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Post by donr on Feb 27, 2024 9:56:55 GMT -6
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Post by donr on Feb 27, 2024 9:39:40 GMT -6
Thanks for the BOC discussion. That guitar is a Vulcan, made by luthier Giuliano Balestra. He only made a few of them. The one in matt's post is John Harper's copy, but it's a different animal. I no longer have the Vulcan, unfortunately. Gone like most of BOC's gear over the years. I recorded with it a lot in the mid years. Gibson neck radius and early DiMarzio hum buckers. I wonder where that guitar is, somebody has it. As well as my original white Gibson SG.
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Post by donr on Feb 27, 2024 9:21:19 GMT -6
I like coming to Nashville. My schedule is a bit more flexible these days.
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Post by donr on Jan 26, 2024 1:20:10 GMT -6
Evidently, in 2024, you should not believe anything you see hear or read without at least two or better, three step verification.
Is there a space, where this exists without the effort? Not yet certainly. Can’t have THAT, can we?
We’re living in interesting times. I suppose it was inevitable.
Fron email to online, to broadcast. Without verification, gotta assume somebody’s agenda. Fraud, fraud or fraud. Nobody’s exempt.
Maybe the cons haven’t really changed. Just the tech scale of the BS.
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Post by donr on Nov 2, 2023 20:31:46 GMT -6
I have the sense that Apple Mac Silicon version improvements do not translate directly to audio DAW performance enhancements. The Apple designers are going after the video and graphic rendering improvements, looks to me. Didn't DAW software possibilities to offload/leverage Nvidia graphic card processor card power fissile a while ago? It's about software effort, compatibility and scale, I'd guess.
But like Michael Carnes says, the power efficiency and fan noise are real pluses for DAW users. I have an M1 MAX laptop, and the fan has NEVER gone on, to my ear, anyway. Not so with any of my Intel Macs. (In my family, we have 5 Macs.) Have't yet upgraded the studio computer from the 2013 trashcan, but it'll happen.
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Post by donr on Nov 2, 2023 19:48:27 GMT -6
Intriguing, JK.. Not clear on how that would work. Send homemade demos? Get Pro versions? You oversee the presentation to the pros?
BTW, I'm a HUGE fan of JK as a song writer and vocalist. It's what got me here to RGO off GS in the first place.
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Post by donr on Oct 26, 2023 8:39:25 GMT -6
I'd imagine that today's pop consumers consider any un-tuned vocal unpolished and not 'professional.'
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Post by donr on Aug 4, 2023 19:16:13 GMT -6
AWESOME!! Nice Don! I might see if I can make the PHX show! Bill, let me know if you're coming to Phoenix. I'm flying to Portland tomorrow. We've got a festival in the UK and a date in Slovenia end of this month too. But I am trying to scale back touring, after 50 years.
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Post by donr on Aug 1, 2023 10:56:11 GMT -6
Paul, I’m just seeing this thread. Congratulations on the move and new place. I hope to visit someday when you’re up and running!
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Post by donr on Jul 1, 2023 21:18:16 GMT -6
As for the original topic, I'll say nothing stays the same. The time, the place, the personnel, circumstances of people's lives, etc. Not all mature artists suck. Most don't, I think. Consider also that the listeners, the consumers of the artist's product, start to suck later in life as the artist's efforts become less important to listeners than in their mutual heyday. Best answer yet. The listeners suck! You’re not wrong. Ha! I meant that in the context of the original topic header. What a listener was rabid for early in life may not endure life's progression. Another point, at the end of the preverbal day, it's the song that counts, not that much the singer. If you've got a song that can touch people, you'll do fine with an audience. But wide music machine exposure and promotion of said song is a window of opportunity that may well close for many mature artists who once were fab. There are undiscovered gems out there.. Example: In 1975, about the time I wrote "Don't Fear the Reaper" I bought a Ray Charles record "Renaissance" through my NARAS membership. According to Wiki it charted at 175 on Billboard and was virtually unknown to pop music consumers. But it had versions of Stevie Wonder's "Living for the City," and Randy Newman's "Sail Away" that to me were just as good as anything Ray ever did. It's a fine record!
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Post by donr on Jun 30, 2023 8:48:44 GMT -6
As for the original topic, I'll say nothing stays the same. The time, the place, the personnel, circumstances of people's lives, etc. Not all mature artists suck. Most don't, I think.
Consider also that the listeners, the consumers of the artist's product, start to suck later in life as the artist's efforts become less important to listeners than in their mutual heyday.
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Post by donr on Jun 27, 2023 10:11:51 GMT -6
The brand has acquired hard earned and deserved capital. Wouldn't change it, especially for initials that are too close to DPA, or otherwise meaningless.
Why not scale the logo down to a smaller, horizontal orientation, chrome and black (or red,) similar to the Everlast boxing gear logo. Two rivets, not four, or adhesive. Wouldn't matter if you had to squint to read it. Your customers already know your brand name.
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Post by donr on Jun 26, 2023 16:30:03 GMT -6
I upgraded to V.4 of the VSX software. I waited to see if any other VSX owners spoke up first. It's amazing.
I now don't want to listen to regular headphones at all. For MacOS users (PC coming) you can instantiate the VSX software system wide, so any/all audio goes through it.
Slate has the binaural imaging thing really nailed now. Even the Auratone sounds good. With so many comparable references, it's easy to spot weaknesses in frequency balances. If you're like me, you'll find a couple/three favorite speakers/studios you feel at home working on.
I think Steven is missing a move not marketing this to hi-fi enthusiasts. I would love to be able to hear my chosen music in a sweet sounding room on a pair of AR3a's or KLH 6's or Quad ESL-57's, Splendor's, B&W's, Advents, JBL L100's, etc. Even Lafayette Criterions.
The VSX experience is just, well, pleasing. I'd recommend buying it and returning it if you don't like it as much as I do. But you should hear it!
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Post by donr on Jun 24, 2023 20:02:23 GMT -6
Nice to see this one again! My thought also Bob! Regulars don't think about visiting old threads because they get scrolled down. Thanks vinnymayo! Maybe there should be a random (or curated) thread button, to revive the odd thread from whenever. Or a quick sortable 'guide' of scrolling thread topics over time. RGO is small enough for this I think. But ProBoards makes the board software (mine too,) so never mind.
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Post by donr on Jun 19, 2023 13:40:13 GMT -6
This is so true. Doing revisions with a client on Saturday: Client: This needs more bass, on my phone I can barely hear it. It's good in the care and at home... Me: Let's talk about physics: Yes. The trick, I'd say, is ensuring the song sounds successfully musical on the phone, without the bass you get on fuller range speakers. Phones have gotten good enough that I can enjoy well recorded music on them. I usually look for a corner to place the phone for some horn type LF augmentation. As for Augmented reality, I guess it's coming. But I can't see everyone wearing headset goggles, like people looking down on their phones today. I could be wrong. In the '70's I thought drum machines in pop music would never catch on and replace real drummers. I do think Apple is behind in AI, if Vision Pro is just to nav your iOS apps. With AI, the need for apps is obsolete.
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Post by donr on Jun 5, 2023 15:15:37 GMT -6
Hell I would rather be ma king D-sub cables.” Or "heck, I could have been lick-testing 9 volt batteries" Funny how quickly you get used to licking 9 volts. I bet that's how they QC at Duracell. Who's that YouTube DIY guy who gets electrocuted every episode? Hilarious! [electroboom on YouTube]
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Post by donr on May 29, 2023 12:15:14 GMT -6
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Post by donr on May 26, 2023 13:57:52 GMT -6
Are ANY headphones or speakers flat freq? I don't know. For monitors, "the devil that you know" would seem to be the tool. Columbia records engineers were making those good sounding recordings back when with just Altec 604's for monitors. No near fields at all.
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Post by donr on May 26, 2023 9:33:45 GMT -6
VSX is a great tool for hearing the bottom end, on big soffit mounted studio monitors, and for balancing on familiar NS10's and a Auratone. When your mix sounds good in a variety of VSX's environs, you can have confidence it'll translate. My AUDI B&O car system has more high end rise than any of my studio monitors and VSX choices, so it's not perfect.
I don't understand Slate's effort to emulate different brands of headphones. Why bother, it's speakers in rooms that's the virtue.
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Post by donr on May 26, 2023 9:09:54 GMT -6
I second the Slate VSX recommendation. I'm not a professional AE, but I've made records over 50 years.
The virtue of VSX is multiple sets of monitors and rooms and autos to verify your mix for frequency balance and compatibility on a variety of systems.
If you make/verify your EQ choices with VSX you can mix with confidence on whatever monitors in your bad room. It's not very expensive to try VSX out.
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Post by donr on May 25, 2023 12:35:43 GMT -6
There's a huge difference between types of dynamics. A kick drum hit might be 15dB between the transient peak and the body of the sound. The RMS level would be very low despite the transient peak being very high. It would be hard to listen to because it would be all TICK TICK TICK sounding. Clipping that transient off some would bring the RMS level up and reduce some of the TICK TICK TICK attack and perhaps make it sound more "round" and easier to hear and listen to despite being very high RMS levels. I've listened to old recordings where the mics, consoles, tapes, LP's, etc have reduced bandwidth to the point where you don't get a lot of those transients. I've also heard old recordings where all you hear are those transients. Dynamic range doesn't mean that it sounds good, nor does the lack of it mean it sounds bad. A lot of people listening to older recordings enjoy it because it's NOT very dynamic at all. They mistake quiet and low bandwidth for high dynamic range. I think it's not about dynamic range at all. I think most people who dislike modern recordings do so because they don't sound like their favorite old recordings. I like some modern pop. I like Sia's hits, and tunes mixed by Manny Marroquin in general. Charlie Puth's "Attention," which I discovered here on RGO, is a Manny mix. They're loud, but they're musical.
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Post by donr on May 24, 2023 12:15:53 GMT -6
A mastering engineer I work with occasionally, who gets super loud masters, does a lot of bass cutting. Anytime you limit, the bass just destroys the ability of the track to be that loud. Surprisingly, his tracks still have plenty of bass. It’s a combo of cutting out the garbage sub stuff, shelving everything below 200 or so, and using some distortion/hard clipping along with limiting. It’s taken me a long time to make that all work the same way, but it’s totally possible. Once you figure out the right frequency balance, it’s amazing how much harder you can push a limiter. I will say that I don’t particularly like his masters! But, that’s what the majority of people want to hear, plus it’s competitive. He does a lot of work for bigger artists, and that’s just the way it is. There is another well known mastering engineer I’ve worked with who has a similar sound. Man those tracks sound great through my iPhone, but I can only listen for like 5 minutes in my studio. It’s just too forward and abrasive. Agree about super loud tracks. There's an art to making a loud cut that still has functional dynamics within the last -5 to -10dB below 0. Successful cuts like that are to my ear, rare. It's why I don't listen to much modern pop music. It's claustrophobic to my ears. Opaque. Oppressive.
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Post by donr on May 22, 2023 10:58:33 GMT -6
Can I see a link to the youtube vid discussed, I can't find it.
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Post by donr on May 16, 2023 10:49:40 GMT -6
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Post by donr on May 8, 2023 18:52:58 GMT -6
I ended up getting an RMA for the Stealth Standard and ordered another Stealth Pro Executive. Mostly, it was to avoid chair envy in the studio. Seriously... not kidding. Since I'm hobbit sized, I don't need the wide load seat of the Pro Executive. I've sat in many Herman Miller chairs in studios, and I'm sure others are comfortable as chairs, but I've never seen another that does what the Stealth does for your back when you're constantly reaching forward and then sitting back. Highly recommended.
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