Monday, June 24, 2019

From the past?

I don't know if I ever published this. This is clearly from before my brother passed away.
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Fun facts:
The distance from the neck pocket to the bridge on a standard Fender instrument (of any conversion-neck scale) is 7 1/8"
Bridge posts are 2 7/8" on center.

Floyd Rose "fastloader" from Guitar Fetish.

The online tuning fork is a thing you just need sometimes.

Specs on humbucker heights.

Totally un-attributed:
Action on a guitar is usually measured at the 12th fret. It is recommended that the action on an electric guitar should be 1/16" (1.6mm) on the high E string and 3/32" (2.4mm) on the low E string when in standard tuning using standard gauge strings.

Via this Reddit post is DaBeatleMen1, a YouTube tutorial channel of Beatles songs.

Dorkus with new Warmoth neck.

Thursday, June 20, 2019

St. John's

https://www.soundtheory.com/home

So. I got the Gullfoss plugin. Lemme start with the problem that's been stressing me out in much my live audio life: the harshness at 2.6kHz.
This is a prototype of my new Zoom F8 portable rack. The idea is to hold and protect the F-Control faders and to hold batteries and the like.


  • Nobilified. Hand-painted versions of you as royalty.




The Zoom F8 can also speak directly to a computer as an audio interface. But that does mean the F-Control won't work with it. 
Russian Chamber Chorus of New York and the Nikolai Kachanov Singers, under the brilliant direction of Nikolai Kachanov, performed a concert at St. John the Divine's at 112th and Amsterdam.
We did three pieces -- the world premiere of Efrem Podgaits' Morning Birds, Nikolai Kachanov's Benevolence, A Choral Cycle, and Morton Feldman's Rothko Chapel.
Morning Birds has flute and cello. Benevolence was just choir. Rothko Chapel has viola, celesta, and pretty substantial percussion (with a couple tympani, concert bass drum, tenor drum, woodblock, gong, temple block, and vibraphone.)



Russian Chamber Chorus setup at St. John the Divine's. 
So, typically St. John's is just an acoustical nightmare. It has something between 6 to 8 seconds of reverb time. It's huge. Nigh almost 600 feet long. I'd only heard concerts in the chapel and in what is called the "cross."
The inside of St. John's, with my notes. I think the cross or "crossing" is wider than pictured here.
The reverb in that space is no joke. And there in the cross it's just crazytown. So I was a bit stressed about how this concert was going to sound.



But we weren't in the cross. We were way up in the choir. And the acoustics there are radically different. So different, in fact, that I thought I might have gone insane. But up in the choir the sound is tight, focused, and sounds almost exactly the same all through the choir section.
Plus, you still get that very long reverb -- but it's really attenuated. So you get all the tightness and focus of the choir, but then almost like a ducked reverb, you get this beautiful bloom after every musical cutoff.


I mean seriously, it's like somebody is raising the reverb prefade send at the end of each piece or section. It's beautiful. Honestly I don't understand how the long reverb back in the cross doesn't mess up the sound, it's like it suddenly appears for the last note. It's basically magic.


So I put up 7 mics. A stereo X/Y pair of Schoeps in the back, a middle-center AEA 84 (with a Cloudlifter), a center Blue active ribbon in the front center, a pair of Oktavas spaced left and right about at the edge of the chorus (which is hard to see in these pictures because the full chorus isn't shown and a number of rows of chairs got removed) and a single Rode NT1 in front of the percussion (which was amusing but not that useful.)
The thing is, the X/Y pair is really the whole of the sound. They sound both very close and detailed, and full of lush reverb.

Monday, June 3, 2019

Nut height

According to this StewMac video, these are some optimal heights for nut slots on a 6-string electric.


Obviously, your mileage may vary based on how heavy your strings are and how you like to play. But probably not a terribly significant amount.

Friday, May 31, 2019

Glormtwrimmple

Antelope Edge Solo. It's under $700. Microphone with microphone emulation software.

IKJB pitched delay. VST. Will be experimenting with. Update: it's nice.

Brusfri noise reduction.

Tonsturm Tremor is a big collection of big sound effects. 

A 500-series stereo SSL compressor kit.

ReelCrafter is for composer reels.

God is dead.

Music as a universal language.

Delay tricks with Max 7.

Pitch delay for Max.


Monday, April 22, 2019

Thursday, April 18, 2019

Bandersnatch



How to string a classical guitar.

FX Console for After Effects. Free. Video Copilot.

Wodehouse stories.

Soundskulptor makes some interesting stuff, especially that 2 space 500-series rack SSL quad-type compressor (but only stereo of course).

Thursday, April 4, 2019

Oh. Then. Therefore.

Foley Collection has a bunch of ten-euro collections of footsteps for Kontakt. My particular needs were for boots in sand. I bought corn starch. But boy, that's not as workable for me. I can't foley corn starch and make it sound like sand. The Foley Collection prefers to use pitch variation on the three or so "notes" of steps. At first I was concerned that might sound, well, sort of bad. But it turns out to be more than adequate.


Postable is still my preference.

Alexandria Mueller, schoolmate, is an attorney, wrote about the Music Modernization Act. This act is a pretty big deal. Yet verily I do not have my brain about it.
Sound Exchange is critical to, um, something. Remember that my brain is something similar to the size of an acorn.

Tokyo Dawn makes a number of good VST's. Proximity is a kind of cool, yet subtle, plugin. Also, it's free. I've been using it to try to seat certain effects and voices in desert exteriors. A weird thing about sounds outdoors is how reverberant/not they are. Outside is very dry, but it is not anechoic. And it's quite a trick to get stuff to sound right outside.


Saturday, March 30, 2019

Brank

Locomotive Audio makes stuff like variable-mu compressors.
This is a bass kit from thefretwire.com. It's no longer available. 

Naiant is cool.

Music and money and where it goes.

Adafruit omnidirectional mic element.

Rare Winds wind library.

Soothe is a plugin that is relevant to my interests. I tried to tell my audiologist that I was really annoyed by 2.6kHz. She, uh, wasn't interested. I noticed that some of the Greg Calbi presets in Ozone had some notches built into them, so maybe this issue with obnoxious resonances ain't just me.


Tuesday, March 5, 2019

The stuff of my tabs is now the stuff of this post

Speaker kits.

Low-budget indy UK werewolf picture Howl.

Bodyguard series.

Overlord is a Nazi zombie picture.

Mixcraft seems like a kind of cool DAW.

Sound effects for How to Train Your Dragon.

Auphonic will loudness-normalize your podcast or what-have-you for free (up to 2 hours a month).

University of Bristol.


Monday, February 18, 2019

Mod Bass (kit)

There's a bunch more images here.
Me, yabbering about the bass on the 'tube is here.
Me, playing it very badly, here.


Lutyens




This cracks me up:

Lutyens recounts visiting old friends at a local communist office in Newcastle, who expressed interest in her mining-disaster dramatic scene The Pit (Op. 14, 1947), and suggested they play it at local pit welfare halls. When Lutyens warned they might not appreciate the ‘modern music’, an ex-miner present asked: ‘don’t you think that after two hundred years of capitalist ownership we could stand twenty minutes ‘modern music’?’

That's from this blog. Also, apparently, neither Lutyens nor any other woman, was allowed to teach composition at the Royal Academy of Music. Because. You know. Reasons.

Humble Bumble is cool. And so is Subnautica: Below Zero.


From the past?

I don't know if I ever published this. This is clearly from before my brother passed away. -------------------------------------------...