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blue2blue

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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
  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 platf
  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 over
  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=yo
  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 tw
  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 plun
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