Docbop

I really love the vocals on this arrangement

Legally sampling is a minefield, but most artists using samples are getting clearance for them and most not artist are approving the clearance. Where that can and does get ugly there are no laws about amount of payment for using a cleared sample the artist can ask for as much as they want. One famous Hip Hop tune used a handful of samples and one of the shortest samples they used was the bass pattern off Lou Reeds Walk in the Wild side. At first Reed refused to clear the sample then came back and said I will clear it for 100% of the royalty. The group was behind schedule and tune they thought was going to just be a filler track so they agreed. The tunes ended up their biggest hit and they have made zero from it. Now others if they don't get a clearance and they feel the sample is key to the record will rerecord the music. The engineers that do this are scary good with amazing ears. Kanye's engineer has had to do it a few times for Kayne tunes. He will rerecord a sample right down to slightly out of tune guitar strings and synths. If a rerecording no clearance is needed. Now what I've done and is to take a drum sample that grooves like crazy then most DAW's today have audio to MIDI convertors and converted and groovy drum track to MIDI and just use whatever drum sounds I want. So I wonder if that will be considered a rerecording? Yes, the legalities of ownership with modern tools is going to interest how judges rule on them.

Came across this last night and nice comparison of the Serato and MPC stem software. Differences but no clear winner.

SMAS 11116 I think was the catalog number for Dark Side of the Moon. It came out when I was working in a record store and we had to write down the catalog number of everything we sold for reordering. I sold so many Dark Side of the Moon albums that fifty years later I still remember it. A big part of what sold that album was how great a recording it was, it became the album to take with you to go check out audio gear, even people not in the rock or Pink Floyd had a copy of Dark Side to audition speakers with. For me when I went to checkout speakers I would take Dark Side of the Moon, Abbey Road, and some Earth Wind & Fire.

I knew him mainly from Robert Glasper but had seen YT's with him with others, hell of a musician. RIP and thank you for the music you left us.

I've heard similar story credited to Barney Kessel and others, but doesn't matter who they say said it, it is true it's always true it's the player not the gear.

Go down on the boulevard and check out the buskers. TikTok and Instagram have started allowing longer format video and some musicians are moving there. I like Patreon, but you have to pick the artist you want to follow and how much per month you will pay. Patreon recently started having Zero per month artist support that some artists are offering.

DITTO Why do people think they have to be a Xerox copy of records, do what you do for the style song. The only thing you need to get like the record are the hooks. That will also help you develop your piano sound. That was the great thing about coming up playing in the days of Top 40 bands and playing lot tunes by lots of artists, with whatever gear you had, you learned the audience mainly just wants the beat and the lyrics it was great training ground.

Beato doing it again this time on the recording side with Bob Clearmountain at Apogee Studios in Santa Monica.

The Ableton class I'm finishing I watched a interview with Laura Escude who worked with Circus de Soleil on there system like you are talking about. She said Circus de Soleil show is completely run from Ableton because they can change things instantly based on what is going on with the live performer. She all the music and live musicians fed clicks and guide tracks, all on time code to run the lights, sound, and other aspects of the show. So they are very much using the "Live" aspect of Ableton Live. I remember a few years ago talking to a bass player who worked on similar system to Circus de Soleil and he said their music stands were basically flat-panel monitors and the sheet music was been displayed, but the music director could make changes in real time and the music on the music stand monitors got the changes instantly. All this before AI anything. Tech is really changing music world.

So maybe better to be like the old days and have a live version of a song and a recorded version. Then see which one Beat maker sample. <grin>

dam dog has been playing my keyboard again!!!!

I remember working in the record store and selling a hell of a lot of Switched On Bach, it was the first classical record for a lot of the buyers.

Playback gets used for more than band parts, there are strings, horns, percussion, more BGV, sound design, foley, and so on to bring the record to a live setting which is what people today want. Today people want more than a few musicians on stage can provide. Today's audience if they aren't going to get the music video live they are more than happy with a good DJ and why DJ's are starting to get paid as much as a band would of. Video killed the radio star and now actual musicians playing too. I just watched last night a bar that had three acts for the night. The three acts were all one synth based person doing EDMish stuff. The first couple had a fair amount of gear including modular, but the headler had just a Roland 404 and a small synth fed into the 404. The world is going digital, going be awhile and humans playing will be the hot new thing.

There is nothing original with AI every decision it make is based on prior work of a human. With AI the larger the data banks of prior work and faster processors to scan through more data than other computer with AI programs gets the more human-like results. Same way chess computers work storing thousands of moves and sequences and it's own moves and sequences the better it will be at beating humans, all about speed and size of data bank of the computer. Humans work the same way building up data in their brain of their favorite or work topics then like a computer their subconscious scans that data to make instantaneous decisions. The only difference a human can it can through some chas and randomness into the process to be unique. Now being computers are all based on prior work everything it does is a copyright violation, so to me anything AI generated should never be copyrightable.

As great as the original with rhythm section of masters.

But his Intel Mini has a fan.

I was thinking how I'd do this with Ableton so I figure Reaper can do the same. In the DAW I create another Return track which in Ableton adds another send on every track. Then in the settings set that return tracks output to one Scarlet's outputs. That what you can send whatever track(s) you want to the new return track and that return track goes out one of the Scarlet output you could send to your mixer. That would give you a lot of control of what goes to the new return and it's level and completely bypass the Master outputs. The nice thing about DAWs is you can do all sorts of signal routing if you audio interface has extra outputs.

Running a Mac in clamshell mode they get hotter and faster being closed less air circulating over keyboard and that would normally be helping with cooling. The Macbook Air has no fan so they do throttle when they get hot. Just something to think about you might want to keep the Macbook Air open for cooling.

Same here mainly because I'm into Jazz, I'm referring to the masses who don't know or even care they just want to hold up their smartphone and make videos they will never watch.

I've never seen or used Reaper, but currently getting up to speed with Ableton Live. In Ableton's configuration for Audio section you can setup routing to all the your audio interfaces outputs so you could send your tracks to whatever output on your Focusrite you want. I would imagine Reaper probably has the same capabilities to map your outputs and then route your audio track to any of those outputs.

I remember back in the day when name artists had a live version of tunes they played and the recorded version. They gave songs more energy live to compensate for now having all the filler bits the records had. The band Bread was big on the radio then but reviews of their live shows tore them up the complaint of reviewers they were too perfect live, they sounded exactly like their records and live that doesn't cut it. Nowaday bands have playback engineers feeding all the filler bits into the FOH system and every one on a click because the lighting and other stage effects are all running on the sync click. Now people go to concerts to hear the record basically played thru the FOH system and musicians and singers are just meat puppets dancing on stage. No wonder ticket prices are ridiculous it cost a lot to all all that FOH system, playback gear, lighting, props, dancers and all city to city just so people can I say <fill in the blank> dance and lip sync most of there hits. The energy and soul are gone in concerts now as far as I'm concerned might as well wait for the concert DVD and save $$$ the experience is the same. Okay time I back away from the coffee pot.

I had two of his signature guitars over the years. My first archtop was a GB-20 his early full size archtop they only made for a few years. Then years later I found a deal on a GB-10 the only you see in the video, it was designed for live playing with thicker wood and small body to help reduce feedback that archtops are prone to. Those guitars can get quite an amazing range of sound from some some Funk rhythm to full Jazz tone.

Been a fan of Benson back to his Columbia records days and have read many interviews with George and with people he worked with. George like the great Jazz musician never plays anything the same way twice he also never tells a story the same way twice. So over the years heard a lot of variation on those stories and always cool to here retelling of the stories he does. I got to see him a few times when he was playing and not singing I love that era for him. I know he likes to sing, but he plays so dam good. Props to Beato for just to letting the cameras roll and let George tell his stories.