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Post by drbill on Oct 2, 2017 23:02:28 GMT -6
Vincent R., curious if you ever recorded with a Shure SM7. I recorded one vocal on it, and couldn't discern sonically which one it was out of all my recorded performances. The rest were various U87's, U89's. Yeah Don! The SM7 is a mic I avoided for a decade or two due to the inescapable hype. Finally a buddy was selling his collection of historically unobtainable mics, and when I bought a few of them, I offhandedly decided to help out more and get one of his original SM7's too. (I think DanD got the other) I think I bought it mostly out of curiosity - but that mic has been amazingly surprising for the couple hundred or so that I paid for it. I've had it with all the normal solid state pre's, but I have a sneaking suspicion that paired with the right tube pre (which I currently don't own), it just might scare the crap out of me..... ( in a good way I mean.... )
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Post by Deleted on Oct 2, 2017 23:42:48 GMT -6
If there's anyone here who understands the current audio media market and how it works and who would contribute, that'd be great. Because I don't. Been lurking for a while but this is in my wheelhouse, so I figured now is as good a time as any to jump in. You're correct in saying social media plays a large role, particularly with new artists who often begin by developing a local/regional social media/internet following, usually on the back of what we would traditionally call a "single" that is often self-produced and low budget. From there the artist continues to gain followers, often not by promoting / releasing new music, but more by promoting themselves and cultivating their image. Many share my opinion that music is arguably on equal footing if not secondary to image when it comes to these hits. Next step is for local / regional club DJs to put the song in rotation. Then comes the big test -- whether the song/artist can develop a national following Again this is mostly done via social media shares & club DJs. Eventually, if the artist/song passes a certain threshold of attention, then the record labels will swoop in, sign the artist, and things start to look pretty "traditional" from there -- radio promo pushes, tours, etc. The thing is, because most of this music is fairly generic and easily replicable, the artist's ability to maintain cultural relevance is really what gives them a career. I would not be at all surprised if Cardi B is a nobody in two years, because these things change quickly and there are literally dozens ready to take her place. I actually have zero problem with this model, because I do think it is still possible to be a talented musician/performer and succeed inside it. The lower barriers to entry do result in a greater proportion of junk making it to the top of the charts, but on the flipside there is more music being made and recorded than ever before and I think that will be a net positive. We'll see!
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Post by timcampbell on Oct 3, 2017 1:17:56 GMT -6
I'm not a big believer in modelling ever achieving the quality of an original piece of hardware. That said I had a hand in the development of the actual mic Antelope will be using in their finale project. The big difference between Antelope's approach and it's competitors is their desire to develop a mic that sounded good in and of itself regardless of modelling being applied and trying to go the extra mile with their software. Personally I'm not happy where this is going but even some heavyweights are planning on joining what they see as the natural development of microphones. I actually think it will go the way of digital mics.
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Post by johneppstein on Oct 3, 2017 11:32:27 GMT -6
I don't know, guys. have you heard the songs that are #1 on Billboard lately? your fancy iconic piece of hardware doesn't really matter anymore. The songs getting hundreds of millions of youtube views sound like absolute shit, like the vocals were cut on an iPhone via GarageBand. But that's what is popular now. 195M views: Basically, the same song but with shittier vocals, recorded 3 years earlier. 113M views: You can covet all of that vintage analog gear you want, but the market speaks for how much they care about the gear used to make the music that is #1 on Billboard today... s1.postimg.org/7z9l9eob0f/Screen_Shot_2017-10-02_at_3.57.36_PM.pngTaylor Swift ain't even f*ckin' SINGING on the chorus anymore and this sh*t has 500M+ views! Those "people" aren't even really listening anyway. And I put the word "people" in quotes because the majority of them, aren't even human, anyway - they're just computers in server farms programmed to generate "views".
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Post by johneppstein on Oct 3, 2017 11:37:33 GMT -6
I don't know, guys. have you heard the songs that are #1 on Billboard lately? your fancy iconic piece of hardware doesn't really matter anymore. The songs getting hundreds of millions of youtube views sound like absolute shit, like the vocals were cut on an iPhone via GarageBand. But that's what is popular now. 195M views: Basically, the same song but with shittier vocals, recorded 3 years earlier. 113M views: You can covet all of that vintage analog gear you want, but the market speaks for how much they care about the gear used to make the music that is #1 on Billboard today... s1.postimg.org/7z9l9eob0f/Screen_Shot_2017-10-02_at_3.57.36_PM.pngTaylor Swift ain't even f*ckin' SINGING on the chorus anymore and this sh*t has 500M+ views! Wow u are so wrong regarding rap vocal chains .... Try Lauten Audio Eden lt386 into a Chandler Little Devil Pre with bright switch on into a Rupert Neve 551 eq .... So you ears are way off.. I don’t talk shit about music I don’t like ... And I dam sure don’t speak I’ll of hard working engineers who have invested thousands into their vocal chain then say it’s the equivalent Of an iPhone into GarageBand because the genre is not what I prefer to listen or support... U obviously don’t like the music but no need to disparage it... I have used GarageBand plenty to produce colors and edit... it’s free too! www.bboytechreport.com/2017/09/25/michael-ashby-lauten-audio-sonic-secrets-behind-cardi-bs-bodak-yellow/You can get sh!tty sound out of great, expensive gear quite easily. I'm not impressed in the least by the amount of cash they throw at their gear chain, I'm much more interested in what comes out. And if what comes out is obliterated with Ottotune and other processing, who cares what the input sounded like - nobody's ever gonna hear it.
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Post by johneppstein on Oct 3, 2017 11:42:14 GMT -6
Points taken. I can't fathom why many of these titles get hundreds of millions of streams. From this Grandpa's historic POV, I liked lo-fi tunes like Kingsmen's "Louie Louie," Five DuTone's "Shake A Tailfeather," Standell's "Dirty Water," and many more, as much as I liked the better recorded stuff like Jackie Wilson's hits, and many if not most of the major label efforts. To this day, The Champs' "Tequila" is to my ear among the best recorded 45's of its time, or any time, in sonics and loudness. It just blazed out of any speaker you heard it on. So maybe it's the sentiment and content, not sonics that makes Cardi B all that.. (!) Don, as I just mentioned in a previous post, a great many of those videos DON'T really get all those streams - not from listeners, anyway. It's possible to buy "views" in thousand lot quantities, either from automated server farms or from phone banks in Indonesia. The game is cooked.
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Post by johneppstein on Oct 3, 2017 11:54:47 GMT -6
The kids know it is stripped down and raw, like some fat girls fighting in the restrooms at the mall.... but they connect with that (especially on the high school level) as being "in the moment" and relevant to their peer group. Thye know it's not production or composition at the level of other previous pop stars they know (Katy Perry etc.) but they learn from the peer group that this is the "street sound" of the moment. Even Taylor Swift has dipped her toe into this production aesthetic with "Look What You Made Me Do". Then all of this is an overlay on top of a general degradation of grammar, manners, and general decorum. There is absolutely a "coarsening of America" taking place. And while you can obviously point to hip hop culture as a major influence on that you also can't leave out the behavior of our corporate leaders, and politicians, who have contributed to this just as pervasively. The corporate leaders, politicians, etc. are doing it absolutely intentionally and with great deliberation and planning, as a stupid, ignorant populace is far easier to control (and sell to) than an intelligent, informed, and educated one. It's a principle that goes all the way back to the Caesars in ancient Rome - it's called "bread and circuses". Keep 'em dumb, feed 'em cheap Big Macs, and entertain 'em with MMA, football, violent movies, and the most dumbed down, lowest common denominator "music" and they're yours to control and do with as you will. And if you can disguise that control as "rebellion", all the better.
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Post by johneppstein on Oct 3, 2017 12:02:59 GMT -6
JohnKenn, I can sympathize with your premise, but what the kids make popular today is 'viral' as they say, and not pimped or filtered by radio or distributors or influences other than similarly viral social media. Again, if there's anyone here who understands the current audio media market and how it works and who would contribute, that'd be great. Because I don't. Don, all I can really say to that is that for someone who's been around the biz on the level you have for as long as you have, sometimes you can be amazingly naive. Therre are almost NO "viral" music vids on YT that don't have a major PR company behind them. The whole thing's a scam.
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Post by Deleted on Oct 3, 2017 13:14:17 GMT -6
Points taken. I can't fathom why many of these titles get hundreds of millions of streams. From this Grandpa's historic POV, I liked lo-fi tunes like Kingsmen's "Louie Louie," Five DuTone's "Shake A Tailfeather," Standell's "Dirty Water," and many more, as much as I liked the better recorded stuff like Jackie Wilson's hits, and many if not most of the major label efforts. To this day, The Champs' "Tequila" is to my ear among the best recorded 45's of its time, or any time, in sonics and loudness. It just blazed out of any speaker you heard it on. So maybe it's the sentiment and content, not sonics that makes Cardi B all that.. (!) I'm far from old and I don't get it either TBH, there's a lot of great songs and musicians out there though.. Hell I'd even take Justin Timberlake over some of the stuff that's at the top nowadays.. Didn't mind "mirrors" by JT, was pretty decent (this is coming from a rock / metalhead). I'm not even sure why some songs bother adding backing tracks, you can pretty much only hear the vocals anyway.. Although realistically there's tons of crap made in every decade.. It comes / it goes and it'll turn full circle / come back again.
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Post by mrholmes on Oct 3, 2017 15:19:48 GMT -6
The more I track acoustic guitars with 1k mics and above the more I get the impression it's not a big thing frequency wise but the dynamics start a new life with the expensive mics. I have my doubts they can simulate this after they used a 50 bucks China mic...
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Post by johneppstein on Oct 3, 2017 20:19:44 GMT -6
Points taken. I can't fathom why many of these titles get hundreds of millions of streams. From this Grandpa's historic POV, I liked lo-fi tunes like Kingsmen's "Louie Louie," Five DuTone's "Shake A Tailfeather," Standell's "Dirty Water," and many more, as much as I liked the better recorded stuff like Jackie Wilson's hits, and many if not most of the major label efforts. To this day, The Champs' "Tequila" is to my ear among the best recorded 45's of its time, or any time, in sonics and loudness. It just blazed out of any speaker you heard it on. So maybe it's the sentiment and content, not sonics that makes Cardi B all that.. (!) I'm far from old and I don't get it either TBH, there's a lot of great songs and musicians out there though.. Hell I'd even take Justin Timberlake over some of the stuff that's at the top nowadays.. Didn't mind "mirrors" by JT, was pretty decent (this is coming from a rock / metalhead). I'm not even sure why some songs bother adding backing tracks, you can pretty much only hear the vocals anyway.. Although realistically there's tons of crap made in every decade.. It comes / it goes and it'll turn full circle / come back again. But it would be nice if some stuff could get commercial play that WASN'T crap. In all the decades I've been listening to popular music - starting around '55, give or take - it's never been as bad as today, not even close. Computer technology destroys art - if not directly, as in Awefultune, grid mapping, and sample replacement* then indirectly, as in the economic effects of piracy/streaming. * - NO, enabling talentless figureheads who can't play or sing is NOT musical progress. Some people really do not belong in a recording studio. Pablum is bad, but synthetic pablum with non-food additives is even worse.
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Post by Deleted on Oct 6, 2017 14:48:22 GMT -6
I'm far from old and I don't get it either TBH, there's a lot of great songs and musicians out there though.. Hell I'd even take Justin Timberlake over some of the stuff that's at the top nowadays.. Didn't mind "mirrors" by JT, was pretty decent (this is coming from a rock / metalhead). I'm not even sure why some songs bother adding backing tracks, you can pretty much only hear the vocals anyway.. Although realistically there's tons of crap made in every decade.. It comes / it goes and it'll turn full circle / come back again. But it would be nice if some stuff could get commercial play that WASN'T crap. In all the decades I've been listening to popular music - starting around '55, give or take - it's never been as bad as today, not even close. Computer technology destroys art - if not directly, as in Awefultune, grid mapping, and sample replacement* then indirectly, as in the economic effects of piracy/streaming. * - NO, enabling talentless figureheads who can't play or sing is NOT musical progress. Some people really do not belong in a recording studio. Pablum is bad, but synthetic pablum with non-food additives is even worse. "Crap" is highly subjective, nobody gets to have a definitive definition as differences are what allows us to evolve. Longevity, popularity and consistancy has a large part in success and not everyone in the world has to like said songs to classify it as "decent".. I'm not a massive fan of the Beetle's, although I highly respect what they do and the consistancy of their artistry but it's just not my cup of tea.. It's like celery, don't like that either but there's no specific reason why. Autotune is just a tool, if it's used correctly it can add not detract.. If a singer can nail it 95% of the time (which is rarer than you'd think) and is pitchy in one or two places but has the timbre down then there's not a logical reason not to do some touch ups, especially because once that song is released it's written in stone. By your logic we shouldn't use electric guitars, compressors, reverb etc. etc. it's all "tech" we're defining what should be used by date of release, also there's bands out there with 50K's worth of equipment that prefer Superior Drummer as they believe it adds to their sound (like Periphery for example and you can't call Matt Halpern a talentless hack by any means, awesome drummer).. I still believe if you take your craft seriously you should be able to pull it off live, if not for your own pride for your fans.. So I don't condone using tools as a crutch for inadequacy but it seems to me at least pretty daft to ignore the benefits technology bestows upon artists.
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Post by johneppstein on Oct 6, 2017 21:42:09 GMT -6
But it would be nice if some stuff could get commercial play that WASN'T crap. In all the decades I've been listening to popular music - starting around '55, give or take - it's never been as bad as today, not even close. Computer technology destroys art - if not directly, as in Awefultune, grid mapping, and sample replacement* then indirectly, as in the economic effects of piracy/streaming. * - NO, enabling talentless figureheads who can't play or sing is NOT musical progress. Some people really do not belong in a recording studio. Pablum is bad, but synthetic pablum with non-food additives is even worse. "Crap" is highly subjective, nobody gets to have a definitive definition as differences are what allows us to evolve. Longevity, popularity and consistancy has a large part in success and not everyone in the world has to like said songs to classify it as "decent".. I'm not a massive fan of the Beetle's, although I highly respect what they do and the consistancy of their artistry but it's just not my cup of tea.. It's like celery, don't like that either but there's no specific reason why. Autotune is just a tool, if it's used correctly it can add not detract.. If a singer can nail it 95% of the time (which is rarer than you'd think) and is pitchy in one or two places but has the timbre down then there's not a logical reason not to do some touch ups, especially because once that song is released it's written in stone. By your logic we shouldn't use electric guitars, compressors, reverb etc. etc. it's all "tech" we're defining what should be used by date of release, also there's bands out there with 50K's worth of equipment that prefer Superior Drummer as they believe it adds to their sound (like Periphery for example and you can't call Matt Halpern a talentless hack by any means, awesome drummer).. I still believe if you take your craft seriously you should be able to pull it off live, if not for your own pride for your fans.. So I don't condone using tools as a crutch for inadequacy but it seems to me at least pretty daft to ignore the benefits technology bestows upon artists. I strongly disagree. Things like Awfultune encourage laziness. A singer won't bother to work to get better if he thinks it's not important because it can be "fixed in the mix" And the "fix" is invariably inferior. I can't count the number of times I've heard a song and said "Man, that would have been a great song if only they hadn't "tuned" it. And I'm not talking about obvious autotune or tuning as effect. I'm talking about "remedial AT" that allegedly people can't hear. As the great Chet Atkins said "Leave the clams in, it lets them know you're human". Music is supposed to be human. It shouldn't be artificially "perfect" - that's unmusical. Crutches like that are deleterious to the art. They are not "benefits". Electric guitars,compressors, etc are NOTHING LIKE artificial crutches like Awfultune. Nothing. They'rer just new tools, they don't encourage laziness and they're not a substitute for artistry. That's a spurious argument. For example, have you ever tried the beginner's mistake of trying to use a compressor to "fix" the uneven touch of a bad bass player? It-just-doesn't-work. Period. I was listening to a cut by the immortal Billie Holliday yesterday. An essential part of her genius is the way she shades pitches just slightly off tune in exactly the right way to convey the desired emotion. A "modern" engineer would probably "tune" those "out of tune" notes to make them "perfect" - and destroy the performance of the song. And they'd point to the damned computer screen as "proof" that they'd "improved" or "fixed" it. To be clear, I'm not at all opposed to "tech" or to new tools. What I'm opposed to is cheating and laziness that has an adverse effect on art.
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Post by Deleted on Oct 6, 2017 22:39:08 GMT -6
"Crap" is highly subjective, nobody gets to have a definitive definition as differences are what allows us to evolve. Longevity, popularity and consistancy has a large part in success and not everyone in the world has to like said songs to classify it as "decent".. I'm not a massive fan of the Beetle's, although I highly respect what they do and the consistancy of their artistry but it's just not my cup of tea.. It's like celery, don't like that either but there's no specific reason why. Autotune is just a tool, if it's used correctly it can add not detract.. If a singer can nail it 95% of the time (which is rarer than you'd think) and is pitchy in one or two places but has the timbre down then there's not a logical reason not to do some touch ups, especially because once that song is released it's written in stone. By your logic we shouldn't use electric guitars, compressors, reverb etc. etc. it's all "tech" we're defining what should be used by date of release, also there's bands out there with 50K's worth of equipment that prefer Superior Drummer as they believe it adds to their sound (like Periphery for example and you can't call Matt Halpern a talentless hack by any means, awesome drummer).. I still believe if you take your craft seriously you should be able to pull it off live, if not for your own pride for your fans.. So I don't condone using tools as a crutch for inadequacy but it seems to me at least pretty daft to ignore the benefits technology bestows upon artists. I strongly disagree. Things like Awfultune encourage laziness. A singer won't bother to work to get better if he thinks it's not important because it can be "fixed in the mix" And the "fix" is invariably inferior. I can't count thhe numbere of times I've heard a song and said "Man, that would have been a great song if only they hadn't "tuned" it. As the great Chet Atkins said "Leave the clams in, it lets them know you're human". Music is supposed to be human. It shouldn't be artificially "perfect" - that's unmusical. Crutches like that are deleterious to the art. They are not "benefits". Electric guitars,compressors, etc are NOTHING LIKE artificial crutches like Awfultune. Nothing. They just new tools, they don't encourage laziness and they're not a substitute for artistry. That's a spurious argument. For example, have you ever tried the beginner's mistake of trying to use a compressor to "fix" the uneven touch of a bad bass player? It-just-doesn't-work. Period. I was listening to a cut by the immortal Billie Holliday yesterday. An essential part of her genius is the way she shades pitchesd just slightly off tune in exactly the right way to convey the desired emotion. A "modern" engineer would probably "tune" those "out of tune" notes to make them "perfect" - and destroy the performance of the song. And they'd point to the damned computer screen as "proof" that they'd "improved" or "fixed" it. Yes they do, you can ride faders.. You can spend the time and money to track in a decent room w/ mic placement that doesn't require artificial reverbs (hence "room mics") etc.. None of it is "real", dry mic'ing etc. isn't natural the whole thing is smoke and mirrors and that's engineering 101.. They've been comping / splicing things like vox for who knows how many years on many oldie's people love to swoon over. How's that any better than Autotune? If said artist and engineer didn't notice it was meant to be "out of tune" for impact then they both don't know what they're doing, but sure lets just randomly make up anecdotes to continue a discussion and forget logic.. It's like everything else, use in moderation and it can be handy and if you can hear autotune either the singer was so bad that autotune stuggled with it or the engineer didn't know what to do. I already said it shouldn't be used as a "crutch" did I not? Because AGAIN as I keep saying it's not going to save you live. Also music isn't always supposed to be "human" like EDM and some Metal (they go out of their way to make it robotic) etc. but it is supposed to be expression and if any piece of software / equipment allows you to express yourself then hey whatever.. We all get it, you don't like autotune.. But nobody seems to care because they keep using it constantly..!
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Post by johneppstein on Oct 7, 2017 11:35:12 GMT -6
It's like everything else, use in moderation and it can be handy and if you can hear autotune either the singer was so bad that autotune stuggled with it or the engineer didn't know what to do. I already said it shouldn't be used as a "crutch" did I not? Because AGAIN as I keep saying it's not going to save you live. Er, no. Even when "remedial" Autotune is applied skillfully by an expert I can still hear it - it reveals itself in a certain sameness, blandness, and homogenaity to the performance. It makes the performance more "blah". Who needs more "blah"? Not me. Sometimes you can hear where the AT engineer attempted to apply a little variation to the Autotuned part but it's never quite convincing, to me anyway, it always sounds like the "tuner" was trying to make the part sound "not tuned", but the added variation just isn't quite convincing. It's a fairly subtle thing, but once you start hearing it you can't "not hear" it anymore. It's like a lot of things in audio - you reach a point where you notice things you didn't notice before on a conscious level - like when you stop confusing a hyped presence in a cheap condenser mic with "detail". The thing is, stuff like that DOES affect the average listener even though they're not consciously aware of it. I think that it's a fairly important factor in the diminishing interest in music in the last decade and a half. The music becomes less engaging on an emotional level, because those little "out of tune" variations carry emotional content. "Not going to save you live" ? Really? You can buy a live Autotune box for $250. A large number of live shows are autotuned. Lip synced, too. I'm not talking about EDM - it's not supposed to be human or in most cases emotionally engaging. It's exercise music on steroids, created for one reason - dancing, and dancing in a particular form and environment (kinda like a psychedelic gym.) But how many people actually listen to 5 or 10 year old EDM? How many people actually remember 5 or 10 year old EDM songs? I used to do tech support at a lot of raves in the '90s up to the first couple years of the 2000s and I'll be damned if I can remember anything more than a generalized roar and thump. You might say that it's because it's not my thing, but I don't think that's it because I can clearly remember even songs that I hate from other musical types and I also clearly remember and often like other styles of synth based music, like Kraftwerke (who, of course, were often commenting on the dehumanization of society.) I also used to be deeply involved in the "New Wave of Heavy Metal" scene - I did sound for a whole lot of "name" metal bands when they were starting out, but there came a point where I just lost interest. And in my observation I wasn't alone, by any means. There's a differece between using a new technology to express yourself and the new technology using you. I think it all ties in with the growing dehumaniztion (and compartmentalization) of society, which is (or used to be) an interesting premise for a science fiction novel but isn't so great when it's happening for real. A lot of them use it because it's expected or required by the tin-eared Madison Avenue types who control the playlists and promotion. Or simply because "everybody's doing it". Or didn't you notice that the commercial side of the music business isn't controlled by music people anymore? EDIT: You know, GREAT metal isn't robotic and is very human. When great metal comes on the juke box in the bar people identify with, take notice, sing along. That new mechanical stuff, not so much. Mostly they just ask the bartender to turn it down so they can talk. What makes great music is that people continue to identify with it over long periods of time. No matter what style or "genre".
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Post by drbill on Oct 7, 2017 15:54:19 GMT -6
People are not using auto-tune because of madison avenue types or because "everybody's doing it". They are using autotune because the median competency level of "pro" singers has dropped exponentially in the last 20 years. I used to do sessions with unbelievable talent. These days, if they can essentially sing mostly in tune, I deem their performance "awesome". At least back then, only the great singers had access to studio's. now every musician does an album of the own as part of their rights of passage....
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Post by Deleted on Oct 7, 2017 18:37:59 GMT -6
<abbr>Edit: Actually don't care..!</abbr>
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Post by Johnkenn on Oct 7, 2017 19:00:43 GMT -6
Yeah...enough with the bickering.
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Post by jcoutu1 on Oct 7, 2017 19:29:52 GMT -6
<abbr>Edit: Actually don't care..!</abbr> PM me the link you posted and took down. I want to check it out.
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Post by Deleted on Oct 7, 2017 19:57:51 GMT -6
<abbr>Edit: Actually don't care..!</abbr> PM me the link you posted and took down. I want to check it out. Done..
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Post by johneppstein on Oct 7, 2017 22:30:53 GMT -6
People are not using auto-tune because of madison avenue types or because "everybody's doing it". They are using autotune because the median competency level of "pro" singers has dropped exponentially in the last 20 years. I used to do sessions with unbelievable talent. These days, if they can essentially sing mostly in tune, I deem their performance "awesome". At least back then, only the great singers had access to studio's. now every musician does an album of the own as part of their rights of passage.... I agree. But if it wasn't for tools like AT they wouldn't expect to not have to be able to sing..... Chicken<>Egg..... Oh, well... The comment about "Madison Avenue Types", etc was more about the gratuitous application of it to professional singers who can sing perfectly well without it. Anyway, enough!
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Post by ChaseUTB on Oct 8, 2017 10:18:13 GMT -6
I use auto tune for an effect not to correct singing ... who woulda thunk
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Post by swurveman on Oct 8, 2017 11:07:36 GMT -6
ericn, all pop music has a beat, so why do contemporary carelessly recorded crappy sounding cuts or such cuts from any era get hugely popular? Must be the content. I take the points by NoFilterChuck and ChaseUTB. What my brain searches for in a lot of today's joints is the content. What is it about Cardi B, for instance, that her fans dig? Maybe a young person here can 'splain it to me. I apologize for helping derail this thread. I have a Townsend mic, and so far I'm impressed with it. I've been too busy on the road this summer to yet explore it's capability or its shortcomings. I haven't even listened to all the models offered, but so far, so good. I'll never own all or probably most of the mics modeled by the Townsend software. The hook for me going for it, was the two capsule design and the full field modeling of the target mics, with the stereo recording option as a bonus. EDIT: I had something typed out then I listened to that bullshit. Holy shit. (Cardi B) I think it's absolutely a comment and reflection on our society and culture. This is base, guttural, primal grunting...with occasional rhyming on a fourth grade level. I also think (and I'm probably breaking my own rules here) that since popular culture is ...ahem...somewhat left leaning, it's the rejection of Western modalities and traditions. But maybe that's waaayyyy over thinking it. Maybe it has more to do with the fact that any jackass with a computer can make a beat and moan something remotely in time these days...and call it "real." Politicize it and say that if you don't get it, it's because you don't understand my "suffering." This is a LONG way from Jelly Roll Morton, Duke Ellington, Miles Davis, Albert King, Oscar Peterson, etc. What happened to melody? What happened to talent? I think Cardi B's attractiveness reflects the economics of the culture she appeals to and typical teenager-most of who have no money of their own- needs. We have a helluva lot of uneducated poor and lower middle class people in this country. So, with these songs having an attitude of "I HAVE POWER" -to buy quality clothes, steal your man, make money etc. - these songs appeal to people with no power whatsoever and none coming down the pike. And as an added bonus for producing these song, even suburban kids can relate because they have always wanted attitude songs as a way to defy their parents. When my stepson was 17 he was listening to rap that was just as profane. Had he listened to rock or country he'd be just like his parents, which is the last thing he wanted to be. But let's not kid ourselves, Cardi B's selfish attitude exists in corporate America as well. Having spent 10 years at Xerox, nobody would say it like Cardi B, but lots of people were looking out for themselves to get ahead personally over the greater good of the corporation. I had a Rolex wearing manager who fucked her way up the ladder. She did it quietly, the way it's supposed to be done in corporate America, but she could be really ruthless and selfish. But her ruthlessness was institutionalized. Does that make it any less profane? And look at Enron and what happened in 2008 in the banking sector: Selfishness isn't solely a ghetto culture phenomenon. Enron, Lehman Brothers, Washington Mutual etc. etc. were billion dollar benefits for the executives as a reward for their selfishness. "I GOT MINE" is everywhere in America. Hell, Paul Allaire, who was the CEO of Xerox when I worked there, cooked the books to make our stock look good. He made hundreds of millions of dollars, because his compensation was tied to the stock price. When he got caught he didn't pay any price. He walked away with hundreds of millions of his own money and the corporation got fined. Cardi B and the people in the ghetto never had it so good and never will.
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Post by cowboycoalminer on Oct 8, 2017 12:34:53 GMT -6
Just can't get into this. If plug-in's weren't bad enough, now we have modeled mics too..... <sigh> Agreed. I usually ignore all threads about this crap but since it was RGO, I figured I'd take a peek lol
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Post by cowboycoalminer on Oct 8, 2017 12:38:59 GMT -6
I LOVE the reverb on Taylor Swift verses. I had to say it. I agree. Not the best example of a bad take on her video (recording). Sounded like a bad ass vintage 251 to me.
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