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Post by jjinvegas on Nov 27, 2016 19:33:33 GMT -6
I don't monetize my channel on Youtube or Vimeo, so I guess perhaps they could look at it as additional free promotion. About a thousand plays is the most I have received on any live action video that contains any recognizable material. That. in combination with the 15 second rule probably makes it if not legal at least fairly benign and certainly not worth the trouble of any action. The only time I got any reprimand was for a video I did for a live version of a song by Howard Devoto and Magazine. The live version was considerable better than the studio record, but had no footage, so I stretched and tugged on the live audio until it matched the promo vid. EMI wasn't pleased, they made it inoperable, but I had sent it to one of the band members and he liked what I did, and a week later is was unblocked. Here is something to also wonder about, most of the footage I use is fairly obscure, never put up by anyone affiliated with the owners of the material, and most of them are monetized. So not only are they posting material they do not own, they are getting some sort of return on it. I have learned quite a bit about using Moviemaker, probably not that useful but it works for my little purposed and I enjoy the process now that I got a lot more efficient doing it.....
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Post by jjinvegas on Nov 25, 2016 21:07:54 GMT -6
So I admit it, I am too dumb to figure out how to add text in the above box. The interesting thing is that I am selling more time to some clients for video creation, so learning some basic tricks on how to "borrow" content seems to have an upside.....
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Post by jjinvegas on Nov 25, 2016 21:04:03 GMT -6
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Post by jjinvegas on Nov 23, 2016 16:06:44 GMT -6
I think part of this stems from the admiration for equalizers first developed when audio engineering was a white coat profession. I can recall reading maxims like "EQ is for cutting only" in musty books about audio. When the white coat boys found out that some of these crazy producers were actually turning up the knobs, certain companies decided that both boost and attenuation knobs would ensure that the boost knob had a wider bandwidth, as their ears told them that this was a more pleasant result. Although the intended use was to either boost or attenuate, crazy users twisted both knobs and liked the results. Since most software is designed to emulate favored circuits, this thinking extends to many plug-ins.
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Post by jjinvegas on Nov 21, 2016 17:03:48 GMT -6
II guess since I associate Avid with Avoid, my short and unhappy dealings with them mean that I am not completely up to speed on how much trouble it is to render a few reverb tracks on PT. On Reaper I could do it in less time than I am going to spend typing this note. I originally printed reverb tracks because the first computer I used for audio was bumping 100% CPU and most reverb programs are thirsty that way. But because of that, I was afforded the light-bulb moment that the reverb stems often benefitted from all sorts of little tweaks and tricks. Dead stops, radical flanging, combining with the drum sum to really pump a convolution room sim. Having a different EQ on a source to the verb might really be interesting. Workarounds sometimes create happy accidents. Happier than reading manuals.....smile....
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Post by jjinvegas on Nov 21, 2016 7:09:12 GMT -6
He has posted some audio samples, which are fair to middling, but are not going to turn heads at the moment. But everybody learns by doing, and as much as we would all love to believe that our hard-earned skillset is somehow an exclusive province, it is just rock and roll, and not rocket science. Maybe some hotshot freelancer will latch on, and short-circuit his learning curve and figure out some methods for the particulars of the room that are repeatable and eventually some kind of track record will get built. Sometimes, however, pride prevents good business decisions, it is apparent that turning a profit was not the immediate goal, so maybe we can post an over under on the number of months before they start advertising the room without in-house talent. Sorry, we bet on things in Nevada....smile
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Post by jjinvegas on Nov 21, 2016 3:40:02 GMT -6
Or you could just render the reverb track with just one instrument at a time feeding it. I print lots of reverbs because then you can mess with them further, compress, eq, slide further down the timeline for easy pre-delay. Sometimes workarounds create new possibilities, and are usually faster than trying to understand and remedy quirks that may only come up once....
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Post by jjinvegas on Nov 21, 2016 3:22:46 GMT -6
Every couple of months I check to see what is new in freebie land. One thing that is harder to find is a rompler/sample player that is not a pain in the arse to download and use. The folks at Sample Science have put together a player based around the University of Iowa's extensive sample library, which some of you may be aware of. What is different about this player is that all the sounds are gathered in one spot, so auditioning the sounds is a click on the forward button, instead of having to launch another player. Although hardly extensive in variation, it has some pretty useful sounds, I used it today to finish this track, marimba, claves, horns, piano, organ, the kitchen sink. Here is a link to their site, and my little demonstration of it in action.... soundcloud.com/jjinvegas/too-salty-by-jj-johnson
www.samplescience.ca/2016/01/orion-sound-module.html
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Post by jjinvegas on Nov 20, 2016 4:03:42 GMT -6
Well, I think that although EC plays a fine lead and all, the more eye-opening guitar sound is on Nowhere Man. It is so bright and strong, but somehow not strident at all. Also a far superior song, IMHO.....
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Post by jjinvegas on Nov 20, 2016 3:53:08 GMT -6
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Post by jjinvegas on Nov 19, 2016 17:40:41 GMT -6
The console is one big mic pre, ITB after that. I guess what I was hoping to find was a legacy product that I might get at a bargain that was basically a 16 channel I/O with line level inputs that had minimal circuitry and solid conversion. I am a cheapskate, I pull the trigger if something is really useful and cheap. And I am spoiled living in crazyland, also known as Las Vegas. You would not believe some of the things I have found in thrift stores and pawnshops. Like an EV RE-15, 14 bucks. Alesis 12 channel mixer, 2.99, almost new Audio Technica Artist Elite 3000 for 75 clams. The Presonus VSL 1818 and M-audio 2626 were both like brand new, 200 and 100 bucks respectively. Between drugs and gambling some items you wouldn't expect show up and after two months they just want it gone, they gave peanuts, they sell for cashews.
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Post by jjinvegas on Nov 19, 2016 3:20:37 GMT -6
Forget about the mic, where do you buy the drummer? Tre Cool=total monster
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Post by jjinvegas on Nov 19, 2016 2:55:18 GMT -6
Good suggestions all. When I was younger and possibly crazier, and had real estate and machines and payments that were so much more regular than sales I tried to live by a simple rule of thumb. Don't buy any gear that didn't bring in additional customers. I do look at that Lynx unit with lust and longing, but at ten times the investment I have in my current conversion it certainly violates my old rule. Almost every other link in the recording chain can be found in places where distressed and ready sellers sometimes lose patience and give their things away for peanuts. This piece of kit is almost completely in the purview of professional studios, so I guess patience has to be exercised. It is sort of frustrating to compete with Garageband on a cellphone, I know I have a unique skillset but not as unique as it once was......smile.....
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Post by jjinvegas on Nov 18, 2016 2:05:28 GMT -6
Currently I am using the Presonus 1818 V SL with M Audio 2626 lightpiped in for 16 channels. But really only 12, as both units have two channels of instrument oriented line in. I have a console, so I am not in need of anything beyond a +4 line level input. The units I have work all right, but both of them have far too much circuitry before ADC, what with the line level sharing the pre-amp. I also have no need for any software mixer for monitor mixes. I am PC based and do like the convenience of USB hook-up. As my current audio computer is small form factor, there is only a single slot left. 32 bit version of Reaper, don't really even feel any need for 96k sampling rate. I actually prefer to buy used, and was maybe hoping someone could point me to some units that I have no experience with that would fit with what I have and offer improved performance. MOTU? Avid/M audio 192?
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Post by jjinvegas on Nov 17, 2016 14:57:34 GMT -6
Nobody can completely take credit for the evolution of recording and what is possible to write songs about. But certainly the single "Strawberry Fields Forever" b/w "Penny Lane" is one huge seismic blast across the whole landscape. Really, to my ears it makes the Sgt. Pepper LP seem very unfocused and uneven. It is hard to listen with new ears for many of us, the memory of a lot of these recordings gets in the way. Lately I have been writing songs at a pace that I never would have thought possible before I learned the secret techniques I am going to share with you all today. Make something up already, and finish it. Worry about analyzing it some other time, or never... soundcloud.com/jjinvegas/dont-leave-me-behind-jj-johnson-and-the-mullahs-of-methadonia-002
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Post by jjinvegas on Nov 16, 2016 6:48:57 GMT -6
Yeah, I think treading very gingerly about what you might be entitled to is the best path if you don't want to put a buzzzkill on a feel-good--fifteen-minutes-of-fame forty years too late story that is just unusual enough that it might float some interest in what Pandora's members have in their box now. (couldn't resist, sorry) Most artists who sell a thousand CDs for a small label aren't ringing up Price Waterhouse for an independent audit, they are calling a priest or guru to learn some prayers in hopes that they get to make another. After mastering, artwork manufacturing, promotion, in a normal small advance type of deal, you would owe the record company, although you would never pay nor would they expect you to. I would advise trying to work the angle of the very unusual path the record took to become public, after some kind of deal is in place, promote it. It is a very cool story with a happy ending, until you get some mouthpiece working on contingency who has an incentive to gather all your lost revenue. It has upside, keep that as the guiding principle and everything that might come out of it is pure gravy....
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Post by jjinvegas on Nov 16, 2016 5:34:15 GMT -6
Okay your bottom side is all better. Next stop, what you look at all day seriously impacts your stamina. Even as I can deal with the 32 inch TV parked on my desk, I MUCH preferred the 39 inches I used until I opted for this really cool looking rolltop and 32 was the max size that would fit. It is a pretty good TV, but size matters, as well as operating temp and resolution and brightness/contrast flexibility....
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Post by jjinvegas on Nov 15, 2016 10:47:32 GMT -6
I don't even know how I could do what I do on an analog console and hardware outboard gear. FIR filtering is not even possible in the analog domain, I use it constantly. Almost all dynamics processing I do is in parallel mode. Most of my time-based effects are tempo synced, that is a whole lot of staring at a BPM chart and fooling with knobs that are fairly imprecise. I have a Soundtracs console that I use as my front end, just like all analog consoles the degradation of signal is audible as it passes through more circuitry, I exit just past the mic pre at the insert to bypass any unnecessary ICs etc. All the summing I do would really be impossible on most of the consoles I owned or used as a freelancer. HPPF on every channel if desired? Hmmmm, maybe in the holiest of holy facilities back n the day. Unlimited mults? I can listen for twice as long as I used to without wanting to commit suicide. I think that is due to the elimination of phase smear using FIR. RF, crosstalk, cap drift, contact oxidation, heat-based drift, bad soldering, fatigue in patch cords, well, the occasional computer glitch seems almost as a chance to have a smoke compared to all those never-ending issues. Since the introduction of 24 bit depth, I hardly even see a point to compression on the way in, if needed I have some pretty fine software choices to tame something unruly. And I got them all for free, I use Reaper and freeware and as a former owner of Trident 80/3M-M79,JH-16 etc, I miss that stuff not at all. I still have some hardware in a rack, never turn it on, just cosmetics since customers are used to seeing that sort of thing......
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Post by jjinvegas on Nov 15, 2016 9:19:09 GMT -6
Even a broken clock is right twice a day. My fav snare mic is a reworked cheapo Sterling ST-31 1/2" condenser. I got it for free and never used it until Michael Wagener gave me the tip on it. I have mine attached to a 57. I really find it to be a reliably usable sound. I didn't get it for free, however. I had to pay fifteen bucks for it at one of our numerous pawn shops. Another el cheapo that I have found to work well is the Samson Q7 vocal mic on tom toms. Supercardioid, but not too nasty off-axis, I find them all the time barely used for 20 bucks. They don't look nearly as cool as a 421. but sound as good or maybe better with more rejection off axis. They have a little presence peak which seems to put a little point on the stroke.
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