analogika
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Posts posted by analogika
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5 hours ago, Anderton said:
I don't recall nearly as much pushback on synthesizers as there was on samplers.
https://faroutmagazine.co.uk/musicians-union-outlaw-synthesisers/
Favourite quote:
"As was so often the case, it was Barry Manilow’s fault."
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11 hours ago, RABid said:
All that energy to battle samplers, and they never thought about being replaced by full recordings.
Thing is that they were right. How many productions would include at least a small string section or horn section if the parts weren't also played by a single keyboard player?
This AI thing is a whole different scale, but the people railing against synthesisers had a valid point, and it's bin borne out. -
17 minutes ago, Philbo King said:
To keep perspective, remember that once Hitler was Times Man of the Year.
The award marks a person of particular importance. Not endorsing them or their views.-
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Oh, he was in Capricorn One as well? I loved that movie as a kid.
haven’t watched it in decades
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He was the guy from the Naked Gun, right?
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I was gonna suggest front pants pocket, but I see the thread has already turned shady…
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On 3/30/2024 at 8:56 PM, Anderton said:
I think the real problem is obvious: Consumers think music should be free. They expect to pay less per month than two coffees, or even nothing, and be able to listen to everything recorded by anyone, from any era. The analogy to radio isn't even close. Radio only had a very limited selection of music at any given moment.
Music has been devalued to the point of no return. To make matters worse, physical media is dead. You can't sell your recordings at gigs which was always a nice income. Nowadays, unless I'm missing something, the ONLY way you can make money from recordings is from streaming.
Just saw an interview snippet with Trent Reznor on music streaming, and he phrased it thusly:
"I think that people just want to turn the faucet on and have music come in. They're not really concerned about all the romantic shit I thought mattered."We always thought music mattered to most people the way it matters to us. Most people don't give a shit, and most people never did.
People didn't believe me 25 years ago, when I said that for the vast majority, "music" is something they switch on on a device on the windowsill when they walk in the office. It's interspersed with news and the odd interview. Occasionally, something familiar comes on; that's nice.
This is also why A.I.-generated music will take over a large portion of the market (yeah, other thread, I know): in reality, most people just never gave a shit. -
6 hours ago, Tom Williams said:
I'll see if I can get local quotes on pro movers, but some of the numbers quoted above are just plain beyond my means. That's why it quite literally took me 40 years to find a decent piano I could afford in the first place.
Argh. I hope you can manage to find a decent deal and scrounge up the money somehow.
Skimping it can be a lot more expensive down the line...
:sadly eyeing the dings and bang-ups on his own 42-year-old upright:
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Do not skimp on the moving. Do not attempt it yourself. Do not hire friends or regular movers to do it.
Get pro piano movers. They will save you money in damage avoided to the finish of the piano, in damage avoided to buildings/hallways/stairwells, in time required to figure out how to dismantle/fixate things to make them transportable and reassemble them safely, and in medical bills for everyone involved.
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The approach seems the same, dunnit?
"If you can’t get those notes, you’ll be replaced."
It’s merely the available options for "replacement" that have changed.
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3 minutes ago, MathOfInsects said:
That’s VERY close to tracks; it’s a clicktrack/in-ear away from them, a sort of fish-with-legs middle ground.
Why not just put him on stage and introduce him? Why hide the use of additional sound? .
Because — and I think that's the heart of the matter here — nobody cares. -
11 hours ago, MathOfInsects said:
Here are some apples.
a) everything the main band is doing on stage is real, and live.
b) the additional musician is visible in this officially released concert video.c) the additional musician is playing live, with the rest of the band. (Yes, that Emulator contains <1 second Oberheim "sequences" repeatedly retriggered for "Radio Gaga".)
This is kind of like Edith Piaf at Carnegie Hall. She's alone, at front, and the entire orchestra and choir are hidden behind a curtain, behind her. People are there to see her; the orchestra needs to be there to allow her to perform, but it’s not the attraction. Same with the band Queen, which is the four guys who did the record. Spike Edney needs to be there to let them perform some stuff, but he’s not the attraction.
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That’s really cool, Mr. Blupowitz. 🙂
The way you’re divvying up parts between your hands is fucking with my head a bit, because it seems the opposite from how I’d do it.
We should do a duet sometime. ☝️
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23 minutes ago, kpl1228 said:
That is NO defense for running tracks. Being a sham? Putting one over on people to still collect the check? As bad as backing keyboard tracks are live, any defense for a lead vocal being tracked is awful.
We all know an 80 year old singer does not sound 25. Come on.
Don't look at me. I’m just saying that you’re not gonna get an 80-year-old on stage to sound like a 25-year-old in the studio.
Now, here’s the situation: you retired decades ago, because you knew that would eventually happen, but people want to see you for stuff you did 45 years ago.
Hundreds of thousands are clamouring for live concerts, willing to pay lots and lots of money for something you cannot do — and that, with a few minutes’ thought, THEY should realise you cannot do. But they want to buy.
Do you pass, or do you sell them what they want to see?
I'm not necessarily excusing it, but I’m not sure how I’d answer that question, myself, were I in their position. There’s other legendary singers who were on the road LONG past their prime, to the point where it became painful and embarrassing to watch. As instrumentalists, our eventual decline is more easily disguised or transformed, but for vocalists, that must be tough.
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34 minutes ago, stoken6 said:
I can't support those who are recommending dropping a four-figure sum on a keyboard for a beginner. (EDIT: I see @Franz Schiller has made the same point).
If you have a Mac, buy MainStage and a second-hand 61-key controller. If not, look for something with pitch/mod controllers, virtual-analog(ue) and a mono/portamento mode - that will get you in the ballpark for some of those sounds you referenced in your videos. I'm not an expert in this sector, so I'll let others chime in with their recommendations.
Oh, and this. Tuition will make a much bigger difference than what equipment you play.
Cheers, Mike.
all of this. -
7 hours ago, jazzpiano88 said:
The youtube guy really didn't even really need to spend more than a minute on the analysis to prove that it's tracks -- Vocal performances are nearly impossible to replicate.
Youtube being YouTube, he needed to spend some time driving home the point. I haven’t looked at the comments, but I’ve seen discussions on videos where a singer kept singing pristinely despite having the microphone stuck in his mouth because he needed his hands, and fans were all over the people pointing out that this was somewhat unrealistic. -
10 hours ago, jerrythek said:
Derek hasn't been using the Korg Triton for a long time now. He keeps changing up, but I know he has a John Bowen Solaris amongst many others. He has sent me videos of his newest project, but told me that some of the gear in the video is staged, so it's hard to know for sure.
He still uses a Nord Lead (2?) for a lot of his signature shred solos. -
2 hours ago, Stokely said:
Oh no doubt. I get all these bands have to keep up with the others and earn a living. Audiences largely don't care, or even demand the "full sound" of canned music. Fine, have at it, I'll save my bucks for bands that don't do it.
I meant in 1977. -
36 minutes ago, Stokely said:
At least you can still watch the '77 Eagles live show, which is ridiculously good.
If you think overdubs, edits, and “fixes” weren’t par for the course on virtual any live recording of the day, particularly such a high-profile band known for perfection… unless explicitly mentioned as unedited.Thing is, today every live concert is a de facto live recording, because there’s always going to be two or three cellphone videos of virtually the entire show. As in this case. So many artists (especially high-profile artists) will tend to pre-record to avoid high-profile flubs.
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14 minutes ago, kpl1228 said:
I hope none of this is legit: this is a band that prides itself on pristine natural harmony and accurate renditions of their catalog, and performing well for themselves and their fans, and with the addition of Vince Gill, even more so. I did not expect this.
Find me an 80-year-old singer who can do what they did on studio recordings in their twenties and thirties.
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Yeah. Don Henley’s lead.
No idea whether it’s the whole show — I’m gonna assume it’s a couple specific tracks, and probably backings flown in in most songs.
Unsurprising, considering it’s not like these guys are seventy-year-olds anymore.
But still kind of disappointing.
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14 hours ago, MathOfInsects said:
To me, the first part of that sentence, answers the second question. But I understand what you're saying.
I can see how that could be misconstrued.
I've had countless musical experiences where it became clear that I just wasn't understanding what was important to the music. Different musical priorities, different musical traditions. Songs where lines seemed completely arbitrary and soundalike phrasing was the way to go turned out to be completely set, and vitally so. Or stuff where I figured it was the precise sound design, where literally nobody cared whether it was piano or guitar - or anything else. Some hip-hop that I'm told is absolutely top-notch has rhythmic or harmonic artefacts that cause my personal soup of musicality to curdle. But it's obviously doing something very right that I'm simply not getting.
So my initial assumption if something seems arbitrary, or seems completely unimportant, or randomly buried, is that there might be more to it than I'm seeing. -
5 minutes ago, CEB said:
I firmly in both:
- Play it like the record camp
- Make it your own camp
There is a difference between making it your own and laming out because you won’t learn the part. … But you what you have to do to do the gig. Been there. Done that.
Yeah… it's like, when the guitar player glosses over that (IMO) crucial little lick, and the drummer ignores the little stop just before the pre-chorus…again…meh, I could really, and the part is actually, but… it doesn't matter. So plain E major triad it is. I'm getting paid, either way.
I had to quit the gig after not too long. -
36 minutes ago, MathOfInsects said:
As one of the "don't overthinkers," I simply mean...if you can't hear it, then from a practical standpoint there is no part to cop. Listen for feel and rhythm and general approach, and don't worry too much about what an "exact" part would be, since there is nothing to be exact to.
Or, which is how I understand this thread: "I can't hear it; what am I missing? Am I missing something important?"
Experience, equipment, hearing, listening expectations may vary. Sometimes, it may be something that's completely vital to the track, but you're not really getting it from just listening on your AirPods. But take it away, and the entire track falls apart…
Best Program for Ripping CDs to FLAC on Windows and Mac?
in Craig Anderton's Sound, Studio, and Stage
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XLD is the preferred Swiss army knife for everything into everything. Been using it for twenty years.
https://tmkk.undo.jp/xld/index_e.html