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The MIDI version is richly informative. There are long passages where there’s almost no rhythmic correspondence between the notes as written (and as “performed” in the MIDI) and the way that humans perform them. People are playing the same notes in the same order, but have pretty much thrown Bach’s written rhythms out the window. But the MIDI isn’t a very satisfying listening experience.

Creating presets for the instruments and effects that you use often can help you solidify a consistent sound, and help eliminate extra time spent changing parameters in stock presets. Personalized presets can also be helpful when tracking vocals and instruments by giving you a head start in the rough mixing process. The more confident you can be in your presets, the less you have to worry about laying down tracks that just don’t sound right.

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If you’ve got friends in a town you’re touring, don’t forget to tell them! Also, if you post to Facebook that you’ve got x amount of hours in x city, you may have old friends you had forgotten about come out of the woodwork. Maybe that person you knew from high school will want to take you out and show you their town.

What makes the djembe stand out is a) its uniquely wide range of tones and timbres, and b) its lore. That’s right — djembes are steeped in lore and tradition. Djembe players are even given a special name, called a djembefola, while a solo is called a djembekan. Nobody is quite certain where the name djembe came from, but the instrument is thought to be between 400 and 800 years old and the Bamana people of Mali hold that its name comes from their saying, “Anke dje, anke be” — which translates to “everyone gather together in peace”.

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