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Zooey

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Everything posted by Zooey

  1. I use drum machines to sound like drum machines. I'm no good at programming real drum parts anyway so I don't try to make it be something it's not. My only hardware drum machine at the moment is a Roland R8 that I like because it has 8 analog outputs. Mostly I use VIs or sample packs in Ableton Live's Drum Rack now, or my own one hit samples I have collected or made over the years. This thing is pretty cool: http://www.soniccouture.com/en/products/27-electronica/g58-electro-acoustic/
  2. Beethoven's Pathetique sonota is ruined for me because I hear Billy Joel lyrics over it now.
  3. I think Ice Ice Baby is an actual sample, so he was sunk from the beginning. He probably gave up songwriting credit because he had no leverage. I don't know if a jury in 1990 would have necessarily found Ice Ice Baby to be a copy of Under Pressure. Same story with the Verve's "Bittersweet Symphony." Nobody really thinks it is a copy of "The Last Time." Songwriting credit was agreed to as part of an out of court settlement.
  4. Since there are no similarities of lyrics or melody, the claim rests entirely on the instrumental track. There's a descending, staccato synth part that is similar in both songs. Though as many have pointed out, the Art of Noise did that in "Moments in Love" over 30 years ago. I bet that the jury was also influenced by the shout out at the beginning of the song where Juicy J. says, "you know what it is." It's really skimpy evidence of copying. I wonder if other hip hop, dance and electronica producers are salivating now at what else might be copyrightable. Like, could Diplo sue anyone who creates an instrumental track that contains a distorted kick drum playing the bass line, a "drop" between the transition between verse and chorus, and a monophonic synth sound that sounds like a vocal sample?
  5. It was never just about the drum beat. Here's a description of what the expert witness testified to: https://www.billboard.com/articles/business/8522201/katy-perry-dark-horse-trial-musicologist-backs-up-copyright-claim This is the same kind of thing that we saw with Blurred Lines. The jury got to hear two productions that sounded similar, then an expert witness came in and pointed out all the little similarities that by themselves should not even be considered copyrightable. The Billboard article uses the word "beat" to refer to the whole track, not the drum beat. Probably because that's the terminology that was used at trial.
  6. I derailed the thread with my speculation about sampling. I was thrown by the CNN article that says they "used the underlying beat." A "beat" in hip hop is the instrumental backing track.
  7. Except that "beat" doesn't mean "beat" for purposes of hip hop. It means everything in the song that is not rapping.
  8. Yeah, you're right. The claim was infringement of the composition. This looks a lot like the Blurred Lines verdict. I don't think the two compositions are close enough to say that one is a copy of the other. The similarities are a similar sparseness of production, the drum pattern, a keyboard part that alternates between two half tones, and Juicy J. saying "you know who it is."
  9. The Sesame Street episode is banned? I watched that on PBS with my kids! Anywho, for purposes of rap music, "beat" doesn't mean the drums or percussion. It means the entire instrumental track. If Katy Perry's producers used the actual sound recording of that beat without a license, then I am not surprised at the verdict. That's an easier case to make than proving Katy Perry plagiarized the composition.
  10. Assuming EHX is using its polyphonic pitch shifting platform from POG/HOG, I don't see why polyphony wouldn't be possible. Maybe they left it mono to more faithfully emulate the synths it is supposed to sound like?
  11. So jazz-rock fusion is yacht rock, as is the entire Toto and Doobie Brothers catalog. Yacht Rock seems to be a shorthand way of saying stuff from the eighties that I did not like.
  12. The way this story was told to me is that he would intentionally break strings as part of his act. That story apparently comes from a 1982 dramatization that may or may not be true.
  13. They retired from touring in August of 1966. Paperback Writer was the newest song they played on that final tour.
  14. I might have misunderstood what you do with drums, I understood your comment to mean you pan the drums opposite of player's perspective. Drums are the same way as what you describe. You don't sit in the audience and hear the hi-hat on the on the right hand side of the drummer's body and the floor tom on the left.
  15. Well, that's a pretty weird one. I think the low notes are on the upper edge of the concave surface, and higher notes are further toward the bottom of the "bowl." So at least on a single drum, all the notes would come from pretty much the same part of the stereo spectrum. Maybe close miced someone would be able to tell the difference but only if they know what it is supposed to sound like.
  16. Do you also avoid player's perspective on other percussion instruments like vibraphone or piano?
  17. I was thinking more about this. In my rehearsal space, we only put vocals through the PA. I am facing the kick drum standing about 12-15 feet away from the drummer, and from that "audience" vantage point, I don't really hear the hi-hat on the right and the floor tom on the left. Those two instruments are just a few feet away from each other and it's not easy to localize where the drums are coming from. I listened to a few tracks from Kind of Blue to see if I could hear how the kit is spread through the stereo spectrum on an album without close micing. It's interesting, the ride cymbal sounds like it is pretty hard right, but then the whole kit is kind of on the right, opposite the piano. I just listed to a Glenn Gould recording from the seventies, and you can clearly hear the piano from the player's perspective with low notes in the left hand and high notes on the right, as if you were looking over his shoulder at the keyboard. If you had actually seen Glenn Gould in a concert hall in the seventies, you wouldn't hear it that way, all the notes would appear to be coming from the same place.
  18. I put up a hi hat mic for the drummer's sake, but don't often use it. I pan the overheads from the player's perspective. I mean, you wouldn't put the low notes of a piano on the right, would you?
  19. [QUOTE=Red Ant;n32515170]Of course, Ozric Tentacles started out in the 80s, and I love the sh*t out of ANYTHING Ozric Tentacles :lol: [video=youtube;4f52hgmPAbw]https://www.youtube.com/watch?v=4f52hgmPAbw&list=PLF2BB39A59F29BFCA&index=1[/video][/QUOTE] I backed into that one. I was very loosely into the rave scene of the 90s, so I heard Eat Static first, and Ozric Tentacles much later. [video=youtube;qKIR64MRzJo]https://www.youtube.com/watch?v=qKIR64MRzJo[/video]
  20. [QUOTE=Red Ant;n32515190]I should also mention that the horrors of 80s production didn't just affect pop and rock... they made their way into jazz as well...[/QUOTE] Remember Miles Davis' "You're Under Arrest?" Yikes. Actually, John Scofield is on that one.
  21. [QUOTE=Red Ant;n32515156]The Flat Earth is a brilliant album, and it still sounds incredible to me... all the glitz and polish of 80s production, but perfectly organic to the music and balanced with warmth, space and incredible stereo imaging. [/QUOTE] It's a favorite of mine. Particularly "Screen Kiss" and "the Flat Earth." The bass player on that album is an absolute monster. Whoa, guess he was in the Soft Boys? Just looked it up. Most of what I was listening to in the 80s was not huge budget stuff by US top forty standards with some exceptions. Brian Eno with Talking Heads and U2 were obviously lavish productions. The Hurting and Songs from the Big Chair by Tears for Fears were major productions. Diesel and Dust is a cool sounding album, no idea who did that one. Some cool dub and reggae albums were made in the eighties, for example, "Scientist Rids the World of the Evil Curse of the Vampires."
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