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  • Recent Posts

    • Reaper - DAW - Recording Software
      By ronws · Posted
      It is a business. So, if you do make recordings for sale, you need to ask yourself how you will sell it. You can still sell CDs and they do sell, even if not as much a 20 years ago. And if so, you are far better off being your own record company. Because if you plan on major distribution, you will have to do so with a major retailer or conglomerate, like Time-Warner. And to do that, you have to be really good at your craft and all the skill sets that get you where you are. And a dose of reality. Success in one thing does not always equal success in another. That is why 95 percent of all the bands a record company had never survived the first album or, if lucky, after the first album. The over-the-top performance an A & R guy saw in a live show turns out to be dysfunctionality that worked for that show but destroyed any attempt to produce an album. Or a career. So, to recover costs on the losers and also from pure greed, most any record deal is designed against the artist, not for the artist. And most artists were and are too afraid to question the contract or write their own. Because business and contract negotiation is another set of skills. My favorite example is Ozzy Osbourne. He has a unique voice and excellent tastes in songs. An uncanny ability to find virtuoso guitar players out of nowhere. But he cannot take one penny and add it to another penny and come up with two pennies. He just can;t. But his wife, Sharon, can. And she is considered a "shark" in the business. And because of her, his music business thrives. Because she understands it is a business, like any other.
    • Reaper - DAW - Recording Software
      By ronws · Posted
      I was mentioning before how with Reaper, you can do pro recordings that sound as good as anything you hear out there by bigger companies. So, why? If it is just singing, you can get by with the zoom h1 portable or, like I had (and still have) Audacity, which is free and updated now and then, and karaoke tracks. But if you want others to hear it, you need more polish.  And so, I was talking about copyright. How important it is in the music business and, as it turns out, the recording business. I was watching a talk given by the guy who started 
      Chrysalis Records and now has Imago Recording Company. He makes several distinctions. The music business is musicians performing. The recording business is a different animal. And he cleared up a number of misconceptions I have had. Before record sales, musicians performed. They made money playing in venues. When the ability to record sounds was available, they would record albums, or a record company would record their performances. And fans could buy these and re-live the concerts and look forward to their next return, which might be a year or two. What is a pity and a shame is that a number of musicians did not care about the money and did not think there was any money to be made in records and mostly, to start, there was not. Because musicians were selling performance, not product. So, the record was more a promotional thing to ensure more audience attendance at the next show. This became even more of a factor when radio stations started playing recordings, rather than live concert broadcasts. And records made with better equipment and better judgement of sound values did better than those that did not. Hence, the rise of audio engineers as a career in recording, mixing, and mastering recordings. Though mastering is misunderstood. Mastering is the step to make the recordings suitable for duplication and replication, i.e., distribution. And so grows the beast. To make better recordings, rooms were specially built for acoustic properties, the quality of gear had to improve, and all the people that build and design these things need to eat, also. It all costs money. But to sell a record is like any other product. Someone has to meet people and convince them that getting this product is necessary and better than not having it. Same as selling a car, a house, or your awesome glass of lemonade. What are you paying for at a show or concert? Well, yes, primarily, to see the artist perform. They literally sing for their supper. You are also, with a ticket price, paying for the upkeep of the venue and the salaries of those who work there to operate the place. And because an artist can bring a number of patrons, the artist is more likely to make a per diem on tour. Album sales on vinyl rose slowly. Cassette tapes provided another rise in sales of recorded music. CDs, being smaller and able to carry easier than a phonograph and a sound quality so superior to tape that there was no comparison,blew it through the roof and by 2000, album sales had tripled from the average in the late 70's. Then, after the turn of the century, sales dive-bombed and now, they are back down to the level of sales in 1985. Why? The digital age. People just as interested in music as they ever were, if not more so. They are just not getting it from buying physical product like CDs. A large chunk are buying it online far cheaper or for free. On the other hand, with such easy access to hear the music, this drives their need to see the artist. And so, since the turn of the century, live shows have increased in popularity and revenue. And that is why strong touring bands, like KISS, can still do what they do. All the albums and merchandise? That was a brand to promote. In addition, at every turn, they adamantly retained control of what they do. With each technological change in medium of music, the industry and people have adapted. Phonographs, until recently, had all but ceased to exist as a format. Some have come back as vanity projects by artists who want to sniff the cork and present their music in their favored format. But even they still offer a digital download. Well, the cool thing about Reaper and other DAWs like it are that you don't have to build a studio or buy a bunch of separate effects and stuff, though you can, if you want to. You will be paying someone's kid's way to college. With scores of included plug-ins and a bunch more you could get for free or buy, you can have any studio "trick" that you want to have. Yes, there are cork sniffers that say you can only get the "right" compression with a Yamaha PX-90 but really, that device, like any other, colors the sound. Color is a fancy way of saying it rolls off the highs. Which you can do with EQ adjustments. If your bass DI into interface sounds like it went through the 90 and into a Mesa Boogie who cares if you didn't really have the 90 and a Mesa Boogie amp in a separate special room with a 25' cable and a SM-57? If you did that, fine. You just don't have to do that to achieve the same sound. Because you could have compressed, eq'd down some highs and use the Mesa Boogie Clean emulator that is in the Reaper download. And so, with this, you can ask yourself the question, if not already, what do you want to do with your music? For the music is first. All the musicians who now have a "brand" to sell, would lose it if they lost the music. I am not saying that you can't be multi-talented and do other things when your music sales wane. And they will wane. Things go in cycles. That is why you need to hold onto as much of your money as you can. If you don't, someone else will take the money you generate.
    • Reaper - DAW - Recording Software
      By ronws · Posted
      Speaking of combating OCD - On youtube, the channel sonic scoop has a 3 part interview with Justin Frankel. Who is Justin Frankel? Years ago, having been bored with college but having a great talent and love of writing computer code and being a music fan, he developed a software compatible with Windows for listening to music on your computer. He called it Winmap. Yeah, that media player. Eventually, he sold it to AOL and worked for them for a while. And so, he learned not only about how to work in a big company with a lot of people, he also learned that is not what he really wanted to do. But he liked music and the activity of creating it and then, of course, some way to record it. And he had Logic Pro and a few other of the early recording software systems that became called DAW (digital audio workstation.) And found things frustrating when he wanted to make changes. For, as I have mentioned, some of these were designed to operate like analog boards and also, were limited by the constraints and speeds of computers back then. Not being a guy with a career in analog recording studios, he did what he does best. Computer coding. What if you wanted to make changes, like routing, effects, scripting, labels, from anywhere in the software without having to go through a bunch of undo motions. So, he created Reaper. Yes, he is the guy who conceptualized and started Reaper, which was at first, totally free and you can still have the free download. He did not start Reaper as a business to grow huge. He started it to have a professional style DAW that was intuitive and easy to use. So easy that a computer geek could do it. The license, then, just pays for the nuts and bolts it takes to improve and refine. In fact, he loves it when someone comes up with a question or idea because that gives him an excuse to go back and fiddle with the code and issue a new update. Another reason for the speed of the workflow in Reaper is based on his needs, which happily translate into the needs of others, such as myself. In his own words, he will record. He might spend 30 minutes to an hour messing with it, and then he is done. Well, in order to do that, you need to be able to change things like fx, fx chain orders, routing on the fly, in playback. So, what started out as the need for speed becomes also a great advantage for anyone wanting to mix and adjust recordings for whatever balanced is desired. He also wanted the ability to be a multiplatform writing guy. Some softwares were really just video editors. Others were more MIDI based. Others were better at audio recording. He wanted it all and so he did it all, in code. He also wanted it universal to any machine and gear. A lot of people do not want to be limited and if they reach a limit, they no longer want the product. Some of the older DAWs, like earlier versions of Protools, you had to buy the hardware to go with it, so, your initial expenditure could be $3,000 USD. That left such things only in the reach of established recording studios with a commercial budget and line of credit and out of the hands of the home recording guy. And Frankel is a home recording guy, to start. And so, even though coding requires great concentration, the general outlook of Frankel is the opposite of OCD. And I think that achieves a nice balance.
    • How to Sing Queen Songs
      By Martin H · Posted
      @Rob   Basically you have 4 points of "impedance" a long your vocal tract. At the vocal fold level (adduction), the epilaryngeal level (twang), the vowel (tongue), and your mouth opening (embouchure). And when those parameters (impedance source and load) are aligned you have found your "sweet spot" or "center of the mode".
    • Imagine - John Lennon
      By charlie · Posted
      hello  I watched the video on "the foundation routine building routine"my question: with good embouchure , can we avoid falsetto ?  thank you
    • How to Sing Queen Songs
      By Felipe Carvalho · Posted
      Yes, in the model I described the reactance could be seen as the "jellyness" of the grip for your hands. The jelly will "react" and push back against your hands after the initial contact. If you are pushing constantly, this matters only on the begining of the movement. But if you are pushing it back and forth, like what happens with sound and our voices, the time it takes to react to your actions will matter a lot, and depending on how fast you move (frequency), it will effect the power transfer differently. At a given frequency, the jelly will react in exact sync with your movements, making the system resonate. On dynamic systems analysis this is usually called a "pole". The name is so because, usually, above and bellow this frequency, the behaviour of the system changes.
    • How to Sing Queen Songs
      By Martin H · Posted
      Then "vocal tract reactance" would be a term to look into. Which is based on acoustic "impedance" which Felipe is also mentioning. However, it is this specific correlation that defines the various modes according to CVT. Or more precisely the complex interactions of the various narrowings (impedances) a long the vocal tract and the end effect. 
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