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fernmeister

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  1. The most disheartening part of the article was when modular was used to describe a setup with multiple ipads, rather than an upgradable machine. Totally agree that what most seem to want is a cut down version of the cheese grater. That's certainly my dream. Smaller box due to no optical drives, SSD bays instead of 3.5 inch, smaller RAM, but basically the same concept. And yes, a Mac Mini with similar specs to the better iMacs, would also be nice. I might even be tempted to replace my 2008 Mac Pro with a box like that. Maybe.
  2. FWIW I mostly stopped uploading to Soundcloud, except for a few tracks I used as background on personal YouTube videos. My current site was built to share music clips by using SoundCloud integration but I've asked the developer to find another solution for the new site (coming in a couple of months). I've fallen out of love with SoundCloud.
  3. It's fascinating to see this machine just to try and understand who Apple is targeting now with their "Pro" hardware. For LPX, my old 2008 Mac Pro is still running well, with no hiccups. I'm slightly nervous now it's outside the support of the latest OS, but only slightly, since the machine is an audio only workstation.
  4. The world I learnt in was different, slowing down vinyl, wearing out tapes, hunting down rare and often expensive transcriptions. The big, obvious change is online video, there's so much great teaching out there, much of it free. Even paid video lessons, like TrueFire, are great value compared to the cost of instructional books and videos in the old days. But, the a bigger change is being able to easily slow down stuff and keep it in pitch. My playing really took off when I started to learn guitar parts and solos note for note. Learning note for note parts forces the guitarist to be disciplined and accountable to something outside themselves, rather than just vaguely strumming along, playing something that sort of sounds right but isn't very musical. And, it teaches the guitarist real musical parts that work in songs, rather than just vaguely strumming along, playing something that sort of sounds right but isn't very musical. ^_^ As for lessons - even a handful of sessions with a good teacher will improve your physical relationship to the instrument. I hear what you say about available time, but there's also an efficiency of time issue as well, since a few lessons might help you get hand positions right that could otherwise take hundreds of hours of trial and error. Apart from all that just have fun and play stuff you like.
  5. Had a very quick look at the new LG UltraWide 34inch 21:9 monitor today. Looks impressive. Certainly like the idea of working with a much wider timeline. Anyone tried one out or got any opinions.
  6. I've gotten a lot of good results with the SonicCouture libraries - GuZheng (Chinese), Samulnori (Korean), Gamelan (Thai) and Tingklik (Balenese). Their libraries are available in both EXS and Kontakt formats. I run them in Kontakt, just a personal preference. The GuZheng in particular is one of my favourite sample libraries. I'm always finding excuses to use it.
  7. Often I write in Bb or Eb. I guess it's the years of playing with horn players, but that's where my fingers land. Although, in reality, things pop up in all sorts of keys for all sorts of reasons. If you are writing for acoustic instruments, you need to consider how notes sound in different ranges. A trumpet, for example, sounds every different in the lower register than the upper register and you want the trumpet parts to have lots of high energy, you might pick a key that keeps the range of notes up high. It's much the same thing as putting the notes in the right part of a singer's range. Not just within the range they can sing, but also, more importantly, the right range for the vocal sound that suits the song. And, sometimes, picking a key can be a really useful way to get out of a rut. I'm currently working on something I wrote in Bm, which is not a key I normally gravitate to. But, trying to come up with a riff in that key was a challenge that pushed me in a different direction. It helped me come up with some fresh ideas.
  8. Yes. I'm not sure about the install process, but moving them after install is no problem. Here's two links. http://www.native-instruments.com/en/support/knowledge-base/show/500/ http://www.native-instruments.com/en/support/knowledge-base/show/786/ I recently did this myself.
  9. Thanks, I get where you are coming from, this is a great thread.
  10. Yes, one logic project per movement/cue then a "master" project for the whole score is the way to go. One idea you could try, instead of using a stereo bounce for each cue/movement, is to bounce to stems (strings, brass, etc). This doesn't use a whole lot more resources in the final "master" project, but gives you loads more mixing flexibility. For instance, as you go from one cue/movement to another, you might bring the percussion one in a little earlier while letting the strings or winds float. It gets you away from the whole thing feeling chopped up too much. And, you can apply your reverb across the whole score, which adds loads more realism to everything. I hope this helps.
  11. Cool. BTW, I'm a photographer as well. Having exhibited as well & with a few of my prints around the place, I dig the metaphor. I guess my question would be this - what about the photos which don't get framed but do get widely seen? There's a lot of photos I love, but I've never seen them in a gallery. And, a lot of photography is never even intended to be hung, or seen that way.
  12. If we are going with the photoshoot metaphor, the mastering engineer is not really doing the job of the stylist. That's more likely to be the job of a producer, or engineer working in collaboration with the artist, or even a dedicated arranger. In this metaphor, the mastering engineer is more like the person who processes the film (or photoshops the images).
  13. Yes, the Dangerous BAX was the other EQ I looked at. Makes perfect sense not to to have both. Though I do love what the Clariphonic does to anything with lots of guitars on it. Good to know how you are using the gear. Thanks!
  14. Nice! I love seeing a design idea realised well! Quick gear question - how is the Clariphonic working for you. I see you had it modded. Was that to get it perform up to mastering standard? I have one and I like it, but I've been meaning to run it through a scope.
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