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Post by M57 on Apr 18, 2024 12:31:52 GMT -6
This doesn't mean that it couldn't get there, it just means that I've yet to hear anything that sounds at all creative to me. And I mean "at all" creative. And from a lot of the AI people I talk to in my day job, the general consensus is that we are very, very far from genuine creative output in AI and some even think we will never get there. Unfortunately the vast majority of human output is also not creative "at all." Think of how many musicians out there just copy what they've already heard. Think of ..or who for the most part can only play printed sheet music, or need tabs, etc. There's a lot of "creators" out there who slam together a handful of loops and call it a day. AI may not be truly creative (ever) but it can already put a fork in a lot of what passes for art created by humans.
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Post by M57 on Apr 18, 2024 7:49:34 GMT -6
This all begs the question. Is AI becoming sentient?
..or let's turn it around. Are we just evolving biological computers?
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Post by M57 on Apr 16, 2024 17:58:55 GMT -6
The game is close to being over for those who write for : - commercials - TV - B & C level films. A level blockbuster films will still hire a real composer. - Youtube videos - reality TV - anything that does not require a "artist" personality to drive it. (And even there, AI is accelerating) In the last 6 months since I really thought about this, the strides that have been made are astounding. There are no brakes, and there is no political will to stop even if there were brakes. If you're OK with your musical experience being the total sum of playing your guitar in a coffee shop for $50 a night, then all is good - those opportunities will continue, although you'll have much more competition from the other musicians whose careers have been annihilated. If you seek a studio career as an engineer, or studio musician, or arranger, or composer, or producer / etc. there will be little work for any but the AAA level guys/gals with long standing career experience and accolades. This will destroy the middle class musicians. Some are saying make as much money and invest as much as you can right now, because by 2030 the work force will look nothing like we have now, and even jobs may be a thing of the past. Just "believing" that this will go like past trends is naive. Buckle up!! Of course it's not a trend and it won't go away, but neither will the public's need for 'real' entertainment. That means live performances by living breathing musicians that they can relate to on a personal level. There's no question, technology has decimated millions of jobs over the last 200 years. I for one am grateful that I don't have to ride a horse to get to work to pick cotton in field for 12 hours a day. When tech does something just as well and more efficiently than humans, I say bring it. Yeah, there's pain with progress, but nothing can stifle the human spirit. People won't stop playing instruments or writing music just because computers can do it better or more efficiently. People will create because they just have to. It's in our DNA, and technology will be there for us to make it better. As for an example with AI, already a decent Chess (or Go) program can beat the shit out of the best players in the world playing their A+ game 100 times out of 100, yet the (human) chess world is enjoying a renaissance of popularity. Sure, there are tournaments where computers play computers, but guess what? Almost no one cares. They prefer to watch smelly meatbags playing the game. Me? I always wear a seat belt.
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Post by M57 on Apr 16, 2024 11:01:00 GMT -6
What prompts are necessary to get it to where it's at? --> It doesn't need much. A few words ! Ask for "a trippy trance track with dogs barking, seagulls calls and a talkbox" for example and it will probably generate something potent. I don't know how the AI creates the audio output (& I think the developers don't quite know it themselves). It's probably been trained on waveforms ; program materials (human work). I guess the AI creates the waveform from thin air, based on the prompt. Sample by sample...? The audio output quality : It's good enough that it frightens me. The voices are ok. The harmonies, the structures, also kinda ok. Not game changing, but average. The tracks sound like a low bitrate file, but I'm pretty sure they're working on making it sound better. And as investors inject millions and millions of dollars into these techs, sure enough they will improve quickly, with no safeguard in place, no regulation, no ethical concerns etc. There's no way the OP's link was generated with just a few prompts. It's very specific genre-wise and highly stylized. I would be shocked if it was entirely created by AI, much less written by AI. Well, I'll be damned. I checked out Udio. Getting to the full length song requires a couple of steps/edits/extra prompts, and no doubt there's a limit and range of genres that it is capable of emulating, AND the writing and music is of borderline quality so there are no hits to be made there yet, BUT I'd say give it time and it will certainly be capable of creating reasonable recordings that will have utilitarian function. Ya know, there was a time when the only way to listen to music was to get out the sheet music and play it yourself. I wonder that once AI is making music videos featuring "famous" AI bands and artists performing things that are impossible for humans to play, things will come full circle. That, or the Singularity will simply decide that we are "unnecessary."
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Post by M57 on Apr 15, 2024 21:37:37 GMT -6
A scotch OF. Yeah ..heresy, I know ..with Dewers White Label, Drambuie for sweetener, orange bitters because I think it probably works better with the Drambuie, and a Luxardo cherry (probably the most expensive part of the drink). Not bad at all.
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Post by M57 on Apr 15, 2024 18:44:43 GMT -6
What prompts are necessary to get it to where it's at? --> It doesn't need much. A few words ! Ask for "a trippy trance track with dogs barking, seagulls calls and a talkbox" for example and it will probably generate something potent. I don't know how the AI creates the audio output (& I think the developers don't quite know it themselves). It's probably been trained on waveforms ; program materials (human work). I guess the AI creates the waveform from thin air, based on the prompt. Sample by sample...? The audio output quality : It's good enough that it frightens me. The voices are ok. The harmonies, the structures, also kinda ok. Not game changing, but average. The tracks sound like a low bitrate file, but I'm pretty sure they're working on making it sound better. And as investors inject millions and millions of dollars into these techs, sure enough they will improve quickly, with no safeguard in place, no regulation, no ethical concerns etc. There's no way the OP's link was generated with just a few prompts. It's very specific genre-wise and highly stylized. I would be shocked if it was entirely created by AI, much less written by AI.
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Post by M57 on Apr 15, 2024 14:55:50 GMT -6
What about the recording is AI? Everything? The lyrics, the changes, the melodies, the voices, the instruments, the mix. Everything?? And what prompts are necessary to get it to where it's at?
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Post by M57 on Apr 2, 2024 18:53:09 GMT -6
If the caps turned and actually ground the salt and pepper, I'd buy.
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Post by M57 on Mar 27, 2024 5:17:51 GMT -6
I've used Pianoteq and I have to say it is pretty freaking amazing if you make it "worn out" like gravesnumber9 suggested. I generally prefer it somewhere between 8 and 12% WO. However, when it comes to solo recordings or those with exposed sections ..or getting an inspired and nuanced performance, there's nothing like the real thing. Not even close. That said, I think your decision should ultimately come down to what your needs are.. Assuming maintanence isn't an issue, there are still advantages to VI's. The ability to edit the performance (MIDI); the option of changing the instrument (either subtly or completely); and the ability to easily double the performance with another VI or synth part (like a pad or an electric piano). I have the luxury of having a baby grand in my studio, and though I almost always end up using it, I always consider those VI advantages when deciding which to play.
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Post by M57 on Mar 6, 2024 12:22:26 GMT -6
I don't know what folk is anymore. I'm admittedly not that familiar with or knowledgeable about it when it comes to folk's roots, other than a little bits of Guthrie and Dylan, and I'm sure there are many folks (pun intended) here who woud include many a country singer in the pantheon of folk musicians.
When I think of folk, I think of "my kind of folk," i.e, songwriters I listened to in my youth like K. Loggins, J Taylor, J. Mitchell C. Stevens, Eagles and CSN&Y. Yes, their music often veered in the direction of rock, but what made their music 'folk' to me was that the writing was generally acoustic guitar driven, and often the arrangements were very bare-bones ..though not necessarily, and most of the time the guitar was the instrument you 'heard.' Fleshing out the song was generally accomplished with harmonies, and as a result you could almost always sit around with your friends and a guitar, play mainly first position chords, and everyone would be able to easily grab a harmony part and sing along.
Interestingly, in the song-writing circles I spin in these days, we often post songs as 1+1's, i.e, just a vocal and solo instrument, and one of the more common discussion points involves deciding whether or not to flesh them out, or leave them as is.
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Post by M57 on Mar 5, 2024 12:02:47 GMT -6
Where it has the most value is in its portability and playability. If you're a bass player with an injury or dealing with arthritis, you'll find it plays super easy. Agree with jcoutu1 It's a one-trick pony in the studio. That said, it's a nice little trick. I recorded this track (it looks like 7 years ago according to SC) with just the U-bass, a standard soprano ukulele and a synth pad, so the bass is nice and exposed. Hah, Just gave it a listen and remembered that it was one of the few times I was able to get my wife to sing on a track (in the outro). I really like the soft yet defined acoustic sounding fleshy thump in the attack that the rubbery/nylony strings create, and at the bottom of its range when playing near the nut it actually growls a little. https%3A//soundcloud.com/m57/dont-give-up-the-moonSorry about the sibilance. I need to find it in the archives and re-mix it. My ears are ringing.
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Post by M57 on Mar 4, 2024 11:00:48 GMT -6
Biggest thing I've learned when working with bands is that when something isn't sounding good, they try to make it more complex. More parts, more background instruments, counter melodies or beats, more layers of vocals, more effects on guitars, more reverb.. ..and don't forget cowbell!
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Post by M57 on Mar 2, 2024 13:51:00 GMT -6
I use logic's channel eq a lot. Partly because (like theshea ) I find it does a pretty good job of surgically taming resonances, but also because the thumbnail of its curve sitting at the top of the channel strip is a very useful visual when I'm working on figuring out what's stepping on what, and where to carve more broadly if necessary Slightly off-topic, but I was thinking it could be interesting to do a comparison, mixing the same project on different DAWs using only stock plug-ins. Other than DAW bragging rights, I'm not sure what the value of such an endeavor might be because these days everyone uses mostly third party plugs.
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Post by M57 on Mar 2, 2024 11:32:55 GMT -6
First, there are no rules. Approaches or 'rules' that work for some may be completely ineffective for others, and the type of thought processes and arranging skills that 'work' are a varied as the kinds of music that are out there. That said, we all stand on the shoulders of giants. So I might start by asking things like, "Who are your giants? Cotrane, Cobain, Propain..?" How does the music function? Movies, EDM, elevator?
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Post by M57 on Feb 26, 2024 11:26:32 GMT -6
I've always been jonesing to get the Komplete 14 software from Native, so this morning I pulled the trigger and purchased it along with the S61 MK3 at a package price. We'll see if the encoders and faders on the 61 make me happy enough. I suspect they will.
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Post by M57 on Feb 23, 2024 19:53:45 GMT -6
I haven't found anything to beat the S-Kontrol Keyboards for navigation. They're amazing, and while the Mixface can be programmed to do a lot, it doesn't automap plugins like the NI keyboards. You can fairly easily program the Mixface to send whichever MIDI messages you want it to, but I've always had trouble getting my assignments to stick in Logic. Probably user error. I LOVE how on the S-Kontrol keyboards, the knobs are just automatically lined up in order - super super easy to know what does what. Another feature I like so much with the NI keyboards is the simple ability to press a hardware button to go to the next sound. I was just checking out a video demo of the S61 MK3 -- Pretty amazing. Very tempting. It also has a touch strip that's close enough to the modulation wheel that you can manipulate both at the same time. The video even shows a demonstration of someone doing just that. I dont know if I could ever do it myself because the strip is layed out perpendicular to the wheel. It would be like patting your head and rubbing your tummy, uhhm ..while playing music LOL.
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Post by M57 on Feb 23, 2024 18:20:34 GMT -6
but I can work with the rotary control. So when you input a part in real time, and assuming you can't twirl two rotary encoders at the same time, what do you assign the encoder to? ..Expression or Vibrato? Do you then draw in the curve for the other parameter? I almost always have both parameters happening when I work with orchestral instruments. To be fair, the curves can be quite different at times, but they tend to be parallel most of the time. In my apparently unreasonable but perfect world, I envision drawing both with faders when recording and then editing as necessary.
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Post by M57 on Feb 23, 2024 15:56:09 GMT -6
You're both right, there's just no great solution. I keep thinking that at the very least I'll want to be able to draw Expression and Vibrato curves while playing, and you can't do that with encoders. And I conpletely forgot about keyswitching! Thanks for making this even more complicated DrBill. 61 keys and a Nano just became a consideration, but I'm really skeptical about rotary encoders and if I go that route there's no room for the Mixface ..or is there? I don't think I would be using both the Mixface and the Nano at the same time, and either can be moved to the side easily enough to make room for the other. ..thoughts on that?
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Post by M57 on Feb 21, 2024 12:58:11 GMT -6
Other than how well the faders function (smoothness, accuracy, wear, etc.), yeah, just general impressions would be great. Thanks!
I don't have a lot of experience with the whole CC thing. For the most part, I've been drawing in curves. One thing that is confusing me right now is the difference between Volume and Expression. Apparently they are both just "volume" controls, but Volume is like the master fader and limits the range that Expression works in. More confusing is that I've noticed on some of the Logic instruments (like horn sections), that there appears to be two volume parameters (they show up as different colors in the menu). Maybe this is something I should bring up in a different thread, or different forum.
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Post by M57 on Feb 21, 2024 6:28:36 GMT -6
Though most of their modules seem to be designed more for photo and video production, Monogram does offer an Audio Console configuration ($499US) ..which is too expensive. At that price, the FVDE makes way more sense. However, you can purchase their " Slider Module" a la carte at ($159). Problem is, you have to also purchase the Core module ($159), which all told will still set you back around $400 after taxes and shipping. Geesh! $400-500 for a 3 or 4 faders?! I'm not having a lot of fun researching this. The Mixface (what a horrible name), does look to do everything I'm looking for at a reasonable price, though it does look a bit on the chintzy side build-wise. Looking forward to @theothermarkwilliams thoughts on that.
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Post by M57 on Feb 19, 2024 10:06:42 GMT -6
The Mixface seems to be a pretty nice solution and it has a few things going for it that might be fortuitous. It has a small footprint, and I really like that it has transport functions. I use the Behringer X-Touch transport functions when mixing and tracking, but I can easily imagine I’d prefer to use the Mixface when editing MIDI. However, I still have a couple of concerns.
Apparently The Mixface has two modes, ‘DAW’ and ‘Zone.’ In DAW mode the unit maps sliders to tracks, and buttons to transport functions. In Zone mode you assign MIDI CC to sliders. One of the user/reviewers of the Mixface (Sweetwater) complained that you can’t record/edit MIDI CC with the sliders in DAW mode without assigning the CC channels to each fader every time you use it. Is this possibly just user error? As long as the transport buttons still work, it seems to me that the way to go is just to use Zone mode.
My other concern is the faders themselves. Some complained they were a little tight/sticky and expressed the hope that they might loosen with time. I suppose I can live with a shorter throw but I know they are not 100mm and I can’t find that spec on the site.
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Post by M57 on Feb 17, 2024 16:34:25 GMT -6
Whew. Hope that's helpful, man. The struggle is real. Man, is it ever! I was hoping the Sparrow would fit the bill. Most of the on-line reviews seem positive, but you've got me worried now. I REALLY want faders, and I would like to avoid haveing to reach over the keys with my left hand, not to mention to less than 100mm faders to add insult to injury. I can find a few CC fader controller solutions in the under $100 range, for instance on Etsy, but we all know I'll likely get what I pay for. Speaking of YGWYPF, have you seen the FVDE? Now that's what I'm talking about, but with shipping to the US, it comes in at around $450 ..Yikes! This one at $179+ shipping is hand made and affordable, and it received a decent Sound on Sound review. Anyone else familiar with it?
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Post by M57 on Feb 17, 2024 11:23:33 GMT -6
I think there's something to be said for tracking through hardware in that you are monitoring the actual sound that will end up in the recording, and that can be inspirational as well as informative to your performance. You can of course do the same through a plug-in, but then there's lag, right? Regardless, just knowing it's printing that way creates a different mind-set that I'm speculating works for some, but not others.
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Post by M57 on Feb 17, 2024 5:53:48 GMT -6
I don't get it. What is it doing? ..shifting time? ..altering the waveform? ..in what ways?
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Post by M57 on Feb 16, 2024 13:05:29 GMT -6
My very old M-Audio Keystation 61-ES is acting strange these days; it’s time for a new controller. I remember doing some research on this a few years back and despite the large number of options out there, I just couldn’t find something that fit the bill, mainly because I wanted something that played nice with orchestral libraries, i.e. having some nice long-throw CC faders (not rotary encoders) for things like vibrato and expression. I wanted to be able to move two or three faders at once with my left hand whilst playing the keyboard with my right.
Well, cut to the present and STILL such animals do not seem to exist, but at least there looks to be a few a la carte MIDI fader controller solutions out there, like the Sparrow, which I like! So I have a number of questions.
I’m getting a bazillion ads and emails for the Kontakt keyboards, and though for instance I have Spitfire libraries, I doubt that having Kontakt keys will make any appreciable difference. It’s mostly hype, right? It’s never leaving the studio. Besides, I’m not looking for a performance controller.
A lot of the today’s controllers are loaded with encoders, pads, buttons and faders and screens which makes them both long AND wide (and more expensive). I can afford them, but do I really need one? Right now I’m thinking lean (inexpensive) and mean, with something like another M-Audio 61-ES, which is basically a minimalist thin box with a nice row of semi-weighted keys, with the Sparrow 3x100 or 4x100 on the side. I have a piano in the studio and prefer that to piano VI’s. To date I’ve been fine with M-Audio’s semi-weighted keys, especially for lead sounds and pads, but should I still consider weighted keys for orchestral work? FWIW, I’ve been unable to find a weighted keyboard out there that isn’t full of buttons, knobs, screens, and other stuff that will eat up the valuable real estate on my desk.
TL;DNR What are you orchestral composer types using for controllers these days?
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