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nat whilk II

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Everything posted by nat whilk II

  1. Being a Beatle fanboy (or fangirl) can lead to acquiring an education of sorts in music gear, composition, mixing, and related good things. The resources available are pretty incredible - in addition to the ones out there about the gear: [h=1]The Beatles Recording Sessions: The Official Abbey Road Studio Session Notes 1962-1970 by Mark Lewisohn Here, There and Everywhere: My Life Recording the Music of the Beatles by Geoff Emerick[/h] [h=1]The Beatles Recording Reference Manual: Volume 1: My Bonnie through Beatles For Sale (1961-1964) The Beatles Recording Reference Manual: Volume 2: Help! through Revolver (1965-1966) both by Jerry Hammack[/h] and this one - expensive but by lots of accounts, amazing... Recording the Beatles by Kevin L. Ryan (lots of scalpers selling this for $400 - $1000. Get it from the publisher Curvebender Publishing for $100 from the website.) There are just a few among all that's out there... nat
  2. I can enjoy listening to the busier bass players, the ones that take leads or, like Jack Bruce, just flat take over sometimes. But I can't say they inspire me in my own music. Except for Jaco. I can say I've been inspired/influenced by these in my own productions: Paul, of course. All has been said about his bass playing, so 'nuff said. Chris Hillman. I was a huge Byrds fan from Mr. Tambourine Man on. Hillman really came into his own on tracks like Eight Miles High, Renaissance Fair, So You Want To Be A Rock and Roll Star, 5th Dimension, etc. I'm not much of a Dead fan, but I do admire Phil Lesh on bass. I love his tone on stuff like David Crosby's song Laughing on his first solo album. On the busy side often, but he doesn't take over as a rule. I listen to a good bit of jazz, and the fantastic bassists in jazz are legion. Eddie Gomez, Will Lee, Charlie Haden, Mingus, I listen close to. But I don't really do more than scratch the surface. nat
  3. Really, using the Decade to define Eras in music of any type is like using four 3-month seasons to define The Weather for an entire hemisphere. It's only correct in the vaguest, most general sense - but Fall is not the same thing in Brownsville versus Minneapolis. Winter is not the same thing in L.A. that it is in Fargo. "The 60s", musically, has a similar variety and development that owes absolutely nothing to the arbitrary use of the decade as a meaningful category. Decade-speak leads to the silliest arguments that shed no light whatsoever on musical styles or history. It's like a kid from Alaska arguing with a kid from Lousiana as to whether you have to wear a coat most days in winter. . Stoooopid.... nat
  4. I've got literally hundreds of instrumental ideas sketched out in my DAW. I've got a couple dozen sets of lyrics with no music. Getting the music and the lyrics to dance together is like trying to get 10 year-olds to dance together and take it seriously.... Sometimes, luckily, the lyrics and the music arrive together - usually just a lyric phrase and a melody line and a few chords or riff. I'll typically have absolutely no idea where the song is actually going - I follow these "inspirations" down the psychic rabbit hole where sometimes I land in a pile of crap, sometimes I drift softly down into a place I quite like. But to take completed lyrics and then put them to music (like Sir Elton does so well)...I almost always feel like I have to dumb down the music side to get it to work. It seems to me to be quite common that artists favor the lyrical side or the musical side. With the rare exceptions, of course. It makes so much sense to me that it's songwriting duos that seem so often to be able to work both aspects to the max. nat
  5. Good lyrics are rare, costly, and take a lot of soul-mining to bring to the surface. Good music is similar, but for me, easier to get to (it's still work, 'tho.) But good music with good lyrics...all the stars must align. nat
  6. I saw that PBS - at least I think it was PBS - show on Foley. Just fascinating - at least as interesting as the Prop department. For sound-aware types like musicians, more interesting maybe. All those little things - the sound of shoes in an echoey hallway - the cars keys when some poor soul is trying desperately to get in the car before the [skinhead, mad wolf, IRS agent, Russian thug, 40 billion army ants, etc.] get to them. The give-away crack of a small branch when sneaking through the woods - the alien eggs opening in Alien - the engine turning over but won't start - the gavel in the courtroom - running horse hoofs - velcro ripping open, just endless. How to organize the sample set on the hard drive? 50 terabytes maybe? I would think the fun ones would be where there's no guide to what the sound should be and it's all imagination. Like what does it really sound like when a fighter pilot ejects the plane? Or when The Hulk sneezes? Or all the cables on the Brooklyn Bridge snap? Or when Scarlett Johannsen unsnaps something...anything nat
  7. Geez, coming down a bit hard here maybe? I don't agree with your assumption that a band or musician's "from" decade stems from their formation or first hit date. Fleetwood Mac, according to the Wikipedia discography, shows 3 albums from the late 60s and 9 albums from the 70s - and the 70s albums and line-up are the only ones the general public is aware of. When they switched from blues-rock to the slick lineup and stripped-down, dry sound that was on Rumours, etc., with all the mega-hits, they were way more influential than they were in the Peter Green era. Sure, Peter Green is great, but they forged their true fame post-Peter. BTW I saw Three Dog Night twice, live, in the 60s, following their first two album releases. It's just a chat room sort of question anyway, not the bar exam or the Rock History Inquisition. nat
  8. I'm in both worlds - streaming and CDs. The advantages of streaming are obvious. But there's usually a sound quality penalty with streaming. And it's not just mp3-style compression with alI that grit and graininess and loss of high-end that's bad - the stereo image is very often unstable in streamed material, too. And at least with our crappy internet service, things hang or crash or blip out with enough frequency to be an issue. Now I don't always need, or even want, top sound quality, 'tho. I'm from the generation that screamed along to Born On The Bayou or All Right Now along with the car radio like the kids on That 70's Show. Max sound quality is not always the point. I like listening to lo-fi playback for background or chill factor music. I think the midrange is beautiful But like Notes said - it's CDs for me for serious listening. With CDs (or ripped lossless files from CDs) I've got all the control, the sound quality is tops, and, especially for classical and jazz, the liner notes can be really helpful. Also, the streaming services have no idea how to deal with categorizing and optimizing search routines for classical music. They just dump the material into their servers and leave it to the public to figure out how to find the material. It might or might not come up on the conductor - or the orchestra - or the composer - or an unofficial name like "Moonlight Sonata" - or the soloist - or the exact long name like "tocatta and fugue in D minor BWV 565" - or the name of a group of works such as "Brandenburg Concertos" or "Six Pieces for Orchestra" or whatever. Or it might not come up at all until you find the magic search term. Like how I could not find what I wanted in the way of Debussy Songs until I added "French Melodie" to the search terms. It's extremely interesting to me how both my "kids" (29 and 31 years old) are big into vinyl. They buy vinyl for their most beloved, special albums. Vinyl was pretty much gone around here by the time they were in first grade - so it's not like there's a nostalgia thing going on for them. But they love the bigger experience of the vinyl album, the big artwork, the careful handling of the disc, the slow-pour set-down of the needle, and the "submission" to the music that vinyl seems to impose. Listening becomes an Event, and the music becomes a Specifically Collected Thing. They also want to feel like they are supporting the artists they particularly love. So they go to Waterloo Music (the most well-known iconic music store in Austin) and peruse the vinyl section where there are probably a hundred of my old vinyl albums up for sale in the bins. It's a strange world nat
  9. MOOG - does it rhyme with "vogue"? or is the double-O like the O in "two"? I know the answer, but I'd like everyone to fight about it first nat
  10. Songs may not be purchased in album format as much as they used to be, but they certainly are released in album format pretty much all the time, right? Personally (not that my personal music habits count for much) I still relate to music first in terms of artists and/or bands. Then the list of albums. Then the list of best songs. An artist or band to whom I relate only in the terms of one or two songs is in itself a critical comment on the lack of creative depth by the same. But I don't know how to assess what is going on out there in "MUSIC" as a generic, cultural category. What's the best source of stats and analysis of stats regarding music consumption? I wouldn't know where to look, who to trust, in order to investigate and develop any sort of respectable opinoin on this sort of thing. I'm done with opinionizing off of random articles, industry infosheets, anecdotes and attitudes. nat
  11. Wow, a long thread in the Songwriting Forum where folks actually really get into a topic and write long entries that are actually read! Applause!! Part of the problem, seems to me, finding books along the lines of what Li has suggested, is only the rarest of pop songwriters who has the vocabulary and the literary background to write about their craft. It's different in the classical world. I turn to classical types and the occasional jazz type when looking for stuff to just read and soak up this and that. Some actual suggestions for reading (I'm sure all easily found on Amazon): Steve Reich - Writings on Music 1965-2000. Charles Mingus - Beneath The Underdog Leonard Bernstein - The Joy of Music And here's a suggestion specifically about melody - pick up a decent text on counterpoint. Someone in this thread was mentioning the lack of books on how to write a melody - well, that's pretty much what Counterpoint is all about. It's rules, rules, and more rules - lead the voices this way, not that way. Not "inspiring", but makes for great exercises and above all, teaches your ear to hear what you're really doing in melodic movement. One of the less-unloved Counterpoint texts is the one by Walter Piston simply titled "Counterpoint". About melody, or any other kind of writing - there is a sort of black box moment in the creative process when your brain is somehow coming up with an "idea". And there's other parts of the brain and maybe nervous system that can feel it when an idea has legs, has potential. This is mysterious stuff and I kind of hope they never figure out how the human brain does this. Not everyone seems to be able to do this. And no one can do it all the time on demand. And there's the occasional melodic genius to baffle and amaze the rest of us. Go watch Amadeus again for a refresher on this notion. On the other hand, in times when I've been totally uninspired, I've just loaded up Sonar, put up a staff view, and randomly poked eighth notes up and down the staff. That becomes my melody and then I figure out how to harmonize it. Usually, no matter how uninspired I started, I get something usable by the time I've messed around with the random notes and made some sort of sense out of that raw material. nat
  12. There is a new hobby available, that's for sure. Making music at home with all these virtual instruments and recording gear and increasingly affordable decent hardware and acoustic instruments. If there are 250,000 new hobbyists who aren't particularly good at their hobby - I'm not sure that's really a "problem". There are, I'm sure, that many people daubing away at their Bob-On-TV art. Again, not sure that's something to wring hands over. Have fun, guys! Knock yourselves out! There is also a new kind of social interaction, right? This "alone but not totally alone" social media thing. Well, it's here and it's not going away. We're at the very beginning of this - I feel it's way to early to pronounce on how good or not good it is for people in general. People take to it so readily, it's clearly fulfilling social functions of some sort. And it's changing constantly. It's reality even if it feels less than fully real. The advance of science, technology, and the unpredictable path of economics is quite often not so friendly to cherished institutions, ideas, beliefs, ways of living. We hand our future over every day to ST&E, and then fret over what these forces are doing to us. The weirdness of recent musical history is the weirdness of the changes happening in almost all facets of life at increasing rates of change. Music is so much a comforting item now. And there's a sort of cultural hoarding going on, with everything saved and everything available and everything getting recycled. Music is not the outward engine of cultural change much these days....more the soundtrack for dream-existences tailored to meet the expectations of whatever small sub-category of society someone lives in. I'm just watching all this - I have no idea of good, better, best as to where things are going. Just a fish, in the drink, no idea what the Ocean is up to for better or worse. nat
  13. I don't know nothing 'bout, nothing 'bout no producers. Mix engineers, I know a bit. Producers...ah....George Martin, he was a producer, right? That's one.... nat
  14. I see this happening a lot younger than 30 - basically once you get out of college, your social context takes a huge turn - and for most folks I've observed, it's the social context they take musical cues from. Musicians, at least musicians of a certain type, are different than the consumer-only group. 'Tho I do know die-hards who haven't gotten past Steely Dan yet. Time? How much time does it take to dial up a "new best of" playlist from a streaming service? Maybe people self-report that lack of time is the issue - maybe lack of time hanging out with other kids, driving around, going to clubs, etc. But sheer lack of time....sounds like a less lame answer than the perhaps truer, "I've just kind of lost interest." nat
  15. For pretty obvious reasons, I've been thinking about the old days of the forum, and some of the major moments for me at least. Here's hoisting one up in memory of Angelo Clematide, gone now almost 5 years, hard to believe. Angelo did the music for this art installation: Just hit the "Watch This Video on YouTube" to see this: [video=youtube_share;kez2VLrir0c]https://youtu.be/kez2VLrir0c nat
  16. Out of my depth here, but my impression is that price-fixing involves collusion between separate companies to fix prices in order to head off competition through price-lowering. If we all agree to keep our prices high, then we all benefit, right? But for a single company to lay down the law to retail outlets, forcing them to not discount items - I don't think that's price-fixing unless it's part of a grander scheme involving separate suppliers all agreeing to do the same thing. But I could be wrong about that... Back around 2000 there was a big price-fixing case brought against a whole bunch of music publishers/distributors all participating in some sort of scheme that kept the prices of CDs high and hindered competition. IIRC there was a big settlement with, as usual, no admission of wrong-doing. nat
  17. We lived for about 4 years just a couple of blocks from the Austin airport (back in the days when the airport was located mid-town.) Really loud jet engine noise was an everyday thing - so was the fine black, gritty soot that settled over everything. My guess is that it was from the tires... There is a lot going on - the movement of the plane to/from your point of reference, the angle of the jets, and a whole, whole lot of air movement. In the video Jeff posted, as the plane gets further away, the dynamic range of the fade in/fade out of the sound increases (more air mass between the source and the hearer, more masking??) I'm guessing the wind currents are the biggest factor in the modulation - we live about a mile from a pretty heavily travelled state highway, and depending on the wind direction, we can hear every single vehicle and brappy motorcycle engine, or hardly anything at all from the highway. I would think reflections would also cause some cancellation and buildup, too. I'm still amazed at just how incredibly loud airplanes and helicopters are....do they really make any attempts to develop technology to tamp down the racket?? nat
  18. My guess is that if you put a HP filter on it, at some point as the lower frequencies disappear, the word becomes more ambiguous. There's a little high-pitch noisy "eee" sound at the end of "laurel" - that's the clue I found my guess upon... But I'm a bit busier with other stuff (e.g. things that matter even if only slightly) to perform experiments... nat
  19. I've tried a bunch of the amp sims from NI, IK, Waves, etc., and always keep coming back to Amplitude the most often. Especially the Fender collections. I also bought MODO Bass when it was on sale at initial release, and it's my go-to for virtual bass now. Very tweakable, and I've been able to get close enough to the "Lesh" bass tone I've always loved that put me in bass heaven. I tried SampleTank a long time ago and found it a bit buggy with a clumsy interface. I assume they've improved those aspects - can I get a confirmation on that assumption? nat
  20. Those "find any driver here" websites are generally crammed with links that look like the link to the driver you want, but are links to all sorts of spammy, crappy, sketchy sites. To find drivers I typically start with Tomshardware and find a thread where I can get a lead on a trustworthy website for a particular driver. Too many knowledgeable and helpful people post on Tomshardware for the bad boys to get much traction there... Hope you got it all sorted out... nat
  21. Ah...I always wondered what "SG" stood for...soft gooey! Learn something every day around here. nat
  22. Hmmm....not much 3rd party I use as I ponied up for Melodyne and Addictive Drums upgrades (at least I hope they are not still tied somehow to CW....) I would hate to lose access to the ProChannel virtual rack items like the compressor, the EQ, and the channel emulator thingie.....but I do have alternates for those duties from UA and Waves. Sounds like a slow summer day project of downloads and installs in my future....oh for a room full of gear that you just plug in and go. (Unless it breaks...) nat
  23. I updated the last Platinum upgrade once the news came down about the end of Cakewalk. I've been away from recording and using Sonar for a couple of months due to work schedule. I come back to it tonight to start tinkering, laying some stuff down and: 1. I try to freeze a single VST track and Sonar starts rolling through ALL the VST tracks, freezing them one after the other. ???? 2. Get this one....I started a new project, loaded up three VSTs, and started recording parts. Ok, one of the VSTs wouldn't respond to the recorded MIDI. Ok, so I do the usual thing to get Sonar to find it's marbles...closed it out and restarted the program. When it came back the VSTs were responding to MIDI notes FROM THE WRONG TRACKS!! Abysnth started playing the MODO Bass part ??!!!? Addictive Drums wouldn't sound at all....the original Absynth part wouldn't sound at all.... 3. So I created separate MIDI tracks for each VST, and routed them back to the VST track. Ok, that seems to work. But I still can't freeze just one track...and nothing will freeze at all if I try to freeze it from the synth rack view. This is really, really weird......am I all alone with these problems?? Have I wandered into Sonar's version of "LOST" weird things just start happening??? ; Did someone hack the Sonar servers??? nat
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