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Maybe okay for use in a pop arrangement when the piano is masked by other instruments, but probably not for solo piano. Then on the other hand this is trying to do something, which I guess the 747 was not intended for.

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Rather than attempt to paint with a broad brush, you would need to much more tightly define your application and circumstance in order to come closer to estimating the resultant behavior. And even then, do not expect the result to be simple.


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Buy a reverb tank and add some electronics? Should be able to make a decent one doing that.

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I've worked with Avex Group in Japan on a number of songs and in my direct experience absolutely nothing you said is correct. They pay a production fee and publishing split, if you get the cut.


So someone nobody knows can’t hear the difference between different synths. Apparently their mind can’t be changed.

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If this is about bringing back the legends of yesteryears then they should probably keep it as true to them as possible. I'm sure there'll be new modern synths with all the trimmings coming out of the Behringer factory as well in the future.

I can remember in high school for work experience I put down I wanted to try a recording studio. Some guy in my class ended up in the recording studio and I got lumped in an admin role. Did a bachelor degree in production. Couldn’t get a job so went to teaching instead. I do often wonder if things would have turned out different if I was a boy?


Might be interesting to check it out how these two work together. Wide omnis give a very beautiful sense of space. Especially in a good room, but not only Experiment with the width and height. I would start with 4m left - 4m right and 4m high to catch all the dynamics from the piano in the room.

Is it a wider stereo spread at the larger than the natural perspective distance or just the sound which will imitate the someone's perspective of listening from very close distance? Player perspective maby - bass left instead of right?

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No I've gone back and read your posts a few times make sure I'm replying in context, and I am quite sure I've not misread you but I have been responding against your intentions. You may just want to list electronic musicans you like who've had formal training, but there is a subtext to it that comes across quite strongly, perhaps you're not reading into it yourself, that I feel the need to counter. Go back and read again what you wrote in 2) that I referenced above.


How much did producer Kevin Kadish contribute to Meghan Trainor's songwriting? He's listed both as a producer and as as a coauthor on almost all of the tracks of her first album. Same for Adele and her producers. It is typical for producers these days to get songwriting credit, even if their contribution is of the George Martin kind. And yeah, we can blame the Internet for that - when even the best-selling albums of the year reach only a few hundred thousand copies in sales, there's just not enough money in the recording itself to spread around.

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I have always hesitated for multiple pairs on solo piano. What with double attacs, pair width and thus image, perspective.


This means that a producer NEVER has a client. He is the one responsible for the production process and is the one who pitches his recordings to record companies. Usually, if a producer is being paid for his work, he is then referred to as an executive producer. This means that someone has the WILL to create a product (music), however, he is not able to and needs someone who can -> an executive producer who then executes all or only some of the work. Now, this means that only the WILL alone to create something makes you the producer automatically.

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So I'd skip classical or art music composers, jazz greats like Coltrane and Monk, or non-electronic pop musicians who happen to have formal training. It's just plain foolish to deny the innovation in the Western tradition (in spite of its hegemony and undeniable latent racism and sexism). There is also plenty of musical innovation in non-Western traditions. But let's stick to electronic, mainly.


At high frequency, an open window will act as an infinite absorber. The sound will just fly out of the window! It's at low frequency where the wavelength size approaches the dimensions of the aperture that I'm not sure if the concept holds.

I'm basically in agreement with all that. As I said in my OP, much important innovative music comes from people who have developed outside institutions. Some of my idols fit that description, certainly including many within the "classical" realm. Stravinsky didn't like school and learned composition privately from Rimsky-Korsakov. Coltrane studied privately with several theory teachers.


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Don't look at the tech, look at the music made with it and what advances might have made it easier for more musicians to access new sounds. That's what synths really do well - they make it possible for someone with £1000 to have an orchestra or a passable patch of a £25,000 modular, or thousands of pounds worth of recorded, processed drums instead of some massive pile of kit with a different playing technique.


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You equate formal training with western academy, and claim you cannot deny it's innovation. I'd agree up until electronic music ( including 'studio' music appeared. I am not unfamiliar with academic electronic music, it's history, important recordings and people.

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So if one wants to wonder about the capabilities of modeling, that is a subject in itself. And one that you want to address in more basic form before jumping into the analysis of coupled spaces!

But from my perspective, copyright law actually does say yes in so far of the use of the melodies. IE if I hear the OP's production (access) and his melody is unique in it's expression (clearly identifiable and not in 200 other songs), and then I decide to use that same melody in my song, then I have to clear the publishing.


Was it dub, or was it Amy Winehouse? Or is it just everything and anything that can be labeled "vintage equipment"? It's a conundrum now, where I don't want to be a part of this ridiculousness by actually paying these insane prices, but what that ultimately means is no spring reverb unit for me. I just want to make weird sprongy Joe Meek/Radiophonic Workshop bubble-y weirdness, why does everyone have to be all greedy about stuff, huh! And if everyone has already bought so many of them up, why don't I hear more interesting spring-y sounds in music right now? People are paying exorbitant amounts just to conservatively add a "tasteful" amount to there mixes, just here and there? If I'm dropping that much on something that was basically considered trash just like five years ago, you better believe you're going to hear those springs all over the place in my music!

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With the event of larger capacity release formats like DVD-A and possibly some kind of BluRay format, we are discussing the possibility of releasing dual versions of all tracks. One 44/16 version with quite limited dynamic range and one uncompressed 96/24. This would satisfy more listeners and we would feel better about the end product.


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I think psychedelics and other context-switching tools also need to be discussed in the history of electronic music. Instead of editing my previous post, I would add that the necessary context to create or appreciate a novel work as innovative, is a scarce resource.


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Steinberg Cubase, simply tagged Cubase, is one of the leading music sequencer software in the world, with hundreds of thousands of users across the globe. The software is supported on both Windows PC and Macbook.


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Yeah, I hope they bring it up to the present, much like the Deep Mind team started with a Juno, but delivered a much more accomplished instrument. If it's just a direct clone, it'll have to be dirt cheap to entice me, and I even really like the Oberheim sound.


A music sequencer software is a key component of a recording setup that requires some technical knowledge

What exactly is the theoretical basis of funk or disco or even gospel, and of course jazz? It took theoreticians ages to understand Jazz, by which time of course it had moved on, and miles Davis could barely get any work.

If we would now sit togeter and listen to the assortiment of recordings, I almost bet that we could easily agree which ones are very good and wich ones are average or bad. I doubt that you would call "purist" recordings by Waterlily acoustics bad.


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I have been mixing music professionally for a shade over thirty years. I have used and probebly owned every formay available in analog. I have used digital DAWs since 1989 and I have also worked in almost every hybrid situation concievable.


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EQ - These two files give one example of the different characters of the passive graphical program equalizer and the so-called "sidechain" EQ, which is in fact an active two-band semiparametric EQ, which can always be switched into the output signal path with the "SC LISTEN" option. Compression and the graphical EQ can always be used in addition to this "sidechain" EQ. Even though some frequencies were increased, others reduced by some dB, the result stays very transparent and close to the original. This quality of the EQs of the 747 is remarkable and makes them very useable.

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I never clicked with the Evolver, but love the sound of the Tempest. I think I’d also love a Polyevolver. You’d think they would all be so similar, but in my experience, they’re not.

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Clearly a lot of thought and theory went into the music he produced, but it's not terribly evident that it was inspired by formal training. In fact it would seem like it took a good ten years or so of developing those ideas and taste on his own before he really began making the deep stuff.


If you can´t tell the difference, good for you! That means you can buy a cheap 2nd hand keyboard and it will sound just as good, or bad, as the Mööugue that everyone lusts for.

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Back at the warehouse where we practiced, if you played the Juno and then played the corresponding sound on the CS6x, you could clearly hear a difference. The difference wasn't always drastic and one synth wasn't necessarily better than the other (subjectively the Juno was better), but they were different and anyone would have been able to hear the difference and from that, likely preferred one synth instead of the other.


If one wants to model the physical spaces as well as supply precision acoustical impedance information regarding all of the incident surfaces, they can come close to determining the behavior of coupled spaces. And yes, it requires a fair knowledge of math and modeling technique. But how much time do one have to assemble the prerequisite information? And then compare that with the time necessary to run a comprehensive battery of tests on the same space.

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I would argue that gender associations and gender disparity has contributed positively toward my current situation in the long run. As a music teacher, I believe I probably earn more money now than if I was in music tech. I get great holidays, my life works perfectly around family, I have job security during COVID 19 and I don't have to deal with drug and alcohol issues sometimes associated with people in the industry.


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I thought I start a thread to look at this concept. There have been other threads, but these have been mainly aimed at people's actual rooms, rather than the concept.


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How about just getting credit for doing your job and not grubbing for credit from other people? EVERYBODY'S contribution works towards the TOTAL package. Of course there is always some "overlap" between each position.

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But again, I’m having trouble tonight thinking of good examples, except for those with formal training in several traditions. Certainly Miles Davis and Herbie Hancock were electronic innovators formally trained in both jazz and European chamber/orchestral music, and both of those aspects of their background come up when they talk about how their own musical identities developed.



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But if you can push and make the author give you songwriting credit before you two start, then sure. It depends on your bargaining position and how knowledgeable the author is.


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They promote exciting courses to make money, and you may end up with just a piece of paper and a promise unfulfilled. Swarms of individuals flock to do these courses for a dreamy opportunity to have a career doing something they love. I wager these sort of jobs are scarce, often pay little, are not of a permanent or reliable nature with excessive hours.


I mean if you are just trying to create a list of videos of artists who make electronic music that you deem innovative who also went to school for music, that's one thing, but you loaded it upfront with a lot of pontificating about innovation and formal training. I see now that this thread is a response thread to another which I wasn't following.

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I love that hall, studio 1 at the MCO in Hilversum. I recorded there frequently when I was still living in The Netherlands, about 15 years ago.


We had a young lady working with our sound crew on various occasions and she was ALWAYS treated with the upmost respect. I guess our crew was different and no one used foul language. The most "foul' word I heard was "darn" when someone stubbed their toe on a shipping case. This young lady usually did monitors or FOH engineering and was very good at both jobs. I think treating everyone the same goes a long long way in good tour management.


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The music sequencer software is designed to create, mix, edit, arrange, and master music or recording. With FL Studio, you don’t need an army of music-producing programs, as it offers everything you need in one package.


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Long story short: You're the executive producer, and you're the arranger of the song as well. Both of these jobs don't earn you any rights, so make sure the paycheck is right.

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Point being that different areas of the business have different norms, and it makes little to no sense to apply the norms of rock production to film scoring. Nor does it make sense to apply the norms of rock to electronic and/or produced pop. Rock producers didn't write every single instrumental part in the music, and typically didn't sign publishing deals.

It is one of the best music sequencers in the market, and as a versatile software, its functions go beyond sound sequencing. FL Studio is cross-compatible with both Windows and macOS computers.


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As Plush mentioned, these labels have been compressing their digital recordings for years. I spoke to the ex-chief engineer of many years at DG at last years AES and (in a nutshell) he said that they always compressed.

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All-in-one• 8 knobs auto-map to Ableton Live to control volume. Sends, and more• USB-powered and class compliant—no power adapter required• 5 Toolroom Records artist launch packs included• SONiVOX Twist spectral morphing synthesizer included• Hybrid 3 high-definition (additional info) synth by AIR Music Tech included The APC Legacy In 2009. Akai Professional collaborated with the creators of Ableton Live, a powerful music performance and production software environment, and introduced the original Ableton Performance Controller—APC40. The instrument raised the standards of controller design, revolutionized hardware and software integration, and proved to be an essential performance tool for Ableton Live users everywhere. Now, after incorporating five years of user feedback into their development, Akai Professional builds upon this original partnership by introducing three new APCs—APC40 mkII, APC Key 25, and APC mini. High-Performance Keyboard Designed for the performing musician or the conventional composer. APC Key 25 is the first Ableton Live controller from Akai Professional that is equipped with a high-performance keyboard. Uniting the power of a clip-launching panel with a keyboard interface, APC Key 25 couples real-time control of Ableton Live with traditional composition tools: create melodies, compose bass lines, and play chords with 25 synth-action mini keys. Plus, dedicated buttons for Octave Up, Octave Down, and Sustain expand the expressive capabilities of the keyboard, enabling you to tap into the full melodic range and perform with classic piano-style sustain.


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Dimensions: 16/88” x 13/13” x 2/62” WxDxH) 429mm x 334mm x 67mm(WxDxH) Weight: 5/8 lbs/ 2/64 kg Power supply: 12V 2/0A pin-positive. Not included Communication: USB-MIDI Inputs: USB. Two assignable footswitch inputs Designed in partnership with Ableton for Ableton Live Unique clip matrix with multicolor lighting displays current clip status No mapping required; every knob. Button, and fader is customizable Bidirectional communication between APC40 and Ableton Live Solid, professional feel with rugged, metal chassis and premium controls.

Yup, there's a lot of ways to get some spring on. Lots of old PA consoles had springs built in, heck, you get extra EQ and preamps thrown in for your $100. You can buy kits to build spring reverb units (like from Weber or Kendrick), mainly guitar oriented but add a better tank and you can have a lot of fun. The Peavey Valverb I'm pretty sure still sells in the $200-300 range, and I've seen DOD/Digitech and Boss/Roland rack units sell for less than $150. Had Premier tube unit that was PURE trash-noisy and all sproing, that sold for $130 or so IIRC. They're out there, just have to watch.


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A reminder to the Googlers who find these threads from looking up "9guitar eBay Flower Pot Guy", the stuff he sells for 10x its original value, the only thing he's basing this off of is mention on Gearslutz, not because it's actually worth $1000. What a scammy operation he's got going on.


Another option is to use an app to create your podcast. Apple iPhone and iPad owners get GarageBand for free, as do Mac owners.

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Whether you are an electronic music artist and Live is your canvas. A DJ using Live to mix or remix tracks, or a more traditional musician using Live on stage or in the studio, you will find the APC20 to the intuitive, powerful instrument that directly links your inspiration with Ableton Live. INSTANT PERFORMANCE Because Akai Professional and Ableton designed the APC20 specifically for Ableton Live. You don’t need to map its controls to talk to the software. Just connect your laptop to the APC20 via USB and you're ready to make magic. The APC20 is plug and play, so you don't need to install drivers. First-time setup is literally three steps: load the included Ableton Live software, plug in and power up your APC20, and select the APC20 as Ableton Live's controller. That's it. No mapping, no setup, no hassles. The APC20 comes pre-mapped for instant use with Ableton Live software.

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The best ITB mixing tools have come from AlexB Nebula. The analog coloration when used correctly is on par with the desks emulated. Still use hardware preamps on vocals and haven't found anything ITB that competes with real tubes and transformers.

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I would avoid using multiple pairs capturing the direct sound. There are already too many bad piano recordings out there. I was looking for a good recording of Philip Glass etudes last week.

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Quality and comfort: It's important that you get the best-sounding headphones you can afford, since you'll be using them to monitor your audio in real time and listen to the playback of your show. But you'll want to make sure they're comfortable, too. Research reviews online to find both quality and comfort.

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If it is a good hall, rent two silent fig8 mics and use those as hall mics at a reasonable (click here to read) distance (with the nulls towards the piano). Eg in the blauwe zaal, you would be amazed how much hall sound you can add, while maintaining the integrity of your only main pair of choice.

What about critical placment of acoustically weaker elements, such as doors and windows, at design stage? Could having a large window help with diminishing room modes? Possibly, although sound travels both ways equally, so making it weaker would let outside noise in. If the window is between the control room and live room, then you're going to get leakage into the live room/control room.


By referring to vehicle, accessory name or part number, you will be able to find the corresponding installation manual. Propellerhead Reason is a professional and one of the best music maker software allows producers, music makers, amateurs and professionals to create amazing music tracks, instrumentals, MIDI, using a huge package of instruments such as: synthesizer, guitar, drums, flute, piano, electric guitar, violin and so much more. Autodesk DWG TrueView 2020, the 100% Autodesk DWG viewer build on the same codebase as AutoCAD is. Reason 10 Crack With Torrent Free Download. Our research centers around computing systems research for energy-efficient high-performance computing. Page 1 of 2 - Gateway GT5670 very slow web-surfing - posted in Virus, Trojan, Spyware, and Malware Removal Help: Greetings, As per the topic title, I have a Gateway GT5670 (Windows 7 installed. Stress testing of ideas is a basic premise of open source development.


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You're picking an argument which I have no intention of arguing, and it's an argument I'm not making. And that's after you've said you don't want to argue, he he he. Should I apologise? I can't take back something I haven't actually said!


Do you think that formal training is more conducive to developing innovation than improv? Do you think that formal music training has transformed itself in some dramatic way since then? If so, shouldn't be possible to point out particular teachers who churned out innovative students?

I agree generally, but lately I've seen that the AKG BX-5's keep popping up on ebay at fair prices. Not dirt cheap but not ridiculous either.


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The other (not so bad) news thus is, that both the artist and myself have to find something we can stand for on the spot. During editing and mixing I can always adapt smal things, but the general image and aesthetics have to be set during recording sessions.


I wonder what the law currently says about the extent of a producer's contribution needed to make his contribution copyrightable. Probably fuzzy, as it usually is. But it's par for the course for producers to get songwriting credit these days, especially in pop music (to say nothing of hip hop).

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Creativity is complicated, and I don't think we can know for sure how the influences in an artist's life add up. For many musicians, formal training is useless. For others, it's almost a precondition of their work. I think they should be allowed to make up their own minds.

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Affordable, reliable polyphony - Juno, AX73, that sort of class. Still analogue, but digital as well, so no need for the same tuning and maintenance, and crucially, cheaper.

I didn't really get into Ableton. So before you fork over $600 for a push or the new apc's get an original controller that few posses. Even those with both units separately will marvel at this custom unit. It will include both power adapters and a powered USB hub so both units can be hooked together on one port. I will ship Any where in the US for free and to the eBay international hub. So if you country falls within the international shipping locations then this is the move for you. Please ask all questions before bidding and only bid if you intend to pay.


What made everyone buy up all the spring reverb units and drive up the price

It is a legally binding contract of purchase Payment must be received within 4 working days of purchase. However if this is not possible, please let us know to discuss solutions. If payment is not received within 7 days of purchase then a Non Paying Buyer Dispute will be filed. And 10 days later a final fee credit lodged You will be notified on the day that your goods have been despatched via e-mail Once you receive your items. Please inspect them for any damage during transit, and report the damage within 24hrs via e-mail. If all is ok please leave feedback, so we are aware that you have received your goods. Please note that if there are any problems.

Great Steinway technicians are not so much on earth. Even with guys working in big halls.


My favorite podcast, Fresh Air with Terry Gross, from National Public Radio's WHYY in Philadelphia, has featured many well-known guests, from Hillary Clinton to comedy legend Mel Brooks. But what draws me in is Gross's warm rapport with her guests. It reminds me, as a journalist, to listen closely to those I interview and ask intelligent, relevant questions.

Cast offers all the tools aspiring or professional podcasters need to record, edit, and publish a podcast. This comprehensive and easy-to-use service wins an Editors' Choice for podcasting software despite some sound issues in testing. And Zencastr is a superb platform for recording podcasts, but you'll have to look elsewhere when it comes to editing, hosting, and publishing your content.


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There's much less of that these days, these days its more working on track with friends and if you need guitar the guy who can play it comes up with that part, and everyone splits the publishing. Way less "pay a studio musician to come create musical ideas for you, who you eliminate from the pie through a work-for-hire" going on. Pretty cheap and unfair to begin with IMO, to ask a guy to create distinctive musical parts for an hourly rate. The old school model was pretty unfair, many those that had the legal loopholes on their side took advantage of those they worked with.

The only real help I can give you is to tell you to use your ears. You have amazing ears, your recordings are usually just as spot on as it's possible to be. Trust your ears. Your pianist will be amazed, which perhaps will give him/her the confidence to produce some suitably amazing music to match.


Power supply, manual, software are not included. Condition: Excellent working condition! Was tested and fully functional. Shows few light signs of gentle wear. As few light scuffs and almost not noticeable with a daylight scratches on the body. Cosmetic condition is very good.

Monologue: The commentary-style podcast is built around one personality, which gives the show one voice or a single point of view. Lore, which focuses on the frightening history behind common folklore and is told in almost a campfire-like style, is a wonderful example of a solo-style podcast.


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Take for example gender association with musical instruments. Boys learn the drums and girls learn the flute! Of course I realise this is a generalisation and it doesn't always work out this way, but these instrument gender associations are active and real.

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How do you usually record classical piano? Would suggest you stick to that unless you don’t like the way it sounds, and add some room mics.


Taking 3) first, in general the sound transmission across the window is going to be greater than across the rigid walls as Ethan noted (the rigid walls offer greater impedance). Therefore will a signifcantly large window reduce the strength of an axial mode (and oblique and tangential) that is formed by that boundary?

I am to record the new solo CD of a world-class pianist who sent me a live recording in a small church of one of the pieces to be recorded on disc. Rather lush and long reverb tail.


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Not necessarily, according to copyright law. If this was the case, then a guitarist could also claim that his strumming or a noticeable "guitar lick" qualifies as a co-write.


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I would like to contribute the idea that it is ok for a woman to be working in the industry and not necessarily be brilliant at it, just learning the ropes and doing ok. I feel like there is an underlying sentiment or expectation that People should say how kick ass this ‘chick I once worked with’ was when we chime in on the topic. Women are after all just human and we all make mistakes including in our jobs and sometimes our work is only satisfactory or less due to tiredness, health, personal issues, inexperience, lack of guidance etc.

The above-highlighted features make FL Studio out as one of the best music sequencer software out there. And for that reason, it is the ultimate choice of many music producers and sound engineers across the globe. Propellerhead reason 4 crack.


Please see the large photo below for the exact items in this auction. This might be a decent package for someone who resells these items at a flea market or store. Please note the two individual photos are once of the front of the items. Then once of the back of the items. These have NOT BEEN TESTED, so I am selling them AS-IS/ WORKING CONDITION UNKNOWN. I've had them sitting around for several years. And never got around to trying them or using them. They were all originally purchased in second-hand lots.

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No real message beyond, I just appreciate your “get **** done” attitude with tools and minimal romanticism/gearwhoring getting the way. Also, your aesthetic, but that’s another matter.

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Use Music Segments, but Don't Infringe on Copyrights. Add good intro and outro music to your podcast, but make sure you aren't infringing on anyone's copyright.


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I am holding on to them because I got them for next to nothing and because they are occasionally useful. If somebody waved a half a grand in cash in front of my face.


The POK foot(key) controller from XTempo Designs is a fantastic pedal. I have used it to start and sop Ableton Live for a few years. Comes just as it came to me new.

Module is OK by me, would be nice if it responded to PolyAT via MIDI. OB-6 does that, and it is quite fun!


I wonder why a "world class pianist" would like a sound "larger than life". Is it something he/she can't give without extra treatment? Can you really define what is the repertoire and what is the goal?

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One other thing: I think it’s interesting to include in “formally trained,” those electronic innovators who were formally trained in non-European genres. I’m having trouble finding clean examples, though.

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To do this, I would pull up a sound on the Juno, and play a note. Then, while playing the note, for each parameter, I would move the slider up and/or down until it was in the correct position for the sound. Then I would figure what that position was numerically. For example, if it was at the bottom then that parameter would be zero.


The narrow interpretation of the meaning of 'theory' is problematic. Music theory that might be applied to electronic music includes Hindustani classical, Ewe and tresillo, Klangfarben melodie, and polytonality for starters. If one thinks 'theory' is scales and chords aka 18th century western tradition + jazz they are not playing this game with a full deck.

Perhaps we can agree that a hypothetical DJ One Finger may be lacking theory, but I have to echo (in advance this is an edit - what skunk hour says below me). There has been a lot of denial by one group or another that some other peoples theoretical developments are lesser or non existent because they did not come through some particular formal institution.


Anyway, what I think i might do is i have the three original boutiques and I just got my stand for them this week and I wanna hook them up and fiddle about. Maybe i'll set them up with a sameish sound and see how different they are.

I didnt go for a summing box though, rather a desktop console (the Amek BC2). These things used to cost over £10k (now <£2k), have excellent preamps & overall quality. It just sounds really nice, especially with real synths & real outboard. I like the EQs too (although not everyone does) & I also dial in both Sony GML Eq (about the only plug in we still use) and some outboard eq's for key parts/difficult fixes.


One aside (not aimed at you, to be clear): it's a longstanding racist trope for work created by people of color to be described as purely "visceral" or "primitive" and not intellectual or sophisticated. I think this is especially egregious when it comes to techno music, which can be a very abstract and conceptual kind of music, and which is built on ideas of futurism and utopianism. I don't think it's alright to repeat that kind of trope, regardless of intentions. If you want to dismiss melody and harmony, that's fine -there are ways to do that without resorting to racism.

I can't resist one more little aside, but just in Yellow Magic Orchestra. Compare Ryuichi Sakamoto and Haroumi Hosono's solo albums. With Sakamotos work, the influence of the formal training and modern composition is greater than outright innovation. Hosono on the other hand who has a pop/rock background is the one who made the music that was really nothing like anything else I'd heard before. They both also made music that was more typical pop of the time. I'm not necessarily equating innovation with quality!


Copyright law makes no express distinction over rather a melody is vocal or otherwise. Take a famous guitar lick in a song, like "smoke on the water", put it in your *new* song, and you will have to clear the publishing for it.

I am a composer and one thing I absolutely will not stand is compression*. It absolutely ruins the intent of the composition.


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Interview: Like the Fresh Air podcast, this is the most common format. It most often features one host who introduces and interviews guests. One example is Fast Forward with Dan Costa, which features one-on-one discussions with leaders in technology and business (hosted by PCMag's editor-in-chief). An offshoot of this type is a panel-discussion or roundtable format, with a host who leads the conversation.


To make a contribution, there is a group called Spring Heel Jack from the Uk who I really loved in the mid to late 90s. I am fairly sure they had a strong music school education, and in the narrow scope of the genres to which they contributed at the time, I feel their work was quite innovative, and I think that if you give it a listen now, you might experience some “vowel drift” in their sonic palette versus present day, but the quality is perceptible.

Above are some of the best music sequencer software available. And they have been selected and rated based on their respective user-friendliness, compatibility, features, and affordability among others.


What I was doing here is a service to the community in supporting other people to hopefully not loose as much time as I did. I ended up testing a lot of other devices only to find out that the 747 is not bad at all. Quite the opposite, if my opinion is allowed.

Besides the packs that Ablelton gives with the Suite(details here: I will be including licenses to the following Max4Live devices: Amazing Noises Spectrum Effects, Adam Rokhsar RokVid, Ensemble Dub Machines Digital, Dark Synth, You can get more details on these pack from. I have also included a screenshot of my account page(with certain details blacked out of course) My software is an update from Live 8. And you will receive all the licenses associated with my account. Post Auction Details After the auction is over I will need to initiate a license transfer for the software. In order for this transfer to go smoothly.


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There are diffractive effects at the boundary of a small opening [relative to a large wavelength and a large rigid boundary], but any energy that's aiming directly out of the opening will exit through the opening, regardless of frequency. There are other reflections within the opening if the wall has thickness, which will skew the numbers, especially depending on the incident angle and the thickness of the wall, but still it seems that the theory is sound.


I made a bass trap with hinges, so I can close or open at any time I wantheh. It does not competely enclose the opening due to the shape, however. So yes both closed and open measurements.

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In other cases, I approached a musician and explicitly stated that I wanted to co-write with him. At that point, the only thing to determine is the split percentage after we write the song.


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Please try different positions also. I'm sure that the dynamic range will lose a bit halfway down the hall, not just the max.


Much like water, a current will follow the path of least resistance. As a result, electric current always finds the easiest path to ground. Current is measured in amps or amperes.

If you’re starting from scratch, technique-wise, I’d suggest starting relatively simply with finding an AB pair placement for omnis that works with your and the artists’ taste. A good starting place might Be straight out from the middle of the instrument, 2-4’ spacing, 8 feet away from the instrument and 8’ in the air. Once you settle on a nice placement, if you still want more room, you could add another pair of omnis farther out for that. Or cards pointed away from the instrument. There’s so many ways room can be captured, it’s all down to taste what will work best.


Shift your clip focus and get an overview of the clips you have loaded for your set. The Akai APC40 controller has 16 knobs. Each surrounded by a ring of LEDs. These LED rings indicate the currently selected parameters' values, and make seeing your settings on dark stages a breeze. The APC40 controller's advanced visual feedback focuses your performing with focused more on the music and less on squinting at the computer screen. In fact, you might even forget that the computer is there. Premium controls Ableton selected Akai Professional as a partner because of its leadership position in great-feeling controllers that are rock solid.

Adobe's Make It talk-show Vlog: From Adobe Creative Cloud, which profiled Adam Carolla and his producer Chris Laxamana, and how they created the Adam Carolla Show. It's a great overview of what a producer does for a popular podcast, plus how Laxamana decided to start up a podcast of his own called Résumé.


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Ableton Live’s live performance suite makes it highly suitable for DJs. And this alone stands it out as one of the most widely used music software across the globe.

Altough the decay in the 50 and 120hz range improves, reflections causes nulls in the frequency response (100,165). Sometimes I let the door "semi opened".


The summing crap is just a myth. Countless A/B test have been done with the same results "On average you cant tell a differance". The fact is the human ear of the people buying the cds cant tell the differeance.

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And if its any consolation, if one has the luxury of a real space, one can easily measure it and quickly cut to the chase, forgetting all of the extremely complex variables that contribute to the behavior within the space, and simply deal with the real result. Suddenly the infinite possibilities are educed to a handful of real factors to be addressed. And when viewed relative to the potential complexities of the universe, life suddenly becomes much easier.

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You say you're producing the song. Which kind of producer are you referring to? Generally when someone says producer he refers to the one being responsible for the production.

They still sound different but digital has made some ground on it's main weakness, 3D imaging. ITB guys are now getting how important gain staging is to imaging as well as compensating for digital's tendency to pull elements to front and center. Stereo placement plugs and reverb / delay plugs have improved for aiding in element placement too. ITB guys have learned that getting some types of color / saturation before signal hits the converters is also very important. Lastly more ITB guys have embraced hardware inserts for at least using some choice analog hardware to assist with the mix (going more Hybrid).


The product of volts times amps. A kilovolt-ampere (kVA) is equal to one thousand volt-amperes. VA is also known as apparent power.

Crunch - Different levels before the input of the 747 and inside of the 747 were tried. When this crunch distortion happened, its basic character was always the same. It sounds very disharmonic, more like a transistor distortion than a tube distortion. There was no way to slowly go from light crunch to distortion. Not surprisingly, it does happen also with the Tube Signal Path switched off. In general this distortion seemed to be controlled by the output gain knob. Lowering the output gain was almost always a way to stop the distortion. With higher internal levels, the same type of distortion also occured before the output stage, mainly in the compressor section. It seems, the first thing to distort are some probably transistor based circuits. In the result there seems to be no way to achieve tube crunch with the 747.


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Really love the amount of pedal and control inputs. Wouldbe nice if the mod inputs were Eororack compatible, since there are the most modulators.

Reactive power is the difference between apparent power and real power. It is calculated by subtracting real power from apparent power.


People have fought tooth and nail to make these changes, I don't think it's the right choice to dismiss them. I'm not saying that that's what you're doing, but that's why I'm not crazy about the idea of only listing out those musicians who have had institutional training, easy though it may be to find examples.


A voltage of any amplitude or frequency that is measured between the phase conductor and the ground conductor or the neutral conductor and the ground conductor. Neutral to ground voltage is a common mode component that frequently causes computer system malfunction.

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The 747 does not offer the possibility to mix the dry and the processed signal. True parallel compression is not possible with the 747.


Old digital reverbs will undoubtedly come back into vogue at some point, but they will never command the same kind of prices because by that time, the Project Studio revolution had started to take off. There were a lot more studios and every studio had 3 or 4 or 5 cheapo digital verbs in their racks.

Is there really a big difference between synths

All music is what theoreticians study. Theory is just the study of how master musicians created their music.


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