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GlennsPref

would "you" like a tute on audio eng?

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Hi, yes I can access those files.

 

Anyone tried megaupload?

http://www.megaupload.com/?c=faq

 

I'm just reading to see if it costs to DL from the site, or if it's free.

 

I've already registered.

 

BRB.

 

Seems to be free, (advertisment generation.)

 

OK, Because of my BW limits, I'll have to upload it(the Forest) off-peak. Tonite.

 

They have shitloads of space, upto 1gb files for free and you don't need a special (read proprietary) downloader.

 

There is just a delay for DL of 45 seconds for the free accounts.

 

Anyone have any objections to using this site, I'm a virgin when it comes to hosting. Except with googlegroups.

 

Maybe it's the same. Is my anxiety showing (checks tee shirt tags)

 

Cheers, Glenn

 

ps, Thinking of copy right, May I release the files with the creative commons licence, so it is free to share, but not sell. I wonder.

 

I used to know about copy right, b4 the internet was accessible to most of us.

 

any tips in that area. (I'm researching it now, so please only answer off the top of your head if you know about CC and Music.) Thanks, GW

Edited by GlennsPref

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That seems to work OK................simple too!

 

See if you can grab these files.

 

http://www.mediafire.com/?sharekey=6b57814...7b01fe6e4055ae3

Yeah, all good, donloading Pretty Mouth at 124kb/sec, I think that's faster than mega'

 

Hay Glenn, yeah was thinking about the copyright thing myself when looking at sites, unfortunately I know nothing about it, I picked that mediafire as it seemed dedicated to the use of semi/professionals and the like.

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cool, thanks.

 

I'll post back once I have verified the file is up and good to DL, for free.

 

oh, yeah! Who's Merlo? Sounds good.

Edited by GlennsPref

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Merlo is me (lo) and my mate Merv (Mer) who has a home studio.

 

I always go there to fix the computers and end up recording songs!

 

edit - and Harry, who was supposed to sing on all the songs has fucked off to Nimbin or somewhere up there!

 

edit 2 - I think I forgot to trim those songs so use Audacity or something if us yakking in the background etc is annoying!

 

I'll try to do that and relace them on the weekend.

Edited by LogicprObe

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Merlo with Harry Ducaucas - Too Cool For You.wav

cool, I really like it, the Vox are good pruduction, haven't caught all the lyrics yet, but the sound is well done.

 

I like the guitar sounds too, and the mixdown. Nice work.

 

I use hydrogen drums, with acoustic samples, makes a very real sounding kit, But that's just MHO.

 

Brilliant!

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Mate, Harry is a great vocalist............but the other songs are me singing as a guide.

 

We overcooked the bass on the track that Harry sings on, on purpose............in hope of blowing the subs in dance clubs!

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Hi, I got 2 songs up, 2 more to go.

 

The first one is called "Real Pretense", it's obout my feeling of the outbreak of the First Gulf War.

 

http://www.megaupload.com/?d=QIJP8CR4

 

Lyrics, http://www.megaupload.com/?d=86EDZFMN

 

my mate Peter Fitzgerald sang (with the flu) and wrote the music. It features my Fender after being fixed. (about 4 years after it was fixed)

 

"The Forest" was recorded while it still had 4x12"'s and completely silverface, with the tubes that were in it when I got it in 1993.

 

http://www.megaupload.com/?d=ULUZ1889

 

Lyrics and chords, http://www.megaupload.com/?d=ULUZ1889

 

The Forest is an adaption of a poem written by a ten year old girl after her grandmother died. Approximate Wilderness, By Tracey Rochelle Clark.

 

Tracey was a student of mine at the school of audio, Brisbane (1994).

 

cheers, Glenn

 

ps, I'm getting dl speeds of 240kb/s average from this site, but real slow on the up, 2min or more per Mb.

Edited by GlennsPref

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Found this little app, audio-eng tute, freeware, by ETAXI 2001

 

A Q&A tutorial

 

It's called studio buddy (.exe) it's safe, 32bit (I think)1.92Mb

 

It's license says it may be distributed, but only in full, no copying bits, you can read it.

 

Can't remember where I got it from, maybe an Audio mag (cd), like Mix or Connections.

 

here's a link...

 

http://www.megaupload.com/?d=2PXQQJNE

 

cheers.

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Hay, Glenn.

 

I like those first two tracks :) even though "The Forest" is a little down on quality I think I would like that girls voice.

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You guys sound really cool :D

 

A bit -Iggy Pop-ish.

 

*Thumbs up*

I use the Iggy style basically because I can't sing!

 

 

That megupload is a pain in the arse!

Keeps telling me I've exceeded my limit!

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Hay, Glenn.

 

I like those first two tracks :) even though "The Forest" is a little down on quality I think I would like that girls voice.

 

That's Jane, she's gorgeous, beautiful person.

 

My "at the time" bosses wife.

 

I had her friend doing it at first, but she kept on changing the words to suit her own story. And I mean stuborn.

 

Jane stepped in at the last moment and blew us all away with her vigor and skills. Both Eng and musically.

Edited by GlennsPref

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We're getting way off topic here, the examples are great, gives us things to talk about, but let's try and stick to the science.

 

No Offence intended.

 

I just don't want this to turn into an ego massage.

 

Questions, Please.

 

Like, Logic... what did you use for drums on those tunes?

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Those drums are from a Yamaha SW1000XG card.

I have always loved the sounds they can make.

Yamaha could have ruled the roost except for their stupid idea of trying to get everyone to buy and use their software separately.

I have two of these cards as they're becoming very rare now.

I know guys are still using them for film scores where they really made their mark.

 

I can sit there for hours pressing the rain and thunder keys.

Always tricks everyone else in the house.

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Here are a few pieces of music that I worked on myself with a band. They still gig around Sydney but I havent played with them since 2004; other musical pursuits took over. I played bass and did most of the recording and mixing.

 

We recorded the drums at Velvet Studios over two days. Drums are really hard to record; Logicprobe mentioned minimising spill but I think the hardest thing to is balance the mics to get the fattest sound. For example, not only is the kick mic picking up the kick, but all the other mics are picking it up too, and when you introduce them, they usually weaken the kick sound because of the delay to the more distant mics. On a multi tracked drum recording you can nudge the sound around by samples to hear the effect.... nudging the overheads forward a bit will make the kick sound a lot fatter, but then other sounds start to sound a bit too shimmery. So the trick is to use the mics in a way that either minimises interference, or capitalises on it. Spill is a totally natural part of the sound for me. Anyway, we did the drums at the studio because I didnt have a good room at the time and I didnt have enough mics for it.

 

Everything else was recorded at my house. I used a Digi001 with a digital Roland desk that fed into the 001 via adat. The 001 pres and converters were pretty poor so I was happy to have the Roland on hand. I used a few different pre amps; mainly a Focusrite silver series thing and an Avalon 737SP, as well as the pres on the mixer.

 

Guitar was a Gibson 335 into a Mesa Boogie amp, probably had a 57 up close. Bass is a Musicman Sterling into Trace amp and Eden box, and I used a combination of DI, a 57 up close on the cone for attack, and a distant condenser for fatness, then blended the three in different combinations for different tracks on the cd. I used different mics for sax for different tracks; Studio Projects C1, Neumann TLM103 and a 57. The Neumann was miserable in many cases, and the surprise winner was often the C1, a $300 Chinese mic. I have since used a Neumann KSM105 quite a lot and I like that. For percussion I used a stereo pair of 57s and an overhead. Keys and Rhodes were just straight into the Avalon.

 

I have always found that for me, the thing that makes recording easiest is firstly having a good musician with good gear. If a drummer is playing out of time on out of tune drums with old skins, there is no hope. Secondly, having good gear (mics, pres, interface and converters, monitors) makes work so much easier. I wrestled with shit gear for a long time because I wanted to do it on the cheap, but after I had a decent studio together things became so much easier. We were sponsored by Roland for a while too so that helped, but more on the gigging side of things than recording.

 

These tracks are unmastered and kind of rough, but were very close to the final mix. I moved overseas in 2004 before the project was totally finished, and I haven't heard the mastered versions. The band is called Grover. There are a few more tracks I mixed and played in on their site.

 

http://www.mediafire.com/?gmmymmnnokz

 

http://www.mediafire.com/?hyybyimnuzz

Edited by komuso

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Unfortunately no, mp3s only. Still got the Pro Tools projects on hand somewhere, but I dont use PT anymore, so I cant load up the mixes.

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Komuso, man!, that excites my brain.

 

I just turned off dig-jazz to have a listen and did a double take on the controls.

 

Without taking anything away from whatever I don't mention,

 

Nice work on the bass, I think I could hear a difference in it (between songs) power and width. Nice

 

It's a good way to capture a bass amp and tone.

 

The drums sound really nice and clean too, Made me think of "loops I'd like to have"!

 

I like the techniques used here, plenty of thought involved, and fine Musicians to boot. Nice! Very nice.

 

I used one of those Yammy digi desks one weekend, not too bad, I too was dissapointed with the input adc's. and used 2 old shure (mono) analogue 4ch mixer to get in.

 

Wasn't my music or gear,

 

I think I'm a bit of a noise nazi when it comes to bass and drums.

Edited by GlennsPref

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Thanks, glad you enjoyed it!

 

I am working on an interesting recording at the moment. I am recording solo shakuhachi, and this guy is a particularly odd shakuhachi player, so he is a niche within a niche. He makes his own flutes, and he makes a flute especially to suit the character of a piece, so he has quite a few shakuhachi. The room we are recording in is small and doesnt sound very good, so I am using a figure 8 mic to remove the sound of one axis of the room. When I have a moment I can put up 24 bit samples. Musically speaking, it might not be interesting for most, but there are some interesting technical points.

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A short exploration into keeping your rights...

 

This is by no means a complete overview.

 

Creative Commons,

 

Offering your work under a Creative Commons licence does not mean giving up your copyright. It means offering some of your rights to any taker, and only on certain conditions."

ref. http://www.creativecommons.org.au/licences

 

Types, in short...

 

Attribution, credit must always be given to the creator.

 

NonCommercial, noncommercial purposes only. Allows copy, distribute, display, and perform your non-derivative and derivative work.

No Derivative Works, only verbatim (adjective.In exactly the same words; word for word) copies.

 

Share Alike, (applies only to derivative works) allows distribution of derivative works only under a identical licence.

 

dict. note derivative, Copied or adapted from others, ie. A word formed from another by derivation, such as electricity from electric.

 

And combinations of these subsets. Except you can't have "Share Alike" and "No Derivative Works" together because of that conflict.

 

ref. http://www.creativecommons.org.au/licences

 

hypothetical examples here, http://wiki.creativecommons.org/License_Examples

 

Baseline rights.

in short, ommitting the already stated,

 

~allows you to retain copyright

~free expression rights are not affected by the license

~required to get your permission to do any of the things you choose to restrict

~to make digital public performances

~copy verbatim into another format

~applies world wide for the life of the work's copyright

 

ref. http://wiki.creativecommons.org/Baseline_Rights

 

Cheers Glenn

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Chick magnet?

 

Well, that's thinking big, anyway.

 

lol

 

One thing I meant to cover, but do not completely understand myself, in "A short exploration into keeping your rights"....

First-sale.

First sale = doctrine of first sale allows the purchaser to transfer a particular, legally acquired

copy of protected work without permission once it has been obtained. That means the distribution rights of

a copyright holder end on that particular copy once the copy is sold.

ref, Portugese translation pdf... http://www.creativecommons.org/internation...ish-changes.pdf

 

and from here...

 

A New Year’s Copyright Puzzler

Published on December 31, 2008 in open content. 10 Comments Tags: copyright, first sale, NC, puzzle.

 

A short version, a long version, and a surprise.

 

The short version: who has precedence, the CC NC clause or the First Sale doctrine?

 

The long version: First, a little background on the First Sale doctrine from Wikipedia (normal caveats apply):

 

The first-sale doctrine is a limitation on copyright that was recognized by the U.S. Supreme Court in 1908 and subsequently codified in the Copyright Act of 1976, 17 U.S.C. § 109. The doctrine allows the purchaser to transfer (i.e., sell or give away) a particular lawfully made copy of the copyrighted work without permission once it has been obtained. That means that copyright holder’s rights to control the change of ownership of a particular copy end once that copy is sold, as long as no additional copies are made. This doctrine is also referred to as the “first sale rule” or “exhaustion rule”… In 1909 the codification originally applied to copies that had been sold (hence the “first sale doctrine”), but in the 1976 Act it was made to apply to any “owner” of a lawfully made copy or phonorecord (recorded music) regardless of whether it was first sold. So, for example, if the copyright owner licenses someone to make a copy (such as by downloading), then that copy (meaning the tangible medium of expression onto which it was copied under license, be it a hard drive or removable storage medium) may lawfully be sold, lent, traded, or given away.

 

(For more detail, see this entry on copyright.gov.)

ref. http://opencontent.org/blog/archives/tag/first-sale

 

Which goes someway into explaining first-sale

 

;-)

 

The discussion continues here and sheds some light, if at least "an Educated Opinion".

 

still reading.....GW

 

This response seems to be consice....

Ismael

January 3, 2009 at 1:40 am

 

CC licenses are but a part of copyright.

 

The author (i.e. the copyright owner) can:

- self-publish and sell their own work

- sign an agreement with an editor so that the editor can sell that work

- or do whatever they please with their intellectual property rights

 

CC licenses are just a way to add some shades of colour to copyright, but this copyright still (and absolutely) applies. CC licenses just enable the segmentation of your copyrighted work users. E.g.:

- if you did not pay, you just can pass the work along (CC by-nc-sa)

- if you paid, you can do business as usual (the usual © )

ref. http://opencontent.org/blog/archives/724 Edited by GlennsPref

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