22. maí 2011
20. maí 2011
18. maí 2011
Jaco played briefly on the 1976 horror film Bloodstalkers. Credits say “Music composed and conducted by Stan Webb” and lists Peter Graves as “Musical Coordinator”. Peter enlisted Jaco to play on a couple of brief interludes, accompanied by Bobby Economou on drums, Alex Darqui on piano, and Don Alias on percussion. http://www.youtube.com/view_play_list?p=552F5B1AB6A4627A Have fun sorting through this B movie! :))
28. apr. 2011
With the cameras in hot pursuit, Derren faces his toughest project yet, going in search of an unsuspecting member of the British public prepared to adopt the guise of a pastor and miracle worker.
His chosen one then has six months to learn the trade and flourish across the pond as a convincing pastor.
The final phase of the volunteer's extraordinary challenge sees them attempt to perform faith healing miracles live in Texas, but will Derren's new recruit be accepted as a faith healer or cast away as fake healer? (from http://derrenbrown.co.uk/blog/2011/04/derren-brown-miracles-sale-tonight-9pm/)
10. apr. 2011
9. apr. 2011
25. mar. 2011
Loudness War Vs. Sales: The-Truth
On November 4, 2010, Earl Vickers presented his research paper at the 129th AES Convention in San Francisco with clear evidence that there is no connection between loudness and sales. (See the video below.)
Earl is the first to admit that further research is need on the subject, but his conclusions are striking. Here are a few:
- Loudness is not correlated with sales figures
- Loudness has almost no affect on listeners preferences when comparing different songs
- Listeners tend to dislike the side-effects of hyper-compression, and prefer more dynamic music
- Content trumps loudness, especially on the radio
Here's a short little bass theme I wrote for (or inspired by) the event.
I highly recommend that you check out http://dynamicrangeday.co.uk/ to read more about the subject.
If you care about music then you care about the dynamic range. Right? ;)
Spread the word:
Dynamic music sounds better !
NO MORE Loudness War
Join us on March 25th for the Competition and Award announcements
Follow the discussion on Twitter:
This is a short little improvised theme I wrote for (or was inspired by) Ian Shepherd and his Dynamic Range Day 2011 project and challenge (@DynamicRangeDay and #DRD11 on Twitter)
The bass line is played on my fretted Lakland 5 string as are the harmonized lead lines. The harmonics where played on my fretless Zon Sonus 4 str. bass.
No loops were used. Few punch-ins and clean ups.
All bass parts were recorded directly to Pro Tools 9 through a Demeter VTDB-2b Tube Direct (boost ON). Fresh set of Lo-Riders strings from DR on the Lakland bass. The Zon bass also has DR strings, probably Hi-Beams, not as fresh though :)
Plugins used on all tracks when mixing:
Reel Tape Saturation (from Avid)
Digi EQ (mostly cuts, HPF, LPF, minor HF boost on the harmonics)
VintageWarmer & oldTimer from PSP
The Glue (buss compressor) from Cytomic.
Plugins used for mastering:
MEqualizerLinearPhase, MStereoProcessor, MMultiBandDynamics, MDynamicsLimiter from: Melda Producions http://www.meldaproduction.com/mmasteringbundle/
... oh and the dynamic range:
Peak value: -2.38 dB -2.10 dB
Avg RMS: -14.19 dB -14.01 dB
DR channel: 9.73 dB 9.63 dB
Official DR value: DR10
Enjoy and share!
Also available on last.fm: http://www.last.fm/music/Sigurdór+Guðmundsson/_/Theme+for+Ian
1. mar. 2011
Twitter for Musicians
This page collates all our most important posts on Twitter for Musicians and gives you a handy reference for best practice in Twitter music marketing.
Our very comprehensive guide entitled ‘Top Twitter tips for Musicians‘ is where you should start as it covers everything you need to know about how Twitter should be a key part of your online music promotion in plenty of detail.
A musician who has never used Twitter should be able to read this series of posts and be amongst the best users of Twitter for music promotion and marketing.
Top Twitter Tips for Musicians is a six part series of posts.
25. feb. 2011
Amanda F**king Palmer, the undisputed champion artist of the emerging music business scene, has found her way to Indaba to source remixes of her new collaboration with The Young Punx...and she's willing to pay the winner $1,000!
"Map of Tasmania" - the devilishly clever, euphemistic single from her forthcoming album "Amanda Palmer Goes Down Under" (out January 21st) - has some amazing sounds to play with, so do what you do best. Strip it down or flesh it out, and create a track so compelling, it'll transport us all to Tasmania and back. I'm sure our judges, AFP and Hal Ritson (aka The Young Punx), will appreciate the journey.
For those in the Twitterverse, use the hash tag #AFPrmx to promote the mixes and check out other favorites!
This was a fun one to tackle.
I used all the stems at some point. Then I added electric bass, guitars and drums (Strike). Mixed and mastered.. of course ;)
... Hope you like and looking forward to reading your comments!
Joni Mitchell - vocals, Jaco Pastorius - bass, Herbie Hancock - piano, Tony Williams - drums, Don Alias - percussion. Very nice recording from Berkeley Jazz Festival, on May the 27th in 1979. Joni introduces the band after the initial applause.
21. feb. 2011
20. feb. 2011
18. feb. 2011
14. feb. 2011
Esperanza Spalding (bass and vocals)
Ricardo Vogt (guitar)
Sara Caswell (violin)
Lois Martin (viola)
Jody Redhage (cello)
Esperanza Spalding has phenomenal hair. If you meet her in her street clothes, you may not notice it; she keeps it tucked inconspicuously away, miraculously to be honest, under a knit cap. But right before she took the "stage" at NPR Music's Tiny Desk, she doffed her piece to unveil a massive, overflowing 'fro. More than one of us wondered from which secret hiding place it all emanated.
Spalding stows a lot of talent in small packages. She's not a very tall person — diminutive, really — but has made a career of playing the imposing double bass with jazz giants. She sings, too, with a high-pitched but husky flavor, making it easy to wonder how she generates the lung capacity for her acrobatic, high-wire feats. For reference, spend time with the middle tune here, the standard "Midnight Sun." She goes at it solo, just bass and voice, and generates plenty of horsepower.
But it's not sheer musical talent that makes her a winning (and bread-winning) performer — after all, there are plenty of chops to go around in jazz. Spalding has a certain poise, a way of engaging a crowd, of controlling a room. It's usually seen as a large-scale projection, a friendly demeanor greeting a festival or performing arts center crowd of thousands. In this most awkwardly cramped of stages, her deep conviction was a dominant force.
For her Tiny Desk Concert, she mostly called original tunes from Chamber Music Society, her new album pairing a jazz rhythm section with a three-piece string trio. The two tunes bookending her set alternated the gossamer with the rich and darkly hued: the album opener "Little Fly," her setting of a William Blake poem, and "Apple Blossom," featuring her regular guitarist, Ricardo Vogt.
Spalding conceived of Chamber Music Society as an intimate experience, a close musical exchange between a small group of friends. If it was intimacy she wanted, she got her wish: The constraints of Bob Boilen's workspace ensured that all the players were nice and cozy. We liked what she had in mind.
This story originally ran on Oct. 3, 2010.
It doesn't get more acoustic than this... now does it? :)
13. feb. 2011
8. feb. 2011
5. feb. 2011
29. jan. 2011
"What's Goin' On" Marvin Gaye - Multitrack
Today we'll take a look at the individual tracks of the multitrack of Marvin Gaye's seminal hit "What's Goin' On." The song was recorded at a low point in Marvin's career. Depressed over his partner Tammi Terrell's death, he was about to quit music and try his hand at pro football with a tryout with the Detroit Lions, when Obie Benson (of the Four Tops) presented him with the germ for the song.
This is the song that has one of the greatest recording session stories ever. Marvin was anxious to record the song, and after gathering the other Funk Brothers in the studio, found legendary bassist James Jamerson drunk in a bar. Jamerson was so hammered, in fact, that he couldn't sit up without falling down. He would up playing the song laying on his back on the floor of the studio. What's even more amazing is that the part he played was written, and he read it down like the legend he was. Here are some things to listen for.
1) Marvin's vocal is, of course, great, but listen to how shaky the background vocals in the intro are. Marvin's football friends from the Detroit Lions were among the singers and participated in the crowd noise that occurs later in the song.
2) The kick, drum kit and congas are on three separate tracks, which was normal in 16 track recording at the time. The configuration provides just enough flexibility for the mix however.
3) Listen to how the two guitar interact with each other. A Motown trademark, each play a complimentary part and have different sounds, but when put together they make a single bigger sound.
4) The vibes played by Jack Ashton outline the chord changes, which is another Motown trademark.
5) Eli Fontaine's soprano sax part wasn't written into the arrangement, and was a first take run-through that Marvin liked so much he kept in, and it became the signature line of the song.
6) Marvin's two vocal takes were left in the song after the engineer misunderstood what he was asking for. Marvin liked the effect so much that he used it on many of the subsequent songs that he recorded.
24. jan. 2011
23. jan. 2011
22. jan. 2011
20. jan. 2011
17. jan. 2011
15. jan. 2011
7. jan. 2011
6. jan. 2011
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