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Hey Art, was your’s the banjo part on “Rainbow Connection”?
There’s a funny scene in The Muppets when it was on ABC last year. Kermit takes his banjo, sits outside and begins to play “Rainbow Connection”. A voice shouts out from the distance – “Hey frog, learn a new song!!” 🙂
This is the banjo I picked up at the pawn shop, pretty much brand new and about 1/2 the price.
Gold Tone CC-100It’s nice. I wanted the open back style as I’m interested in claw-hammer style.
Hi Chuck, I bought Accusonus Regroover, their $100 version was down to $50 and it was something I wanted to try.
To anybody looking at that software – I promptly returned it for a refund. During the offline registration process a message came up with an error message saying go read a PDF. PDF said I had to enable the Ethernet adapter in order to register. Mine is disabled in the BIOS, and I didn’t see the point. Why force a user to change the way their system is configured based on copy protection? Wasn’t worth the trouble.
I bought a banjo last year at a pawn shop for a great deal. My mandolin is Morgan Monroe, a brand I’m happy with.
Funny how we work the same Art. I use Reflect and my C drive is also in a removable bay. I only connect my studio computer to the internet when I’m forced to by software that requires a connection to install or update. The Ethernet port is disabled in the BIOS, I just plug in a wireless USB adapter when I need to.
I was thinking about setting up a second pull out C drive in the Spring, keeping the current one working. I thought I would put on the newest Windows, upgrade my Sonar and try out the ACID update that supposedly Magix is putting out. Maybe I’ll stick to the plan but try another DAW.
Any thoughts on Samplitude? I see it has the ARA Melodyne implementation you’re looking for…
I spent a morning downloading all my software from their servers, documenting the serial numbers and registration codes and archiving it here. I’m still on X3, supposedly the registration code allows you to keep using the software forever.
do I even want to bother taking on that massive task just so I have the ability to edit or rework old tracks?
I think it’s important to have this ability. Just the other day I called up something from six years ago to rework for a music request. All I had to do was assign a few outs as I am using new hardware since then. It was easy. If you do work for hire jobs it is even more important to be able to get to your past projects. I’ve had clients contact me a few years after a project asking for a stem, instrumental mix or something like that. You could say sorry, it’s not possible but that doesn’t inspire confidence.
I never moved off of X3, though I would have upgraded eventually. I’ve used CW products since before digital audio was a thing. Even worked for Cakewalk many years back. Can’t imagine using something else and how SLOW my workflow would be in comparison.
Maybe the CW line will get picked up by another company…?
I will throw out a rough estimate of $3,000 if it’s a national cable theme song, and $10,000 if it’s a national network theme song. Composer keeps writer’s share of broadcast royalties.
Thanks Michael, good read.
Check these out, a whole different take on keyboard controllers:
I don’t know exactly, but one tip is that stock synth presets can be big sounding; the maker of the synth wants them to sound full and rich. If you layer a bunch of these together they are going to sound washed out and be fighting for the same space. When layering stock presets consider converting each synths audio track to mono for one, then use careful eqing and panning of each of your layers. Carve out notches using subtractive eq so they are not fighting for the same space.
How do you go up against the biggies, like Getty Images? They take 35% of writers and 100% of publishers. If not for them I would have nothing.
Hello Mountain Girl, Getty gives 35% of licensing fees, the composer keeps all (100%) of the writers share. They also give 50% of publishing (called Administration Receipts in the contract) which can sometimes make up for the unfavorable licensing split.
So your “S” probably covered a years worth of missed survey cues?
Who’s to say…
What kinda bothers me is that when we get a statement perhaps paying us fairly, we think it’s a mistake. Let’s hope the trend continues.
The “S” placement on my recent statement was for a cue 2:25 long!!
Ah, looks like the survey was on your side this time. I won’t claim to understand it, but C stands for “census” or complete count surveys and “S” stands for sample or representative surveys. “S” for some reason is a high payout. Commercials are usually a “C”. I also got the coveted “S” on a placement this statement, a pleasant surprise.