Time For an Occasional Reminder re: How to Pay For My Books – Whatever

Time For an Occasional Reminder re: How to Pay For My Books – Whatever

Don’t send me money directly for the books I write, actually go ahead and buy them from a bookstore.

John Scalzi on giving him money directly as opposed to through his publisher. I kind of wish I trusted the record labels as much as Mr. Scalzi trusts his publisher.

I think he’s right.

I have made inquiry to record labels asking how to get the most money to the artists, and received replies. In a t least one case the artist work had been “for hire” so it didn’t matter, they got payed to perform.

Support the people and organizations that make the things you love possible. Really.

Has The Home Recording Studio Dream Become A Nightmare? Are You Tired Of Fighting Technology? | Production Expert

Has The Home Recording Studio Dream Become A Nightmare? Are You Tired Of Fighting Technology? | Production Expert

I did something this week that I rarely do these days, I went to another studio to produce some vocals. Why would I go to another studio? I could have walked up to the end of my garden (yard for my American cousins) which takes all of 30 seconds on a long commute, and had the talent come to me. However, on this occasion, I had been asked to produce a track in a local studio, it had been booked, and all I had to do was turn up and do the magic.

Select Previous Section for Realtime Comping – Logic Pro X keyboard command of the day

Logic Pro X keyboard command of the day. #LogicProX @StudioIntern1

  Select Previous Section for Realtime Comping

Comping is a mystery to me. It sets apart what can be done in the studio as opposed to recording live performance. Multiple takes I understand, you perform until it’s right. Punch in I understand, fix the spot where it is necessary.

Chopping parts of multiple takes and combining them is just counter to how I perceive music and its creation. Much work needs to be done to figure out the details.

Comping overview – Logic Pro X

 

Imagine a scenario in which you have recorded multiple performances of a vocal solo over the same section of a project. You can select the best parts from the different performances and piece them together into a single master take. This is the process of “making a composite take”—commonly referred to as comping—and is achieved by using the Quick Swipe Comping feature. You can also drag or cut the contents of take folders.

 

 

 Punch in and out of audio recordings – Logic Pro X

 

Punch recording is a technique you can use to overwrite a portion of a previously recorded track, during playback, without touching any of the recording before or after that portion. You punch in to interrupt playback and make the recording, then punch out to return to playback mode. You can choose between two punch recording modes: Quick Punch-In mode and Autopunch mode.

 

 Record multiple audio takes – Logic Pro X

When you’re recording, you can record multiple versions, or takes, of a phrase or section in quick succession. Take recording can be helpful especially when you’re improvising a lead or solo part and want to capture several versions while you’re feeling inspired.

 

⇧ SHIFT  –  ⌃ CONTROL  –  ⌥ OPTION  –  ⌘ COMMAND

- Global Commands
Select Previous Section for Realtime Comping ⌃⌥⇧7⃣

- Main Window Tracks and Various Editors
Snap Quick Swipe Comping On/Off

- Main Window Tracks
Rename Take or Comp ⇧T
Delete Take or Comp ⌥⇧⌫
Export Active Take or Comp to New Track
Move Active Take or Comp to New Track
Toggle Take Folder Quick Swipe Comping Mode ⌥Q
Create New Comp
Select Previous Take or Comp ⌥⇧↑
Select Next Take or Comp ⌥⇧↓
Slice at Comp Section Borders
Trim to Active Comp Sections

Playlist Malfeasance Will Create a Streaming Crisis | Music Industry Blog

Playlist Malfeasance Will Create a Streaming Crisis | Music Industry Blog:

Streaming economics are facing a potential crisis. The problem does not lie in the market itself; after all, in Q1 2019 streaming revenue became more than half of the recorded music business and Spotify hit 100 million subscribers. Nor does it even lie in the perennial challenge of elusive operating margins. No, this particular looming crisis is both subtler and more insidious. Rather than being an inherent failing of the market, this crisis, if it transpires, will be the unintended consequence of short-sighted attempts to game the system. The root of it all is playlists.

Streaming makes casual listeners ‘more valuable’ than aficionados

Relying on casual listeners to “pay the bills” is unfortunate for the musicians. Really unfortunate. Art becomes craft. The death blow of Muzak.

Historical Preservation – New Learning Opportunity

I am deep in “historical preservation” mode.
 
I use Logic. Started with version 10 – I missed a lot of stuff
 
many amazing things hiding under the covers, but nowhere to be found. No books, no classes, unspoken.
 
My current path is to visit all of the Sound on Sound magazine Logic articles for version 10 (about 2013 onward). Part of what I hope to discover is how things changed from 9 to 10 (besides the amazing price drop). Once more familiar with what was, go back and peruse Logic 9 techniques, see what’s relevant. Then 8, then 7. Any further back is meh.
 
I am almost able to tie the Logic/Notator world to the Opcode Vision world in terms of what is actually happening, and what might be possible.
 
I think the key for me is to think of all of the automation stuff as simply a very capable sequencer that can effect change on audio and MIDI sources over time. That simple. That reproducible.
 
and to remember that just about everything that Logic can possibly do can be automated. Everything. Instruments, plugins, modify MIDI input, bend MIDI output
 
to me mixing is like creating a control program to work with “fixed” sources, be they audio files or MIDI sequences.
 
Mostly the control is a matter of small adjustment made once, un-changing over time. When I grok the change-over-time function then my programmer kicks in. I know how to do that stuff…10,000 hours 8 times over
 
 just need to learn some language specifics

Q. What do reverb preset names actually mean? |

Q. What do reverb preset names actually mean? |:

SOS contributor Mike Senior replies: Well, the names of presets are only useful if they give you an idea of what to expect sonically, and that’s a bit hit-and-miss in my experience. I’m most sceptical about preset names with instrument suggestions in them, particularly if that’s unqualified by any further information. Reverb use depends so much on the stylistic expectations and the nature of the recordings themselves (particularly what kind of spill, if any, is baked into the recordings), so a simple ‘Snare’ preset would rarely be of interest to me in practice. On the other hand, ‘Epic Snare Boosh’, ‘Tight Snare Ambience’, or ‘Icy Rimshot Tail’ might well entice my mouse click under appropriate circumstances. It’s also quite common for a preset that’s ostensibly named for one use to work very well for something completely different, or to provide a great base for editing into another form. So, in short, take those kinds of preset names with a huge pinch of salt!

Open/Close MIDI Insert 9 Plug-in Window of focused Track – Logic Pro X keyboard command of the day

Logic Pro X keyboard command of the day. #LogicProX @StudioIntern1

  Open/Close MIDI Insert 9 Plug-in Window of focused Track

 This is one of the “suspect commands” for me. How would I know which insert is in slot 9? In Logic Pro X you can only insert 8 MIDI plugins, so the 9-15 commands are bogons (bogus bits/particles).

An audio channel can have 15 inserts, but again, how would I know what is in slot 7 to begin with?

Time to check the predecessors. I can’t find any reference at all pre-Logic Pro X. I did find this…

Open/Close Instrument Plug-In Window of Focused Track:

While everyone is elated about the new addition in SMART TEMPO in Logic X, I am secretly celebrating another hidden feature in 10.4. It is called “Open/Close Instrument Plug-In Window of Focused Track”. Logic users have been asking for this particular feature for years and now it is here. Let me show and tell you what this does.

I also got to play a bit with using the PX-330 as a GM MIDI module.

⇧ SHIFT  –  ⌃ CONTROL  –  ⌥ OPTION  –  ⌘ COMMAND

Quit Social Media, For The Sake Of Your Music – Audio Issues

Quit Social Media, For The Sake Of Your Music – Audio Issues : Audio Issues:

Welcome. Let’s begin. Here’s why you, as someone in the music industry, should quit social media.

I believe that people involved in the actual creation of music could be without social media. I am not convinced that people who are in “the business of music” stand a chance without using social media.

KUTX » Valley Maker: “Light On The Ground”

KUTX » Valley Maker: “Light On The Ground”:

Like it or not, SXSW is officially in full swing! Joining the thousands of musicians making their annual pilgrimage is Seattle singer-songwriter Austin Crane, best known as Valley Maker. Crane began landscaping Valley Maker’s indie folk sound with his 2010 self-titled debut that also doubled as his senior thesis project at the University of South Carolina. Crane hurdled over creative crests and came out on top with 2015’s When I Was A Child. Most recently he went deeper into the sonic canyon with 2018’s Rhododendron, an album engrained in nature and Crane’s most cohesive record to date.

Two good ones in one day. I like it when SXSW is happening.

In the past I actually downloaded the thousands of tracks that were submitted. Have no idea why. Better to let the taste-makers shape my ears.

I would expect to hear this on Radio Paradise someday.

Web MIDI API Example

Web MIDI API Example:

OK. Chrome can work with MIDI devices (and Electron apps as well – like Slack)

The example will work, sort of, by showing you the MIDI data from a device. I didn’t plug in a device, appeared not to work.

I tried this demo https://webaudiodemos.appspot.com/midi-synth/ to see if this worked. Noticed menu-like bit for MIDI-IN, chose a MIDI device, pressed notes, it worked.

Back to the original example. This now shows data.

Wow.

Playlist innovation

Playlist innovation:

In this era of access to all music and everything about it, I do enjoy reading artist interviews, and pay attention to artists’ views on the modern music industry. What caught me recently were Mark Ronson’s remarks on songwriting in the age of the playlist in The Guardian:

People listen to the playlists just like they were radio stations. I seriously doubt that records made in the 1960s were purposefully written/produced to be AM radio friendly, well until “The Monkees” and the whole bubble-gum nonsense.

Serious listeners abandoned AM. FM took over. FM went the way of AM (thanks Clear Channel). Now we have music services, which, for a fee, can provide us what we want to hear, not what producers think will be “skip proof”

I think I have skipped maybe 12 songs in the past year, and removed the offending songs from my library.

Want a skip-proof playlist? Radio Paradise 😉

The Sound of the 1970s and 1980s

More like the 80s

NAD integrated amplifier, Dual turntable, recordings from 1950s, 1960s. All vinyl, all the time…

The simple answer was “Boston Acoustics”, not me, I know there are tools that will “warm it up”.

I went “B&W”. No one was saying “Bowers and Wilkins” in the U.S. Too much like “Evelyn and Crabtree” (or the other way around, fun nose trinkets).

Modern “flat” speakers are sooooooooo flat compared to anything from the 1980s at a real person’s budget.

Devil’s in the details, watch out for “re-masters”.

So the saxes, the Evanses, the odd-rhythmists, they need warm. Yup. A transistor needs help. So does the computer 😉

MJQ – Django – Rudy Van Gelder re-master (he surely didn’t record it?)

Needs warms. Cold, wintry sound without help.

My attempt is flat speakers proceeded by iZotope “Vinyl” to get me vintage gear, with a T-Racks 5 “Saturator-X” at the front. It’s pretty close to the home stereo. Maybe a little “room”.

The new graphic EQ for the home stereo might be Audio Hijack with a bunch of plugins in front of the audio. It works for me, since that’s what I heard and what I know deep in my ears.

I need to build the amusing “Hey Dingus” command of “Play me some Bill Evans on a 1960’s stereo” – how’s that for a graphic EQ? The AREQ?

Ahh, the magic happens.

I need to add some room! not where it was recorded, but where it is heard. T-Racks 5 – CSR Classik – Room. Reflections only.

I want to be in the room where a performance happens!

Why Do Concerts Sound So Bad? – ProSoundWeb

Why Do Concerts Sound So Bad? – ProSoundWeb

Concert sound reinforcement equipment is better than ever, yet we’re frequently burdened with a mess of auditory goo that just sucks the enjoyment from a live event.

I know a place here in Tucson that should really pay attention to Bobby O.’s words of wisdom. I’ve walked out of high-priced shows because the sound wasn’t just awful, it was painful.

Production Expert | Has The Home Studio Dream Become A Nightmare?

Production Expert | Has The Home Studio Dream Become A Nightmare?

This article is not an advert for easy-to-use plug-ins or indeed a polemic against complex software. Neither am I arguing that a professional studio is better than a home studio, both have their merits.

A thoughtful look at DIY vs. bespoke. I know where the “real” studios are. I plan to use them. But I do love working at my desk at home.