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  1. Let's assume that you could spend any reasonable amount for an ideal stage monitoring system for your keyboard. And that it had to be something reasonably portable. What would you buy? The idea is to get something that could be set up in fairly quickly, carried with a hand truck/dolly in one trip from the van, and cost less than $2500. Doesn't have to be stereo, if you aren't someone that demands stereo. If you do think stereo is critical, than by all means recommend a stereo set-up. Could be in the form of a keyboard amp, modified PA rig, or whatever. But it should also be able to survive the rigors of the road. The idea of putting a price and size limit on things is I'm not really interested in people listing a fantasy rig with Fairchild compressors, Pultec EQ's, etc. So while there is no need to limit the choices to only really cheap stuff, try and stay a little realistic as well.
  2. Isn't it somewhat paradoxical to post a thread entitled "Shakira Porn Link", with the content: "If you see a thread entitled Shakira Porn Link don't click on it because it will give you a virus!" Does this mean if we read Phil's warning we now have a virus?
  3. ...or you could just explain it by the fact that some people are basically crabby.
  4. Sometimes you can run into a similar problem with snare tracks. On certain sections of the song, the drummer is using a side stick, and on other sections an open snare hit. You may find that the EQ, reverb settings, compression, etc. are completely different depending on whether it is a side stick section or an open snare part. You could solve this by automating everything, but sometimes I find splitting the track into two seperate tracks is even easier. I put all the side stick sections on snare track "a", and the open snare sections on snare track "b". Now it is very easy to set the volumes, EQ, compression, effects, etc. for the side stick without in any way affecting the open snare, and visa versa. You could easily do the same thing in your situation. Cut all the choruses from the main vocal track and paste them onto their own "chorus only" track. Now you can deal with each section seperately and not have to worry about one affecting the other. It's a whole lot easier than trying to find a compression setting that will eliminate the differences between the sections.
  5. You have to know what to listen for, and some compressor applications are more noticeable than others. For instance, if you were using compression to add sustain to an electric bass, that should be pretty obvious to your ears. But let's say you are using compression to keep a vocal more present in a mix. You solo the vocal track and listen with and without the compressor. Hmmm - hard to hear the difference? But now take the same vocal and listen with the rest of the mix. On the uncompressed vocal, there may be a soft part where it gets drowned out by other instruments. Now listen to the compressed vocal - it might sound pretty much the same, except that when you get to that soft part, magically the vocal seems to stay audible! Congratulations! You just heard a compressor doing what it was supposed to do!
  6. Originally posted by seaneldon talk about REALLY missing the mark there. the question was how much i work in a MONTH. my answer was 100+. before that, i stated that thursday was the only day i was off that week. doesn't mean i worked 100 hours in a week. not that i haven't done that in the past. Oops!!! Well, I said maybe I was missing something... obviously it was reading the original question! Makes a lot more sense now. Even a lazy fat-ass like me can handle 100 hours a month!
  7. Originally posted by seaneldon today's the only day this week that i'm not at the studio. 100+ 100+ hour per week? Wow! How do you do it? That's 17 hours per day, six days a week! Maybe I'm missing something here, but assuming you need an hour each day to eat, shower, brush your teeth, move your bowels, etc., that means you never get more than six hours sleep, and have almost zero time (and energy) to develop and or maintain any personal relationships, have any kind of sports or fitness regimen, read a book, see a movie, or otherwise balance your life with any non-music related interests. I guess there's always that one day off per week for some of that, but then there's laundry, food shopping, mowing the lawn, paying bills, etc. that has to be taken care of as well. If you are charging $50 per hour, that's $250,000 per year (with two weeks off for vacation) which is great, but I hope someday you can find a way cut down to a "mere" 60 hours a week (10 hour days) and create time for some other important things you might be missing, before it's too late! From a simple economic perspective, if you are in so much demand that you are working 100 hours per week, then you absolutely should raise your rates. You raise them enough so that, at worst, you off-set any lost client hours with the increased income from the bookings you still get. Wouldn't you rather work 60 hours per week at $80/hour, rather than 100 hours per week at $48/hour? You make exactly the same per week...
  8. Originally posted by rasputin1963 You know, parts of SERGEANT PEPPER'S even sound rugged now that they've been brought to the merciless light of digital. But surely you wouldn't call it the WORST recording ever made, would you???
  9. Also, at least in Pro Tools, putting inserts on an Aux or Group fader is different than on a master fader - on the master fader all inserts are post-fader. So the sound of, say, a compressor put on the master fader will change during a fade out.
  10. I heard "House of the Rising Sun" the other day in the car on an FM oldies station. For some reason, for the first time I noticed how awful the mix was. The loudest element was the organ. At a somewhat audible level behind you could hear the lead vox, cymbals, and bass - in that order. Barely audible was the rest of the drums. If there was any guitar at all, I couldn't hear it with the automobile engine on. It's still a classic song, and at the time it came out, everyone loved it. But it's funny how I listen to thing differently since I've gotten into the production end of the business. I wonder if the radio version I was hearing was some sort of disastrous remaster?
  11. While it may be different in other programs, in Pro Tools lowering the master fader gives EXACTLY the same result as lowering the individual channel faders - which, while counterintuitive to those of us who learned gain staging on analog equipment, is extremely convenient - especially if your individual channel faders already have a lot of automation written to them. The math is the same, and the sound is the same. So it is probably a question you should research with the tech support team of whatever software you are using.
  12. Actually, Marcus, it is entirely possible to play a functioning 7th chord using just the guide tones, which are the 3rd and the 7th. In jazz harmony, one would not necessarily add either the root or the fifth as the next choice, but instead add some variation of the 9th, 13th, and/or 11th. So a C7 chord could be voiced as E natural and Bb. A three chord voicing could add any of the following (to the E and Bb): Db, D natural, or D# (ninths), A natural or Ab (thirteenths), or F# (sharp 11). You may want to try these out sometime. It may not be appropriate for power chord rock, but who knows, it may open up another whole world of colors in your comping. And, as said before, there are many other chord colors, including sus 4, diminished, minor, augmented, and half-diminished. Complex hybrid chords, like Db/C or Db/D increase the color possibilities exponentially.
  13. Sorry, but that is about the most oversimplified and inane explanation of voicings and voice leading I've ever seen. It may have some value for playing the simplest and most primitive styles of rock, but that is about it. Here are just a few things you oversimplified or just plain ignored: Most songs are not written in the key of C. They are written in the key that allows the vocalist to sing it most effectively. Most chords in popular music are not simple triads, but use 7ths, 6ths, suspended fourths, and a variety of upper structure tensions (9ths, 11ths, 13ths). There are also diminished chords and augmented chords. Your discussion also leaves out song that are written in minor keys. Some of the most effective chord voicing is not about putting the root above the third or the fifth, but eliminating the root altogether. Keeping your voicings "small" is far less important than choosing the proper register in which to play a chord that stays out of the way of the bass. But it is also important to stay out of the way of other instruments as well - especially the singer. Musical muddiness can be caused not only by the choice of notes, but by playing in a way that disrupts the basic groove of the song. The comping instrument must be locked into the groove set up by the drums and bass - whether you are playing rhythmically in unison or a counter-rhythm. It can be questioned as to whether any of this is useful to an engineer. I would say that all knowledge of music is useful - especially if the band seems to be at an impasse, and you are able to suggest a musical solution.
  14. I agree with Pharoah that if you know what you are doing, either platform will work well. But I'm more representative of the typical end user who actually knows very little about what goes on underneath the hood. I just want to put the key in the ignition and drive to the beach. For someone like me, I think the Mac is a little easier to use.
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