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This seems very interesting, I haven’t a clue about the technicalities but I assume a Mac mini server, or similar, would be all the hardware you would need. I would definitely be interested
Eventually you’ll just end up with nothing except an expensive Tunesat subscription and an angry wife
Quote of the year so far
Talented composers will make great music no matter what instrument they use, wether midi or otherwise. Anyone who blankly dismisses an art form,or ways of creating it because of a personal bias, usually is very insecure about their own abilities IMHO.
While on the subject of compression and limiting
VT editors that I know hate over-compressed music.
I suppose those same VT editors would not use a Rhianna/Metallica/One Direction track because in their “opinion” it was over compressed. I dont think they would last very long voicing that opinion do you. AFAIK VT editors edit video and don’t make musical decisions.
Wether I like it or not a “compressed/limited” sound is a part of a lot of popular music genres. We as composers are here to service a market NOT to lead it. If that is a popular and integral part of certain music types then thats what we do. Period.
Now that is completely different from over compressing all types of music just because you can, each piece has to be views separately.
As an anecdote many years ago (mid 1980’s)when working in Windmill Lane Studios in Dublin, we were making copies and also listening to the new record from a young Irish quartet called U2. Terribly over compressed we muttered to ourselves, sounds terrible, out of tune, Steely Dan are much better etc usual muso/engineer BS. Well that record went on to sell over 20 million copies. 30 years later they are still the biggest band on the planet. Whats the point, people who buy records don’t listen for the minute things we do, they take it as a whole and make a judgement.Its about the music primarily, not the technique.
One mistake I made early on was to use the stereo spreading – I started running into phase issues (when the music played in mono, instruments would completely disappear).
We have all done that one at some point !!!
These are free and really good phase and analysis tools
You are doing the right thing, pita but you will thank yourself down the line.
Still looking for the “Magic” button mastering plug in. LOL!
http://www.thehouseofkush.com/clariphonicdsp.html
This the hardware version
Ozone is definitely not an “out-of-the box” plug. I don’t think you’ll get good results if you don’t have the opportunity to work with it for a while. There are a number of good tutorials on how to make the most of each component.
which is Ozones problem from the outset, it sells itself on a “pick a preset and voila”. Most of the time it will destroy your mix. Each mix is different and the notion of a preset is crazy.
However it constituent parts offer great value, and as a package its unbeatable. You do have to know what you are doing though, gain staging, compression, limiting,stereo widening, oversampling , dither etc can overwhelm the novice and pro alike.
I still prefer using different elements from different manufacturers as I think its the most flexible and upgradeable.
Nobody would claim that the individual parts of Ozone are the best in class, but together they offer a great affordable product.
I wish it were so simple, but most of the licensees won’t have my CAE number, since they just purchase the track from some site and only have my shortened name and the track title. I’m guessing when they file a cue sheet someone might look up the CAE in the global database… and then it’ll be the one I never use, which corresponds to my shortened name. And I don’t have the tracks registered with my shortened name… and PRS doesn’t pay out .
My understanding of IMRO is that the accounts are linked. The library should have at least your PRO.
so
Jon Shebowski – Hung Up
Jon Shebowski – Party Tonightare tied to the
Jonathan Shebowski – Hung Up
Jonathan Shebowski – Party Tonight
account as they are all linked together in the PRS database. Anything with those combos will go to you. They may have different CAE/IPI nos but they go into the same pot, as it were. Now, I am in a different PRO but IMRO in its functioning, is very similar the the PRS. BUT do check with them anyway.
I have the same issue and have no problems, Bono, The Edge, Elton John, Lady Gaga, Bob Dylan etc are not their birth names.I am with IMRO (Ireland) and your birth cert name is what you initially register with. After that you can have loads of pseudonyms with different CAE/IPI nos. They will all head back to the same source.
Denis…Rolfe Kent
A completely different world than uploading cues and praying for placements.
Ah thought as much !!!!
Not really licensed I think, I love the theme to Dexter, a great marriage of visual and music.
#3 @Davy….sorry studies have shown that when played side buy side listeners prefer the music that is perceived to be louder, even if the music itself is not as good as the softer choice. There are a number of processing options available, like the Oxford Inflator, that increase perceived loudness without over compressing dynamics.
Yep or use an Expander (opposite to compression, brings quiet bits up )
Compression and balancing in library music is a very valid discussion in its own right.
I think we all would agree that over compression/limiting is a bad thing especially when done by amateurs. BUT this whole area is very genre specific. Modern pop/rock/dance music is very squashed and if this is your genre then you need to compete with the competition. It is a part of the sound wether you or I like it.
Use your ears I suppose. A useful tip in this regard is to set a ceiling on your limiter to -.5 db. Completely maxed out masters will/may clip when dithered down to 16 bit and will sound truly awful when converted to mp3.
Also a piece with a huge dynamic range should be limited too, Unless your a hi-end film composer whose masters are stemmed and then mixed on a soundstage you have no choice. The majority of my clients want to put the music on their product and leave it without a lot of extra tweaking against other elements. I certainly dont mean crushing all dynamics out of it but be realistic about the market and your music’s uses.
Also a potential client will listen to a number of tracks before making a decision, yours needs to jump out at them, a track with a long, very low volume intro would struggle against the competition .
My 2 cents
Are you sure it’s USB 1 ? If so maybe an issue as its very old tech and slow, All current interfaces are USB 2. Also try Asioforall as a a driver. It fixes many issues for PC users. Manufacturers Asio drivers can be lacking sometimes.
http://www.vintagesynth.com/akai/s900.php
Looping has been around since tape could be spliced together. Loops as we know it probably entered the mainstream with the S900 in 1986, hardly a new phenomenon.
I use loops for loads of things and like Art I view it as an extra tool or player in the room.
I think the “Construction Kit ” stuff is a completely different ball game, they seem to be complete tracks first and sold as wav files for the individual elements. Very weird, and as MichaelL says be very careful with them as the EULA usually precludes any kind of library use. Maybe the market they aim at is to “remix” them and impress your friends, for non commercial use.
As an aside, most of the Bee Gees disco tracks circa “Staying Alive” was a Multitrack drum loop which was slowed up and down for each song. They did actually record it themselves with a real drummer who was credited. He got loads of gigs following this as the timing was so tight !!! He finally fessed up recently.He was of course a very good drummer to begin with they just wanted that metronomic feel, nothing wrong with that say I. How many million records did that sell?