Phil O'Keefe
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Everything posted by Phil O'Keefe
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It's impossible to give you any estimate of what it's worth without at least some good quality pictures of the guitar, as well as an accurate description of its condition. Beyond that, you can always do completed auction comparisons on Ebay and Reverb to see what other Adamas guitars of that model have sold for. I have no idea how Ovation / Adamas serial numbers or dating works, but according to this site, it looks like your Adamas was probably made in 1981, which would make it a Series 1 Adamas. Scroll down to the bottom for the serial number info on the Adamas guitars. According to other info on that same page, the model number indicates that your Adamas is an acoustic-electric roundback that has has a 6 1/6" deep bowl, and the -8 at the end of the model number indicates the color, which is blue, as you said.
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I actually like the D12 on some things - especially if you're looking for a more old-school kick drum sound. You can put it outside of a double-headed kick that lacks a mic hole, either on the front or on the beater side. Yes, you can put it inside the kick too... I usually prefer other mics in that spot, but if you have only the D12, it can go inside - assuming the hole is large enough to fit it in there. It will give you more beater "thwack" and attack if you move it in a bit, but if you are stuck working with a hole-less kick, if you put it on the beater side of the drum. Also, you can boost a bit of upper-midrange EQ in the ~3.5 kHz region to help bring out the attack a bit more. You may also want to try carving out some of the low mids in the ~250-500 Hz region too.
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Ways around Alesis MMT-8 small memory?
Phil O'Keefe replied to Daniele Spadavecchia's topic in Keys, Synths & Samplers
Do you have a DAW program? If so, see if you can load the sysex data into your DAW, then use MIDI to transfer the sysex data into your MMT8. There are also sysex apps available for the Mac, but whether or not they'll work for you will probably depend on which version of OS X you're running. https://www.snoize.com/SysExLibrarian/ https://www.geosynths.com/tools You might also find this article helpful: https://www.sweetwater.com/sweetcare/articles/how-do-i-send-and-receive-sysex-on-pc-or-mac/ -
Music Association Thread - Take 3
Phil O'Keefe replied to Dendy Jarrett's topic in Sound, Stage, and Studio
"Little Deuce Coupe" - The Beach Boys -
The Cort Gold Series of acoustic-electric guitars was designed with a total focus on sound, but with the introduction of the Gold-Edge LE, Cort is proud to be pushing the limits on ergonomics and playability. Cort’s new “triple bevel cut” system is the new gold standard of comfort, providing the right amount of angle and depth for each bevel cut on three different strategic areas of the Grand Auditorium, Venetian-cutaway body. The result is an acoustic that’s never been more comfortable to play and, thanks to the use of master-grade tonewoods, has never sounded so good. The Gold-Edge LE is the true golden result of tradition and innovation. Decades of technological advancements and guitar-building knowledge sparked Cort’s development of the new triple bevel cut system. Carefully calculated bevel cuts have been applied to three strategic areas—armrest, cutaway, and ribrest—ensuring that areas of contact with the player’s body are as ergonomically shaped as possible. The bevels are meticulously laid out to retain the acoustic properties of the body. Like other guitars in the Gold Series, the Gold-Edge LE has a solid Sitka spruce top that’s been treated through Cort’s special ATV (Aged to Vintage) torrefication process, which unleashes the holy grail of tonal quality that’s typically missing from new instruments. Underneath the top surface, the hand-scalloped X-bracing maximizes resonance as well as balance. The high-tech, sonically enhanced finish on the Natural Glossy body is strong and resistant to scratches, yet lightweight to improve the guitar’s natural acoustic resonance for a full-bodied and rich tone. Black binding with triple-ply purfling unites the body materials with sophistication. Fitting for a Limited Edition guitar, the back and sides of the Gold-Edge LE are made of solid master-grade flamed myrtlewood for a bright yet smooth and warm sound. Myrtlewood’s figuring gets better and better with higher grades, and Cort has selected the highest grade possible for the Gold-Edge LE. The tonal wood balances clarity and power while emphasizing the high-mids for excellent articulation. Cort keeps the Gold-Edge LE’s electronics simple yet effective. The L.R. Baggs® Anthem pickup/preamp system delivers the pure acoustic vibrations of the instrument to the amplifier and PA without any coloration. Minimalistic controls subdue unneeded feedback easily and effectively, and do not interfere with the instrument’s natural appearance. The Gold-Edge LE’s high-density ebony bridge pins are yet another upgrade to keep the fundamental acoustic sound focused and tight. They provide greater sonic projection than plastic and enhance the transfer of the string vibrations throughout the soundboard top, body, and neck. The connection between a guitar’s neck and body is another key factor in achieving great sound. In the Gold Series, Cort starts with a tight-fitting traditional dovetail neck joint and reinforces it by adding a bolt. This DoubleLock neck joint maximizes the transfer of tone and enhances resonance. The Gold-Edge LE’s mahogany neck is also reinforced with two pieces of walnut for added rigidity and stability using two special inserts. While there are many types of woods that can be used for the fingerboard, none compare to the jet-black beauty and slick smoothness of ebony used for the Gold-Edge LE’s 20 frets (25.3-inch scale). Genuine bone nut (1 ¾-inch) and saddle as well as Grover® vintage machine heads assist with tuning stability. With the Gold-Edge LE, comfort and luxury are well within reach at MSRP $1199.99. An exclusive deluxe soft-side case is included. Learn more at www.cortguitars.com. About Cort Guitars Cort designs, manufactures and delivers some of the finest guitars and basses to musicians and music enthusiasts all around the world. Over the past 50 years, the company has worked with some of the largest and most well-recognized guitar companies in the industry, as well as artists of international recognition. Cort remains focused on providing instruments that will last generations with the best workmanship possible, the best materials and components, and the best service long after the instruments have been purchased. For more information, visit www.cortguitars.com. -
It’s new release day and this week we’ve got Tones, a wealth of inspiration for Melodic Techno, Deep House and Progressive House producers. Zenhiser Pack: TonesPrice: $60.00 AUDDirect Link: http://www.zenhiser.com/tones-melodic-techno-samples.html www.zenhiser.com Zenhiser | Samples, Sounds, Loops & Midi Download Packs. 100% Royalty Free | Zenhiser Zenhiser | 100% Royalty Free Wav Sounds, Samples, Loops, Stems & Midi. Bespoke Sample Packs & Sound Libraries Designed Exclusively For Music Producers, Remixers & DJ's. Download New Sounds Now! www.zenhiser.com -
Music Association Thread - Take 3
Phil O'Keefe replied to Dendy Jarrett's topic in Sound, Stage, and Studio
"Goodbye" - Mary Hopkin -
Music Association Thread - Take 3
Phil O'Keefe replied to Dendy Jarrett's topic in Sound, Stage, and Studio
"Hang On Sloopy" - The McCoys -
OT: Whats this song "shooby dooby doop doop doop, whaooo"
Phil O'Keefe replied to Slaymoar's topic in Amps
This one? Or maybe this one? -
Great point! If it's true that s/he with the biggest pockets tends to win these things, Apple's probably in pretty good shape and has little to worry about. They have the money to litigate just about anyone into an out of court settlement.
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I am not sure if I'd do that in your shoes - there's bound to be more money in medicine than in music. Then again, you should do whatever it is that you're most passionate about... there's a lot to be said for that - money is important, but it isn't everything in life. Unless of course money is your passion...
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Which is just absurd IMHO. I should file a copyright claim for a basic four on the floor backbeat, then hire a lawyer and clean up!
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I never thought about it that way... It's possible, I suppose. Hooky song - I always liked that tune.
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I'm pretty certain it wasn't over the chord progression, it was the melody. Take a listen to both one after another, and I'm sure you'll hear the similarities. And as the guy noted in his TEDx talk, if it's similar enough that you very well may lose the case, even if it was unintentional or subconscious, you're often better off settling than trying to fight it in court. If you fight it, you'll rack up a bunch of legal bills, and you still have no guarantee you'll win - and if you lose, you not only have the legal bills, but also have to pay the settlement and give them part of the royalties going forward too. Giving in and agreeing to a settlement when challenged on a copyright infringement case is often less painful and less risky in the long run.
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You’re welcome to them... but of course you know, you can’t copyright a chord progression. Think of how many songs you know that use a I IV V progression...
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And for me, that's always been the hardest approach to songwriting - taking pre-written lyrics and putting music to them. I much prefer working the opposite direction; writing the music first, then molding the lyrics to fit the melody, or even writing the two simultaneously. It's a much bigger challenge (at least for me) to do it the way Elton did - writing music to go with Bernie's pre-written lyrics. YMMV.
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Elton's a good piano player, a great showman and a fantastic singer IMHO, but from a songwriting perspective, I really think it's hard to give one more credit than the other. Both were essential to the quality of the final results IMO.
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If it's a genuine Cort Source (their most recent 335 style semi-hollowbody that I'm aware of) the serial number is usually on the back of the headstock. If it's an earlier model, I'm not sure where you might find it if it's not located there - maybe there's a label inside one of the f-holes? That's where the serial number is located on my 2001 Epiphone Casino. It's also possible Cort did something similar, but the label may have come off at some point in time. I really don't know for certain. You might want to use the link Daddymack posted earlier in the thread and contact Cort and see if they can provide you any additional info. By the way, welcome to Harmony Central.
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Exactly - I know this myself from first-hand experience when I was working at a research lab.
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Not necessarily, but IMO it is probably going to de-incentivize the creation of new songs if it passes legal muster because songwriters are not going to get any financial rewards for their work. The people behind this say that they will from their lyric copyrights, but again, that leaves out composers who write instrumental music, those who write only the music (in conjunction with a lyricist), etc.
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When a recording is done by an engineer, it is typically treated as a "work for hire" type arrangement. The copyright technically goes to the person who does the job (records the music) but like studio musicians, the recording engineer typically signs the paperwork (a work for hire agreement), does the job, hopefully is paid for their services (sometimes a flat fee, sometimes per hour, and sometimes with "points" on the record's future sales, or a combination of two of these three), and the copyright ownership goes to the person / company who pays them. The band doesn't own the sound recording copyright, the engineer doesn't own it - the person who pays for it owns it - that means the producer (if they have the band signed to a contract and are paying the recording costs), the band (if they're self-funded), or the record company, if it's a label-funded project. The same thing is typically true for things like inventions and patents that a person develops as part of their normal work. For example, if you work for a company that does research into new forms of energy and in the course of your research work you make a discovery that results in a breakthrough in fusion, the patent for that may include your name on it, but the company that was paying you for your research work is probably going to reap the greatest financial rewards from your breakthrough, not you.
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Technically the record company owns the recording, not the artists, and not even the guys like me and Anton who actually make the recordings.
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So basically Bernie Taupin is going to profit as a lyricist, but Elton John won’t since he only writes the music? How is that fair when both contribute significantly to the final song?
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Oh crud - I used that exact same line in my review of the EHX Blurst! It was unconscious plagiarism your Honor, I swear!!! Seriously, while it's technically possible I saw that episode of The Simpsons and have forgotten all about it, I don't recall ever seeing it before now (I missed a lot of episodes), and I was actually thinking of Dickens and punning off of the name of the EHX pedal (and the opening line of A Tale of Two Cities) when I wrote that. I guess we must really be living in the age of wisdom, and the age of foolishness after all... I better shut up now and invoke my Fifth Amendment rights before they haul me off to the brig...
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I think it's just as common for them to write with a specific artist in mind; in my experience, both approaches are pretty common for non-artist songwriters. Publishers will also sometimes do multiple demo versions of a single song in order to try to demo the song in a style that is similar to the particular artist(s) they're trying to pitch the song to.
