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Everything posted by blue2blue

  1. Rick Beato has a vid where he breaks down the supposed similarities between the two songs and takes a look at some of the issues... In the wake of the Blurred Lines case, I figured we'd see a lot of bogus lawsuits coming up on 'sound and feel' and trying to exploit the manifest ignorance of the general public who fill jury boxes and the non-musicians who typically fill the judge's robes.
  2. I'm loathe to throw out anything that works (and a lot of stuff that doesn't). I like the idea of giving stuff not being used away to folks who can use them. But when the time finally comes to dispose of electronic gear, remember to do it properly, so as to help contain the heavy metals and other toxic materials typically involved. My city has electronic waste drives several times a year. (They also have shredder days but I always seem to miss them.)
  3. Thanks for the heads up! Could be an important bit of knowledge (or at least a link) to have tucked away.
  4. I'm a fan of Gaga's fine voice and her abilities -- though a lot of her contemporary pop efforts go right by me -- AND a fan of the stage/movie musical form. So I was definitely interested when I heard about this movie. And then I heard some of the music... Bleh. Banal, tepid, boring, hackneyed. It is, of course, only my opinion. But I'll bet I've seen more musicals on stage and movie than anyone else in this thread.
  5. I can see it... but a single click does nothing. A quick double-click DOES kick it into 'action' -- unfortunately that action is simply a spinning progress wheel (that can go on for minutes... perhaps aeons).
  6. Do you slip into a Scots accent in the chorus? Freaky loaf?
  7. Been using CW/Sonar since CW Pro Audio 6's early release/beta thingie. To say I was extremely skeptical of Bandlab buying it and flipping it to free would be a safe statement. But my attitude toward the old CW/Sonar had gone way south, anyhow. Like others, I found I could ditch the Bandlab online collab/sharing applet thing (though I may re-explore it in the future) with no problems. And, like others, I found the overall DAW to seem to work better and have a subtle but somewhat pervasive better fit-and-feel. I'd never felt comfortable in X3, having jumped straight from 8.6 (or 8.7 if there was one). But the BL/CW seemed somehow more promising and I plunged ahead wrapping my head around a few architectural changes. I'd been pretty frustrated by the state of the embedded help system in X3 (and before) and often found I had to go online to get answers about changes from 8.x to X3, anyhow. And then my X3 installation had become corrupted somehow and wasn't reading MIDI input correctly. My old, still-active copy of 8.6 still worked. And after installation, the BL/CW worked fine with my MIDI devices. So, overall, a win, from my point of view.
  8. I've had some form of on-demand paid subscription streaming since about 2005. I dreamed of online distribution even back in the early 1980s when I was in recording school and read an article or two on future distro (in that scenario, though, folks focused on sales of digital files). I hated the gatekeeper aspect of the labels and the limited and exploitative distro options we had for physical product in those days. At every step, some non-musician suit stuck his hand in the music creators' pockets. Deep. I've been on 7 services. I find online streaming to be, overall, the best music platform I have experienced. But that is NOT in any way to say that such services could not be greatly improved in many small and not-so-small ways. For one thing, the streaming paradigm directly underlines the lack of any meaningful, usable average level indexing system (like, say, ReplayGain, aka RG). Without that, you go from some 1930s track from the Boswell Sisters to the latest Skrillex and they might just be going to be peeling you off the wall of the room in back of you. The service I'm on, Google Play Music, is pretty good -- for me the best I've found (haven't tried Deezer or Apple) -- but they use 320 mp3s encoded by the Fraunhofer codec -- and it is simply not as good as LAME-encoded 320s (at the high quality setting) which I have demonstrated to myself via ABX testing of captured streams in which I could reliably differentiate Google's 320s from 320's capture from the old MOG service (whose 320s were encoded using LAME). The LAME stuff just sounded differentiably better. [You Tube Music, part of the package I get by subscribing to GPM, is an absurdly undeveloped package that simply cannot compete with GPM or probably other services -- but it does have video integration, where GPM's video implementation is simply YT vids in the search returns; clicking on one fades down and pauses the current stream and switches to the vid; when it's over, it switches back. (WHY can't they implement the same fade-in/out on regular pause and skip functions??? You have to ask Google. And, of course, they never answer.) Amusingly, I seem to have been inducted in some form of Google Help BB 'helper drone volunteer' program because I've answered a number of product questions their own official reps couldn't/didn't. But it's a laughable joke. I'm only in there because I'm incredulous that a 'smart' company like G can be so bloody clueless at times. I could go on (as old-timers know) but I have 3DW/realtime encumbrances to deal with.
  9. He could be a handful socially, particularly toward the end of his tenure here (although he and I were originally fairly friendly). But I try to separate an artist's work from his personal life and politics when possible. He was clearly a very talented and knowledgeable musician and composer. And he is certainly missed.
  10. Last time I bought DVD blanks, a few years ago, they were cheaper than CDs at that store. It's just changing use patterns.
  11. Jerry Lee Lewis as Iago! Brilliant. The only thing better could be... the other Jerry Lewis as Iago. (Would that mean Sammy Davis Jr as Otello? The mind boggles.)
  12. I've been using Cakewalk/Sonar (and now CW/BL) since 1996. Reaper would be my fallback -- and I thought I was going to have to make the switch until Bandlab resurrected CW/Sonar. The transition from 8.6 to the X-generation (straight to X3 in my case) was decidedly problematic and almost pushed me to the Reaper door, right there, but the logic of at least some of the changes between 8.6 and X3 began to emerge out of ongoing and deeply vexing frustration. I never really warmed up to X3 -- but even though the changes from there to CW/BL are not huge, I found the recent BL release to be overall a bit smoother (and, of course, I had at least partially adjusted). I'm glad it seems to have found a home where people understand it. Fingers crossed.
  13. ^^ Symmetry and 'parallel construction' are good, somewhat subtle tools that help tie a work (whether a song or an essay) together and help lead the listener or reader forward and help inform the words being used, 'formalistically' drawing correspondences through construction and flow.
  14. Twice in the last few weeks I had a bogus 'you're infected' message served up while I was on the USA Today website (of all things). It locked the browser so I did the three-finger Windows salute, force-closed the browser, ran a malware scan with Malwarebytes. To be extra cautious, I then rebooted and ran another scan. Still nothing.
  15. I (faintly) remember these small limpet drivers designed to be bolted or otherwise coupled to ceilings or walls. I seem to think they were close to hemispherical in form and maybe around 4" across. Obviously, they were not intended as hi fi. I really can't remember all the details, I'm afraid.
  16. I'm just greatly amused that increasingly high technology -- if Rube Goldbergian -- solutions, solutions that so often rely on cutting edge science and tech, are indulged in order to pander to the delusions of those who refuse to believe scientific evidence in the first place.
  17. Unless you're in West Africa, anyhow. I do have a friend who plays the kora and has appeared with at least one touring African player when he came to LA. Here's a nice bit from 3MA, a cross-cultural group with kora player, Ballalké Sissoko (who's played with Toumani Diabaté), oud-player Driss El Maloumi, and valiha (a sort of tubular harp) player, Rajery (who lost the fingers on his right hand before the age of one). [music starts at 30 seconds; followed by a long interview in French with what looks like Dutch subtitles, and about a minute and a half of music at the end] [video=youtube_share;VFuLaiwdTRk] Good to see you guys!
  18. With regard to reverb before or after buss compressor: generally speaking I would put the reverb return before the compressor send. On rare occasion, I have put reverb in back of compression on a buss but, if doing so for a 'finished' mix that would not be going to mastering, I would make sure that the return from the reverb in such a (rare) circumstance didn't crash 0 dBFS, typically by putting a limiter as the last stage of such a 'DIY mastering' chain.
  19. Yes. But we have to be careful to distinguish between sending FROM the bus mix to reverb and returning to the bus and the more common, useful, flexible, and time honored practice of setting up sends from individual tracks [where the amount of send can be controlled vis a vis other tracks] to the 'verb and then folding back into the bus. Coming from analog tape based studio work, this latter was the typical arrangement with hardware reverbs. Especially prior to the rise of usable digital reverbs, many studios had limited reverb options: sometimes a chamber or two, more often a plate or two; sometimes just a spring reverb. (Sproing!) So, you pretty much HAD to set up track sends to the reverb and fold the aggregate reverb signal back into the bus during mixdown. And, of course, in the early days of DAW work, turn of the century computers just didn't have the processing power to run a whole bunch of CPU-sucking reverb and other plugins, so there, too, even if you were using plugins (and not hybrid DAW->mixer+FX->mixdown). Now, of course, few of us (who aren't doing 100 track plus mega-productions) need to stint on plugin instantiations, but there can be real aesthetic value in applying the same reverb type (but not necessarily amount, of course) across a number of tracks via track sends and return to bus. With regard to sending FROM the bus mix and folding that back in -- it certainly can be done and it can sometimes be useful. On one of the first projects I worked on in the 1980s that went 'all the way' to vinyl, I was a little surprised when the (old school, experienced) mastering engineer suggested adding a little discreet reverb to one of the tracks -- it was from a different studio and mix session and its dryness made it stand out. The mastering station (I think it was probably K Disc in the greater LA area) had a high end spring reverb which he just brushed lightly across the mix; not much of a fan of spring reverbs (outside of guitar amps), I was surprised that it all worked pretty well and fit in with the much nicer tracks from the good but modest studio where the project finished up at (which had a nice plate reverb as well as one or two then-new digital reverbs).
  20. I was definitely sorry to see you and G/CW had parted company a while back. I remember remarking at the time that we might see Sonar get bought up by Magix (the German software scavengers who bought Vegas/Sound Forge/ACID from Sony). But I'll admit, I didn't think it would just get... Opcoded. =/ I think I started with Cakewalk with version 4. It wasn't a DAW then, but I used its MIDI capabilities to sync computer-based MIDI sequences to my 2 ADATs. CW5 added stereo audio, as I recall, and I exploited that in various ways. When Frontier came out with their very first ADAT i/o card, I plunged. It was some months before CW Pro Audio 6 came out at the end of 1996 (beta/advance release? I think it wasn't official until early in '97). Working to hard drive was a real revelation. Something I felt I'd been waiting for for a long time. (I'd been doing two track radio production using CoolEdit prior to that so I was a BIG fan of digital editing.) So, you know, over 20 years with the same DAW. And then the pain of transition to the X series when I jumped from 8.6 to X3. Ironically, the rumblings of CW's end came just about the time I was starting to not be quite so pissed off by the extraordinary upheaval in the UI and the screwed up documentation. (Nothing I hate worse than having docs tell you to 'go to the framjet control module' when there's no indication of what the 'framjet control module' looks like or where it is hidden -- because, of course, almost everything is hidden in some place or another...) The X series did try to bring a new sense of organization, but the way it did it was highly disruptive and the transition for many of us -- and brother, as a software guy, I have learned a LOT of software over the decades -- was painful. I wanted to be making music, but instead I was bouncing out of the worthless built-in help system onto the better but still deeply challenged online help system on what seemed like every other operation. Where was that framjet control module again? What does it look like now? What secret panel do I have to remember the name of and then figure out how to slide it out? And why doesn't it work like the OLD framjet system? Anyhow... for now, I'll continue with 8.5 and X3 (although they don't seem to be playing together nearly as well as they did, some X3 thing seems to have really messed with some of my 8.5 settings. =/ ). But I'm ALSO going to be protecting myself by starting the agonizing, annoying process of getting up to speed with Reaper, as Cockos are one of the few DAW developers I seem to be able to gin up much respect for.
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