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nat whilk II

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About nat whilk II

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  1. Great article, Craig. I tried the Channel Tools in Sonar for the first time after reading your comments about it, and narrowing the stereo image did the trick as far as making some synth horns sit in the mix in a song I'm working on. In an effort to make synth presets and patches sound impressive on first listen, lots of programmers intentionally spread the stereo field and introduce stereo motion to liven up the sound. Which is great until it messes up a mix with other instruments.
  2. Notes, I always appreciate your comments and your lifelong dedication to your art, no question. So, in all honesty, I still have to ask - what do you mean, "taken over by promotion"? And what's wrong with an industry "awarding itself"? Industries of all sorts have awards from medicine to auto design to literature to attorneys to composers to architects to retail stores to manufacturers to electronics to just about every industry under the sun. It just seems to me to be asking the impossible, to have awards of these sorts that somehow award on some purely "objective" or artistic
  3. Ok, to see what the fuss is about (since I pay next to zero attention to the Grammy's each year) - here's the top winners for Album of the Year 2018 - 1998 2017 Bruno Mars for 24K Magic 2016 Adele for 25 2015 Taylor Swift for 1989 2014 Beck for Morning Phase 2013 Daft Punk for Random Access Memories 2012 Mumford & Sons for Babel 2011 Adele for 21 2010 Arcade Fire for The Suburbs 2009 Taylor Swift for Fearless 2008 Robert Plant and Alison Krauss for Raising Sand 2007 Herbie Hancock for River: The Joni Letters 2006 Dixie Chicks for Taking The Long Way
  4. Well....if you read up a bit on amps and guitars - re: the electronics and the basic functionality - they are fairly simple gizmos, electric guitars particularly. Once the transducer was discovered/invented, and the vacuum tube was developed, and they figured out how to smooth out AC to a nice, silky DC signal...99% of electric guitars and amps were a done deal. Solid state was the next stage that didn't really outperform the originals....so the changes since then have been incremental, not fundamental. There's an apparently infinite market for pedals that make marginal changes to the
  5. Oh, I'm probably not in the market myself on this. I'm happy with digital and plugins - and the Kramer Tape plugin from Waves in particular. I won't go so far to say I'd never ever go back to tape - depends like everything else on cost and efficiencies and results. I'd certainly go back to a hardware digital recorder if the right one came along. My VS-1680 has been gathering dust for a decade or so....but not because it was hard to use (it wasn't/isn't) but because of the lack of VST support, the small HD capacity, and the less-than-stellar sound quality by current standards. If some new
  6. Sure - but isn't what would drive some new market for tape be other than the desire for clean/accurate recording? The "other" being the saturation/distortion, etc. Appreciate the detailed answers - I am familiar with ADAT and DAT et al. But again, some new market I don't think would be sellable on that. I'm wondering about another entirely new level of tape abilities...the old tape is, as all have been mentioning, too expensive, too unwieldy, etc. As far as the amount of tape required to hold a program, look no further than a cassette. What I've been r
  7. So where does the magic happen with tape recorders? Is it in the recording head? Playback head? On the tape itself?? The saturation that's always talked about...and perhaps other audio-favorable artifacts. 'Cause I'm wondering if advances in tape manufacturing could tip the scale on the usual problems with tape - noise, friction, clumsy editing potential, degradation over time, and the sheer amount of physical tape required to hold the audio. I may just be displaying my ignorance, but tape is actually the cutting edge medium for big data storage these days. Maybe there's no
  8. You still read about artists who just don't give up the tape. Indie, old school sorts, Americana, etc. Some record just drums/bass on tape, the rest digi. A new unit that looks vibey and is better than the old units?...I bet there's a market there somewhere. Won't take the world by storm, but if vinyl can be a niche...why not tape? nat
  9. That's super interesting. I wonder what sells management on the idea that a bulk-shipping manufacturer can morph into a single-item shipper, starting from ground zero, without entering a significant period of losses before some market share can be captured. I wonder if third-parties come into this offering the manufacturer some turnkey package to take excess inventory off their hands and handle all the fulfillment and customer service. And how long it would take to get burned that way... nat
  10. I wonder what triggered Chuck Surack's comments? Why right now? As Craig mentioned, some really big manufacturers sell off their websites (Gibson included.) Bottom line is - if it works, it works. Can't blame businesspeople for trying this and that. The trend is global and inexorable towards online purchasing, away from physical retail. Sweetwater has a very interesting position in the shopping landscape - it's not brick and mortar - it's not just a clearing house for postings like Amazon - it's basically a big warehouse and a highly trained salesforce. Sweetwater offers the ret
  11. I'd switch to hardware like this if: 1. it could host VSTs 2. the audio quality was as good as the upper tier interfaces 3. had some decent monitor controls, talkback, and phantom power per input (not all or none.) I've been looking at the SSL X-Desk at lot lately and getting very intruiged. SSL brings that modular, expandable approach in on all their products, too. What is so irking about using computers - and this goes for a lot more than music - is that the computer industry has simply made "almost good enough" a way of doing business. Sell something that begs for t
  12. Thx for the thoughtful response. I recall reading somewhere that the Bitches Brew album was created by editing down and patching together sections of long jams. After I read that, I went back and listened and yeah, it seemed to help me make sense of the sort of meandering lack of focus that is what bugs me the most about the album. I've never been one to trust my own taste particularly. When other careful and observant listeners take to something and I don't, it's, as the movie said, "a splinter in my mind" that I worry with. So much music gets panned because it doesn't meet listen
  13. I've given Bitches Brew a lot of listens over a lot of decades. I give it many +++s for stirring up the pot of experimentation in that day. Weather Report pretty much got planted as an idea from those sessions and WR has remained an endless source of inspiration for me ever since. But Bitches Brew itself - I just can't quite give it more than 3 out of 5 - when Miles gets 10 out of 5 from me when he's hitting the ball full on. What am I missing? Eddicate me..... nat
  14. Great comment. The episodic TV format is tried and true - interesting how viewer expectations differ between movies and TV series. Easier to let a dull episode slide with TV as a viewer - we seem to tolerate the occasional inept or irritating characters better - more of what we like to come, so we can wait. Game of Thrones, indeed. I just finished reading the five books for I think the 5th time. I would never have gotten through that huge,meandering, dull 4th installment A Feast For Crows if it wasn't part of a larger series that maintained my interest. Same principle...you get more ove
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