Jump to content


  • Posts

  • Joined

  • Last visited

Everything posted by rasputin1963

  1. Hey guys, Just a note to say I hope you're watching the new HBO series, "VINYL". You've probably already heard about it: Produced by Martin Scorsese and Mick Jagger, it chronicles the rise of a record executive in 1972 NYC. Very amusing indeed, and I know everyone here will especially savor it. ras
  2. Cakewalk SONAR has been my DAW for many years now. It simply has a robust set of capabilities, it's not aimed at techno-teenyboppers, and most importantly, since I've stayed with it for so long, I know where every command is (not a small consideration). As for plugins, KONTAKT is also my go-to. It's easy to get started on, and its potential for learning and development is huge. I keep telling myself, one of these days I'm going to buckle down and learn its advanced programming capabilities. Maybe 2016 is the year. ALICIA'S KEYS may be my favorite piano program for KONTAKT. What plugin do I use the most? Probably Melda AUTO-ALIGN. It really does do a magic something in aligning the phase of two tracks. iZotope RX2 is also a superb spectral tweaking platform... in fact, it's better in many ways than Adobe AUDITION.
  3. Wishing all of you a Merry Christmas, those who observe. Thank you all for your steadfast friendship and great counsel this year!
  4. When mixing my tracks, I find myself wishing I could move different frequency bands of a track's signal backwards and forwards in time slightly. For example I wish I could take the upper frequencies of a struck piano chord or quick-strummed guitar chord... and pull them forward (earlier) in time (microseconds) than the lower frequencies of that same chord. So the "crunch" of your guitar chord (higher-pitched material plus your noisy transients) could hit slightly earlier than the fat "body" of the strummed chord. Or indeed, divvy up the signal, ad lib, so that you can timeshift different frequency bands of the chord. What I'm describing should be so subtle that it sounds nothing like a Delay effect or "hiccup" or Haas weirdness or 1970's psychedelic phase-shifting. Seems like such a simple trick, yet I don't know any VST that could allow you to do that. Do you? I think if I tried to separate one track MANUALLY into different freq bands (with a Parametric EQ), assign them to different DAW tracks, then timeshift them, you'd get a nightmare of undesirable phasing artifacts...? Thoughts?
  5. Skylark Cherokee Lush Life Promises, Promises (Bacharach) Sophisticated Lady Caravan The Girl From Ipanema So Many Stars Betcha By Golly Wow Cool (from WEST SIDE STORY) Bonus: The Windmills Of Your Mind Bonus #2: Deacon Blue These are songs which really take you through a harmonic and melodic journey... which a good song should do. These are songs you play when you've graduated from the "roses are red, violets are blue" sort of song prosody. There are many great 3-chord songs that have been written over the last 100 years; these are not among them.
  6. Just curious: Have you ever recorded using Decca Tree or Blumlein micing arrangements? Have you gotten some cool/beautiful/striking results?
  7. This 1972 record is, for me, one of the most stunning pre-digital pop/rock productions I know of. It just sounds... amazing. The true stereo signals, the amazingly deft and subtle mixing, the gorgeous vocal and orchestral arrangement, the exquisite reverb, perfect compression solution, gorgeous EQ applied to the rhythm guitars...... By 1972, they managed to create a record that sounds light-years away from the 1960's. What say you?
  8. Fully agreed. Though this TV show is before my time, I've watched numerous clips from it. Even though she sometimes appeared soused, or recovering from a binge, she could nonetheless navigate quite complex orchestral arrangements, like her version of Arlen/Mercer's "Come Rain Or Come Shine", which features a rather complex polyrhythm sort of groove... She hits it all effortlessly, even when you are afraid she is losing track of her place in the piece. Funny, the "Greatest Generation" didn't have any problem with booze-drinking. As MAD MEN accurately showed, it was ALWAYS considered a good hour for a drink. How many movies of the 1940's and 50's feature a fully-stocked home bar, and some character always saying, "Gee! Looks like you need a drink!" My Maternal grandparents said that the very respectable social class they belonged to basically started drinking at 10: 00 am in the morning and didn't stop until they went to bed. In fact, it was thought, like cigarette smoking, to be quite classy and sophisticated-looking. There are some 1950's and 60's clips I've seen of WHAT'S MY LINE? where all four of the panel judges are obviously lit up like a Christmas tree.
  9. I D/L'd and installed WINDOWS 10 x64 the day it became available back in July. I know it's now fashionable to knock it, but I really cannot... It has served me well, what can I say. There are two or three ancient little software proggies I had from the late 1990's that no longer work, but that's not the end of the world. Any critiques I might have are minor, such as: I can't get it to go into HIBERNATE mode When it's in SLEEP mode, it always turns itself back on via a "wake-up" that I do not as yet understand... My desktop icons are always disappearing... even when I expressly click dialogues that insist they not do so; don't know wazzup widdat. When a program crashes, Windows assiduously sends up this very concerned choice of DEBUG PROGRAM? And when you click "Yes" they've got some kind of Brooklyn Bridge they want you to pay for. And when you install a third-party freeware debugger, WINDOWS can't find it to let you use it. But as always, as soon as I get ANY new OS, I always immediately turn off all its "eye candy" and bells and whistles, because they are draws on CPU and RAM... As is always the case with Windows, there are third party proggies that do things better than the native media players, image viewers, shell/folder integerations, etc. that they provide default. Cakewalk SONAR Pro X3 works great. Though, as I have griped before, the program is at the mercy of every VST plugin you install, and crashes if a plugin misbehaves even slightly. When it crashes, WINDOWS asks you DEBUG PROGRAM? then sends you into butt-f*ck no-man's land if you say yes. I also have the vague feeling-- which I cannot prove or cure, however--- that Windows 10 is not leveraging correctly the huge amount of RAM I have installed. It sometimes seems starved for RAM, even when I think my installed RAM chips are surely quite adequate for the task. But I'm too computer-stupid to know how to fix this.
  10. Maybe it's just me... but I trust the longevity of my burned CD's/DVD's more than I trust the longevity of my 2 little external TOSHIBA hard-drives. Even though, of course, the largest DVD's only hold-- what-- 8 gigs, while my my Toshibas hold a Terabyte each. I always--- from the git-go--- thought that The Cloud was a daft idea, and still do. More than a "convenience", I always viewed it as a crass attempt of larger entities to infiltrate and view all your sh*t. For marketing reasons of their own... that were not necessarily for YOUR benefit. I also figured it would take nothing at all... to obliterate/lose the data you store there. I also think softwares that are rented to you monthly... and require you to establish an ongoing "cloud" relationship with the "mothership" are just conniving bullsh*t. Is it just me who doesn't want to establish some kind of chummy "relationship" with a corporate entity (ADOBE, I'm talking to you).
  11. When you start learning some recording/production tricks, suddenly your old familiar recordings sound different. How'd they get the unusual sound for the piano in The Beatles' "Let It Be" ? At various moments, it sounds bell-like, then muted, extremely compressed for a flat sound, then suddenly warm (where it needs to be). It's obviously an expensive piano... (Wasn't it a 9' concert Bösendorfer, IIRC?). That piano can put out a wallop of hugely fat sound, yet somehow here they've got it sounding very muted, with a very controlled sound... no "ring" or fatness at all. Wonder how they did it? [video=youtube;ybb6HPDENnE]https://www.youtube.com/watch?v=ybb6HPDENnE
  12. Cat music for your kitty to enjoy....
  13. Thanks, Milton. In this particular case, I am wondering how to tame sonorities with a harsh/loud attack. I'm thinking of a plucked string primarily. Sometimes the initial transient of a guitar pluck can be many times louder and denser than the decay/sustain/release portion. Yet most compressors you apply will, with a fast compressor attack, JAM that volume down very noticeably, then quickly recover, yielding the notorious "breathing/pumping".... that sounds nasty if you are going for a naturalistic effect. (I do appreciate that, with any plucked string, you DO, in fact, need that sharp/hot transient to TELL you that you're listening to a plucked string.) With a guitar, it's a bit more involved, because each of the six strings on the guitar has a different attack, a different POP to the first strike. A compression solution that tames the high-E string nicely, can have deleterious effect on the lowest E-string. I suppose, push-comes-to-shove, you could manually tweak your note's envelope in your DAW just by drawing a Volume envelope over the waveform... both tedious and hit-and-miss, I'd think. Thoughts? How do you get a guitar to sound very very gentle? And P.S., just as a footnote: I am finding I most often do not like the sound of compression. That's probably my inexperience talking-- it's probably a necessary evil. I find I like a track with wide, even dramatic dynamics. Paul McCartney says that compression makes a recording sound more "record-y", haha.
  14. I'm investigating a VST compressor which reportedly allows what it calls "New York Style compression". Apparently this entails a signal being sent through parallel, presumably one signal compressed, the other, not. With surely a Mix knob allowing you to blend the two, to taste. Are you familiar with this technique? What might be the sonic effect, or mixing advantage? What "New York" production styles first launched this sound, and for what musical genre? (My wild guess is that it probably has something to do with the 1970's Funk/Disco era...?) Thanks, ras
  15. For sheer sexual camp, it out-does Tammy Wynette's "Stand By Your Man" and Sandy Posey's "Born A Woman". And I hate myself for loving it. LOL
  16. This 1970 country/pop crossover hit sure has some funny sonic qualities. Especially the singer's leadvox sounds... strange. As always, with the records of the 1960's, you never quite know whether they were "going for" that sound... or whether it is the result of lack of equipment/tech, etc., because of that transitional period. What have they done to create this unusual leadvox sound? Is it because Bobbi Martin was not the strongest of singers, so they pulled out every trick, then-extant, in the book to fatten up her sound? Did they have brickwall limiters in those days? The orchestra sounds quite clear and clean, with big stereo separation... but then there's her curiously tubby, oversaturated sound in the middle... https://www.youtube.com/watch?v=CrxpD1bPDC8
  17. Interesting quote by Emerick, regarding vinyl transfers in 1966: "Then, as now, we were trying to get our record louder than everyone else's."
  18. Hope my life as Zero-Two-November was not for naught.
  19. Happy Berfday to our Fearless Scorpionic Leader! Hope you have a great year, Craig.
  20. Most people are raving about the LASS: Los Angeles Scoring Strings Couple this with the library ORCHESTRAL RUNS, and you're good-to-go.
  21. Det är verkligen vad det innebär, min fjord vän!
  22. You know what they say about those IS MY SH*T ANY GOOD? threads!! I thought they were verboten 'round about these parts...
  23. Thanks very much guys. Great responses, much appreciated.
  • Create New...