I'd had my first child earlier that year. Going out with the girls had been replaced with staying home with the baby, so all of a sudden I found myself without much of a social outlet. One night we happened to be watching a now ancient episode of CSI with a storyline in which SL featured, I was intrigued, and here I am--though to be fair, I would say that in addition to the life-changing relationships I've made along the way, it's the music first and foremost that has kept me here. It has always been my touchstone, in both lives. Q: You sing in a wide variety of styles, two of which are jazz and cabaret. For people unfamiliar with these genres, how would you describe the difference? A: Oh wow, great question--I'll do my best! In the simplest terms possible, jazz is a musical style, and cabaret is a performance style. Jazz requires a lot of imagination and willingness to experiment and be fluid with rhythm, time signature, melody--but often within a pretty strict framework. In order to excel at it, I think you have to be brave and give into the process. You can't scat sing or improvise 8 bars timidly--you have to go in with your whole heart. Cabaret on the other hand is a more intimate performance setting, as opposed to a larger theater or arena, etc. It can be free form (on the piano bar end) or it can be scripted ahead of time in a more formal cabaret club, but in both settings, singers are enjoying a rapport and a connection with their audience, either by telling them a story through songs they've chosen ahead of time or engaging with them off the cuff. Cabaret singers commit hundreds--thousands, actually--of songs to memory, because in a setting like that, you need to be ready and able to sing requests from multiple genres, jazz certainly being one of them. Q: You mentioned that you are a mother. How do you balance your creative outlets with raising kids, and do they like music as well? A: I was a regular in the club circuit here in Chicagoland where I reside in the days before I had my kids. When I stumbled into SL, I had NO clue about the live music community or potential opportunity to continue performing at a high level, but thankfully I found out pretty quickly. While they were little, I had to keep my schedule incredibly light--one, maybe two shows a week tops. As they've gotten older and can entertain themselves for an hour (though everyone who follows me regularly has heard my kids in the background *far* more often than I'd like over the years!), I've been able to increase that show load. My kids are young musicians as well, but neither of them enjoy singing. Apparently they're “too shy.” I keep hoping that'll magically change one day. Fingers crossed! Q: When books are adapted into films, there are always purists who say the source material was better. Has there been a film adaptation of a musical that you feel should only be experienced live in the theater? A: Another fantastic question. I think musicals that are more on the visual spectacle end--for example, The Lion King--I think that those are best appreciated live and in person. It's difficult to transfer the director's vision to the screen in those circumstances. I'm also a bit of a Sondheim fanatic/purist, so while I've been really happy to see his work getting the wide exposure and recognition it deserves through film adaptations of Into the Woods and Sweeney Todd, nothing takes the place of seeing Sondheim done as Sondheim intended. On the flip side, some musicals transfer brilliantly--the film version of West Side Story is still, for me, the one to beat. I have yet to see a live performance of it (or any other movie musical) that I liked more. Q: Did you study music or are you self-trained? A: At this point, it feels like I've been studying it my whole life. I started playing piano as a young kid and added voice lessons to the mix during my early teen years. Those piano lessons really helped shape my ear and broaden my repertoire beyond what I even understood at the time (I was playing Hoagy Carmichael's "Stardust" and songs like it back in high school out of random piano collections I'd pick up at the local music store--who knew I'd still be singing those songs 30 years later?) I did study music in college--I went to the University of Illinois at Urbana-Champaign, and hold degrees in both choral music education and vocal performance, and I'm still studying today--that never stops! Q: What is the most meaningful aspect of the SL music community to you? A: So, so many things. What SL and the music community in particular have added to my life and work as a musician is sort of incalculable. But I think reaching out over thousands of miles, making those connections and sharing your art and your passion with people you never would have had the opportunity to meet otherwise? I think that's pretty damn special. I hope we're here for years to come. Thank you so much, Nina! Don’t forget to check out her calendar for upcoming performances, and her group in SL. If you or someone you know would like to sign up to be featured in Music Mondays, please fill out this form. For more information, take a look at our official announcement.
  5. This week’s featured musical artist is Komuso Tokugawa, whose work defies easy categorization. His style has evolved over many years of studying music to the molecular level and is also deeply informed by his travels and different cultures. (Photo Courtesy of Komuso Tokugawa) Q: When and how did you discover Second Life? A: In 2005 I was in Australia researching game based learning and heard about SL. At the time they didn't allow international signups. Eventually they opened it up and I signed up. I quickly discovered there were a handful of musicians live streaming into SL and that sounded interesting (literally!) so I got to work (with the help of some great SL collaborators) and started jamming too. There are a few of those original musicians still jamming in SL too! Q: You describe your music as Bitstream Boogie and Bluestronica. For those not familiar with these terms, could you please describe them? A: I have a lot of musical interests, and I like doing mashups of different genres to create new hybrid musical genres to go with my experiments into new sounds and instruments. Bitstream Boogie I'd describe as a mix of groove-based Mississippi Hill country blues blended with world music roots rhythms and sonic experimentation around a core of blues tone. Bluestronica is a mix of electronica grooves with electric blues. I've also done a lot of ambient music work. Q: What drew you to these genres? Any albums you would suggest? A: Great question! If I had to describe my style in a short sentence I’d say it’s all about Groove, Tone, and Story. The groove is the heartbeat of the song, the tone is the emotion expressed through instruments/voice, and the story is the composition and arrangement flow that takes the listener on a journey. Any music that has those three elements captures my mind, body, and spirit. There are so many great influences but to pick a few: -Ali Farka Toure & Ry Cooder - Talking Timbuktu -Morcheeba - Who can you Trust? -Younger Brother: A Flock of Bleeps -Atomic Skunk & Bluetech - anything by them -The Blues Roots: Robert Johnson, Muddy Waters, Howlin Wolf, Hound Dog Taylor, Etta James, Sister Rosetta Tharpe and so many more. Q: What instruments do you play, and how did you start playing music? I sing and play slide guitar mainly (with a dose of finger style and pick), harmonica (mainly in a rack), Shakuhachi, and electronics of different types via different control interfaces. I developed a dynamically controlled AI rhythm section as backing for playing online in SL. My parents had an extensive record collection so I grew up listening to a lot of jazz and big band music. Then one night I was trawling the airwaves on my radio (a device we had back pre-internet days) and out of the static came this sound I'd never heard before - the crying sound of a blues harmonica and it captivated me with the emotion. I'd found the weekly blues show from a university radio station, and I was off on a musical discovery journey. I'm mainly self taught but I've since done a music master’s degree. My experience being a self taught musician has also been behind my development of music education apps like https://harpninja.com/. I'm currently in the alpha testing stage of a new web app I'm developing to help musicians practice more efficiently and effectively. Q: Your music draws from musical styles found all over the world. How did you learn about these? A: A big part of it was the uni radio station I mentioned before, they had specialist shows of different genres you never typically heard: African, folk, world music, etc. When I went to uni there I volunteered for graveyard announcer shifts and spent them exploring their eclectic album library. Since then I've lived all over the world (now in Tokyo) and have explored many musical cultures. Q: What aspects of the SL music community are the most meaningful to you? A: SL music has always been the "killer app" of SL to me due to its effectiveness in bringing diverse people together to create long term virtual relationships through the high bandwidth emotional channel of live music. Some examples: -Venue owners like Dr. John Kane, owner of Dr. John's Music Park (and also a great musician!), where I've been performing a weekly gig every Friday night since 2013. There's been a bunch of other great venue owners and promoters over the years (RIP Circe Broom). -Real time music jams/collaborations with other musicians, like fellow SL musicians Hathead Rickenbacker, Noma Falta, and others. An example of one real time networked live music event in a custom juke joint set I made, filmed by the late great SL Machinima artist Osprey Therian (RIP). -The audience relationships. I'm forever grateful to anyone who's willing to listen to my musical experiments, and happy it can help soothe their soul. It's as much musical therapy for me as it is for the audience. Many of them are long-time SL'ers who I've never met in real life but we come together via SL to have a high touch emotional connection experience via live music. -One of my audience wrote this about me which I think describes my style best: “Komuso Tokugawa’s approach to the blues is unique. The rough-around-the-edges sound is often described as ‘dirty’, ‘grungy’ or ‘alternative.’ Highly experimental, Komuso takes influences from world music and wraps them around the emotionally charged blues core to create his sound.” Please check out his music below! Websites https://komuso.info/ https://sonicviz.com/ Audio Links SoundCloud https://hearthis.at/sonicviz/ Videos https://komuso.info/category/videos/
  6. This week's featured artist is Jack Slade, whose moving and relatable songs are inspired by his life. From his humble beginnings to the Army and beyond, his voice highlights the beauty in the seemingly ordinary and is sure to leave an impact. For his music and bio, check out his website here. Q: When/how did you hear about Second Life? A: Someone who heard my music told me that I should sing in Second Life... I don't remember when. Around 2014? Q: How did you start playing music and do you play any instruments in addition to singing? A: I started playing guitar in the Army in the 80's and began writing songs not long after that. Q: What is your favorite genre of music? A: . I don't have a favorite genre of music... but I prefer songs that come from the heart or that touch mine. Q: Who was the last person you saw perform in SL? A: The last person I saw perform in SL was Lexus Melodie or Mimi Carpenter. Q: Tell us about your album, Beautiful. A: My album , Beautiful, is a not very well produced CD that I created with a few songs that I've written over the last 35 years... not much more to say about it, really lol. Q: What is the most meaningful aspect of the SL music community to you? A: I would say that the most meaningful aspect of SL music is how far reaching it can be... to sing to people in France, Germany , Russia, Ukraine, Italy, Japan... all at one time, is amazing. Thank you, Jack! If you or anybody you know would like to submit content for Music Mondays, please fill out this form.
  7. Today maybe a late start, but we have a filled evening for you come on by and rock it out with us today! http://maps.secondlife.com/secondlife/Byera Bay/49/99/25 FB: https://www.facebook.com/groups/522633801832847 SocialVR: https://socialvr.me/InfinitePossibilitiesSL Twitter: https://twitter.com/infinit21006663 APP: https://forms.gle/CYX2GAHfHUUv41A8A
  8. Ok, so here goes with my second review of gear from the perspective of performing in SL. I'm one of those guitar players that is pretty much a devotee of the Boss line when it comes to pedals and FX. As an instrumentalist I started on keys like most of us do, and like most of us fell in love with the Roland line of keyboards. This sorta predisposed me to looking at the Boss brand from the same company when it came to buying stompboxes and other gear for my guitars. With that admission of potential bias out of the way, here goes.... Performing in SL has its issues. Our home studio spaces share some of the problems that plague live venues and that we've all dealt with, dirty power lines, overloaded outlets, sources of interference.. But one of those really tends to be worse in a home setting. Dirty power. That 50hz earth hum that no matter what you do somehow creeps in from somewhere that you can't back off the gain enough without making a channel unusable. It has to be admitted that guitar pickups are usually the culprit. They resonate with it as enthusiastically as a whore with a billionaire, if they have any hardwired connection to the main system. Guitarists through the years have wrestled with this, they've risked their safety by installing ground lift switches on their gear, manufacturers have built those things in where the local electrical codes permitted but just lifting the ground is sometimes not enough. You will see folks marketing wireless guitar systems as "freeing you from the tangled cable" but for us, in this environment, there is an even stronger argument. Your guitar won't hum no more. A wired DI box, giving you a balanced path into the mix, is great. It will often flatten the hum completely but it brings with it its own issues. Is it battery powered? If so then you're still buying or recharging batteries between sets. It's an expense. If it is powered off mains juice, then its a fresh "way in" for the hum. Almost certainly lower than from the guitar using a high-Z unbalanced cable but it can be there, and if it can you know that it will exactly when you dont want it to. And you're still wiring the guitar to the DI box with a standard cable - otherwise known as an "antenna". Once the hum is in the sound you can connect it to the desk as cleanly as you like and it won't go away. A few months ago I had the opportunity to add a WL-50 to my pedalboard. I have to say, I love this thing. The transmitter contains a built-in switch that mutes it when disconnected from the guitar. You can switch guitars in the middle of a stream without either having to dedicate separate input channels to the two guitars or subjecting your audience to the unplug/replug pops and clicks. The receiver is the same size as most Boss stompboxes and just sits on the end of your pedalboard like another effect. Slot the transmitter into the receiver and it charges it up. All of the usual stuff that you want with a wireless instrument system. And it is SILENT. No hum at all, in what I must admit is a horrible power/interference environment, even when I crank the input gain on that channel to insane levels. Now, the downside to systems like this is, as the manufacturers admit, that it can't be guaranteed to work with guitars that have active electronics. If your guitar needs a battery then the odds are you will have problems with this system - either no sound at all or a persistent clicking and popping. BUT THIS IS AVOIDABLE. the reason for the problems is that guitars that have active electronics actually use a TRS(tip/ring/sleeve) socket - what you may think of as a "stereo socket" - while expecting a TS(tip/sleeve) plug - "mono" or standard instrument cable. The guitar uses the ring connector to switch on and off the electronics so it doesn't run down your battery when not plugged in. Wireless systems like the WL-50 use a TRS plug on the transmitter to make it detect when its plugged into the receiver rather than a guitar. Two devices using this connector in different ways has unpredictable results. So stick a like-to-like quarter-inch TS adapter between your guitar and the WL-50 (or indeed any other wireless system with this issue) transmitter. The most commonly available ones are right-angle adapters, for obvious reasons, but there are others. It just has to connect a mono TS socket to to a mono TS plug.The guitar sees a TS plug. Ring and sleeve connectors in its socket are grounded together. The guitars electronics operate as intended. The wireless transmitter sees a TS socket which doesn't have a "ring" connector, so that voltage "floats" as expected and it "knows" it's plugged into an instrument. Stick an adapter like this on every guitar you'll use in a set and move the transmitter between them with the lack of pops and clicks from plugging and unplugging. Just remember to remove the adapters from your guitars between sets/rehearsals or you'll run down the battery powering your guitars electronics.
  9. I haven't seen many musicians talking about gear on here - maybe I can start a trend Ladies and gentlemen, please welcome on stage my new backing vocalists, Vic and Eddie, the Stompbox brothers... I've always looked a bit askance on "vocal effects" but when you make the transition from performing as part of an ensemble to being a solo performer something has to give... This is also true for those of us that stream music live because while dual streaming is possible it really is a pain to do it anywhere close to right. Particularly in my genre where vocal harmony is so much an integral part of many tracks, it was time to bite the bullet and see if a vocal harmony stompbox could cut the mustard. My plan was to get one then run it through one set of batteries in familiarisation, rehearsals, letting some buddies mess with it and potentially a live set or two. At that point I'd know if it was a keeper or not and could decide if I wanted to buy in the other bits and pieces to use it right or pack it away for either return or an eventual departure to CraigsList. Short answer, the VE-2 is a keeper. Let's start with the thing most of us get this for, the harmonies: When they are working at their best they sound awesome, tracking a guitar input or a preset key extremely well and sounding clear and natural. If you're a tenor guy or a lass you're pretty much set for anything you might be singing. However if, like me, you're a baritone, be careful. The lower harmonies do get a bit robotic in the lower part of your range - but that's usually fine because if you're using this as a bari you probably will be using the upper harmonies most anyway. Another caveat for baritone and bass voices is that the lower-pitched your vocal range the more sensitive the device is to the slightest inaccuracy of your singing pitch. I vaguely remember something about the math of the fourier transform that makes this almost inevitable but to me it's just another example of the shocking injustice that has all the best tunes for adult male voices written for tenors. Seems the decent gear is built for tenors too! The "preset key" harmonies, I found to be a little lacking. They do track the key you set well but sometimes the box gets confused whether you are singing in a major key or its relative minor without an instrument input to follow. For the same reason the "hybrid mode" (use the preset key when the instrument input is silent) can produce some unpleasant surprises. Because of this I would not recommend the use of this device on songs you perform a capella. Let it track an instrument along with your voice and you'll have much better-sounding results. The reverb and delay: There's really nothing much to say about this feature. Does "exactly what it says on the tin" and does it well enough. The enhancements: The built in EQ/compression surprised me with its quality. Other than standalone units patched into the desk and being handled by a decent engineer you're not going to get much better, its single preset seems to work well for most voices - provided you *want* compression on your vocals, of course. The pitch correction, on the other hand, YUCK! Do not touch this with a bargepole. Not only is it a "feature" that really ought to be accomplished with actual vocal skill, it sounds really screwy - doubling over your voice rather than actually "correcting" anything. I tried deliberately singing a little off key and I could clearly hear both in the mix, making the vocal deviation more strident and obvious. With any kind of chops as a vocalist you should never need this and if you *do* need it, it does the exact opposite of helping. If that light is ever green, you're doing it wrong. The build quality is first-rate, like everything else carrying the Boss brand. It's solid as a rock. So, what are the negative points? Only one, really. I wish it had the option to double up an octave harmony with one of the others. The only combination of two harmony voices featuring octaves is 8Up+8Down. You can do 3Up+5Up but not either 3Up+8Up or 5Up+8Up. As a bari, I'd rarely use the 8Down voice at all but I suspect a lass might notice the lack of 3Down+8Down and 5Down+8Down in the options as much as I do the higher ones. Other notes: DO take the time to set up the memory presets for your setlist, because while nobody can actually see you bending down to adjust the settings on your stompbox, they can hear the break in your performance's flow. It's surprisingly noticeable to a listener. With memory presets set up (the three presets plus "as set on the dials" should be enough for a set, since you won't be using the harmonies on every track and one preset can often serve more than one track) that's one button press to switch between them instead of fiddling with a few knobs. If your budget runs to it, seriously consider adding a footswitch for cycling the memories - if you perform IRL as well as streaming online this quickly becomes a must-have. You can switch between memories using the boxes built-in main switch but it's a fiddly multi-press process that will break your flow as badly as leaning down to apply new settings.
  10. VENUE CHANGE!!! Usually at Slainte Castle Sundays 1 p.m. but for first time at JESTER'S NIGHTCLUB!!! ♫✰♫ COME ROCK WITH DEX!!! ♫✰♫ ♪♫♬ LIVE MUSIC!!! ♬♫♪ ✰ DEXTER SWANSEN at JESTER'S NIGHTCLUB ✰ SUNDAY, JULY 31st at 1 P.M. SLT Demacia (173,37,22) READY TO SHAKE SOME PIXELS?! ┣▇▇▇═─• • • • • • •Join Dex for an hour of feel good tunes! ♫♪♬Rock & pop hits ★ Request your favorites ♡ Bring your friends!♬♪♫ ➩ SUNDAY AT 1PM ➩ JESTER'S NIGHTCLUB ➩ SEE U THERE!!! http://maps.secondlife.com/secondlife/Brighton/217/86/78 Dress: Casual (no nudity) VENUE CHANGE!!! Usually at Slainte Castle Sundays 1 p.m. but for first time at JESTER'S NIGHTCLUB!!!
  11. http://maps.secondlife.com/secondlife/Entrepreneur/171/232/21 4 Talented Performers SING LIVE in 1 Great Lineup SUNDAY, July 7th at the BEACHVIEW BALLROOM! ★ AM FORTE - 4 pm ★ JUSTIN ELIAS ANATRA - 5 pm ★ JACK SLADE - 6 pm ★ BECCCA BAXTON - 7 pm AMFORTE - Pop/Indie with Punk/Rock flairs JUSTIN ELIAS ANATRA - Pop/R&B/Motown/Rock JACK SLADE - Folk/Rock/Southern Rock BECCCA BAXTON - Rock/Jazz/Blues/Country/Pop/R&B BEACHVIEW BALLROOM next to BEACHVIEW RESTAURANT & BAR http://maps.secondlife.com/secondlife/Entrepreneur/171/232/21 *semi-formal/formal/classy casual is o.k.
  12. AMBERLE JANNIAH LIVE @ ~NO STRINGS~ AT 12 AM :*★*:. .:*☆*:. .:*★*:. .:*☆*:. .:*★*:. ┊ ┊ ┊ ┊ ┊ ☑ Who: AMBERLE JANNIAH┊ ┊ ┊ ┊ ❤ ┊ ┊ ┊ ☆ ☑ When: OCT 4 THURS 12-2 AM SLT ┊ ┊ ❤ ☑ Where: ~NO STRINGS~ http://maps.secondlife.com/secondlife/Business District Foxtrot/194/12/23 ☑ SONGS THAT WILL TUG & MELT YOUR ❤ ❤ ❤ ┊ ☆ Time to PARTYYY!! .:*★*:. .:*☆*:. .:*★*:. .:*☆*:. .:*★*:. Amberle was born and raised into a music oriented family. At an early age, she became actively involved in choir and musical theater through out her school years, where she also began playing guitar. Amberle's passion continued through her college and early working years. You will instantly fall in love with this acoustic pop musicians vocal talents while she sings some of your favorite pop songs from, Lisa Loeb, Michelle Branch, Alannis Morisette, Britney Spears, Taylor Swift, Natalie Imbruglia, Sixpence None the Richer, The Cranberries, Yeng Constantino, KZ Tandingan and many more. SO DON'T MISS YOUR CHANCE TO HEAR HER PERFORM LIVE HERE http://maps.secondlife.com/secondlife/Business District Foxtrot/194/12/23
  13. ***We still need Volunteers (Greeters and Stage Managers)*** Applications for SL15B are open Visit the sign up for applications http://slcommunitycelebration.info/ Applications are open for: Exhibitors DJs Live Performance Auditorium for talks and classes Volunteers Press Day Come Join us for the biggest party on the grid Coming Sunday, June 17, 2018
  14. Applications for SL15B are open Visit the sign up for applications http://slcommunitycelebration.info/ Applications are open for: Exhibitors DJs Live Performance Auditorium for talks and classes Volunteers Press Day Come Join us for the biggest party on the grid Coming Sunday, June 17, 2018
  15. Applications for SL15B open tomorrow APRIL 13 at NOON SLT http://slcommunitycelebration.info/ Applications for Exhibitors DJs Live Performance Auditorium for talks and classes Volunteers Press Day
  16. I've been in SL for quite some time and have done a variety of things to keep me sane (or on good days, insane) from RL. One thing I've always wanted to do is to create something worthwhile and to bring together a group of like-minded people from all over the world who have a knack for literature, singing, live performances, comedy, discussions, any other diversions to get us through the work week. The goal is to have a weekly schedule of events such as: *poetry/literature readings *karaoke nights *discussions on latest world trends *meet & greet party (chance to make friends from all walks of life) *live performances from talented artists from across the SL grid *comedy shows I've created a free venue which everyone can visit that is nestled on a beautiful beach. If you're interested in joining the group for notices on upcoming events or if you just want to be a moderator or simply collab, send me an IM inworld: imalexiaandirock But why don't you drop by? We got free-flowing burgers and drinks for everyone! http://maps.secondlife.com/secondlife/Sandness/64/85/22
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