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Messages - ffcal

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721
I'm not a big fan of third-party loops, especially if they are not processed to the point of becoming something else.  It's like cutting and pasting from different artists that you like.  Maybe good enough for one's own entertainment, but probably not worth unleashing on the world.  Seems about as lame as it sounds.  In a similar vein, I came across this 2006 article in the NY Times about "composing" in GarageBand:

http://www.nytimes.com/2006/04/02/arts/music/02walk.html?8hpib

Forrest

722
Everything and Nothing / Re: One Thousand Pulses home concert series
« on: January 29, 2010, 07:32:25 PM »
Congratulations with the series, Darren.  Sounds very cool.  BTW, Tom Hamilton was my electronic music teacher in college.

Forrest

723
A very early memory for me was going with my family to a neighbor's house (who apparently was in the record industry) and getting a stack of 45s to take home with me!  I must been all of 4 or 5 at the time.

Forrest

724
Now Playing / Re: Currently listening, part 1
« on: January 25, 2010, 11:09:16 PM »
Mystified - Primal Mystification (some nice subterranean vibes from Thomas)

Viridian Sun - Infinite In All Directions (like this one quite a bit; would fit right in with the Symphonies of the Planets CD; the sound of supernovas quietly imploding)

Carl Weingarten/Walter Whitney - Dreaming In Colors (my friend Carl's reissue of a mid-80s album of pleasant guitar + keyboard vignettes; very Frippish in places)

Forrest

725
Everything and Nothing / Re: RQ009: Your desert island instrument.
« on: January 21, 2010, 11:02:18 PM »
A toughie.  For sentimental reasons, I'd have to go with the violin.  My second choice would probably be mandolin.

Forrest

726
This actually hasn't to do with mixing, but I'd say a very important point is the ability to discard stuff. I think it's always good to have a healthy rate of wastage. If you discard too many ideas, it is an indicator that you should develop further in the current direction, if you discard too few ideas, you probably should try another direction.

Many good ideas here.  I agree with this one especially.  As Austere pointed out, mothballing is a decent option, too.  There may be a good germ of an idea that does not sustain itself over 6 minutes, but may make a good 1-2 minute transitional section or added layer to a different piece much further down the road.  Another problem with not critically self-editing one's output is that you make the listener work too hard to find the good stuff.

Forrest

727
I prefer being present for the mastering, because sometimes you are given options that may emphasize or deemphasize different aspects of the sound, or it may be something as minor as improving on the fade-outs (mine tends to a bit on the long side).  It's also easier to hear how the mastering is improving the sonics as you go along.  Of course, if the person doing the mastering is someone you know (in my case, it is), it also can be fun, too.

Forrest

728
Sundummy-

I saw Grapes of Wrath open for 10,000 Maniacs at the I-Beam in SF in the late 80s.  I agree, their harmonies were flawless and they sounded even better live than on record.

Loren--

I saw Glenn Branca at New Music Chicago in 1982 (the same night that John Cage heard him play).  My ears were ringing for at least a week afterwards, but it was worth it.  The music (9 very loud guitarists and a even louder drummer) was performed in a very echoey Navy Pier, which was particularly memorable because you could heard the thunder going on outside at the same time.  Branca's music had an apocalyptic quality to it that I could only compare to mid-70s King Crimson.

Forrest

Forrest

729
Everything and Nothing / Re: New interview with Eno
« on: January 20, 2010, 08:39:23 PM »
Thanks, Mike.  Though I find myself disagreeing with much of what Eno has to say, I like the different perspective he brings to a topics as seemingly mundane as records and pop music.  Have to really take issue with him on the point about Steve Reich--Reich's 70s recordings were the pinnacle for me (both musically and production-wise), especially the DGG box that included Drumming, and his recordings for ECM such as Music for 18 Musicians.  Didn't care for the production on Reich's later recordings and re-recordings for Nonesuch, though.  Maybe Eno preferred Philip Glass' more souped-up production values, which included overdubbing of parts.  Was surprised to hear about Eno's indifference to vinyl, given his apparent interest in music and art that engages multiple senses.

Forrest

730
Now Playing / Re: Currently listening, part 1
« on: January 18, 2010, 01:13:17 PM »
That Bill Nelson album is one of my favorites.  The CD version has some nice bonus tracks.

Forrest

731
Music Gearheads Tech Talk / Re: Uniform volume
« on: January 18, 2010, 01:08:52 PM »
Wayne, do you use a lot of effects chains?  Maybe you are distorting out at the effects level before you even reach the mixer.  Could the variation in volume have to do with different combinations of effects in the same chain?

Forrest

732

Bruford in '78 at the Roxy in LA minus Alan Holdsworth replaced by the "unknown" John Clark. I have seen Holdsworth many times since though as well as Bruford with Earthworks.

Steve

I was at this show!  I went with some high school buddies because Dave Stewart of Hatfield & the North/National Health fame was touring as their keyboard player.  We had fun yelling out obscure Hatfield song titles as requests ("Your majesty is like a cream donut"! "Going Up To People and Tinkling"!).  Someone sent me a boot of the show on cassette; it's around somewhere.

Another memorable show I forgot about was the Pat Metheny Group's "white album tour" from '78 in St. Louis.  I was a volunteer roadie for the show and got to handle Lyle Mays' Oberheim keyboards.

Forrest

733
I'd have to say my most memorable concerts were:

Genesis - Wind & Wuthering tour (Santa Monica, '77)(Gabriel-less, but still pretty good)
PFM - Jet lag tour (at the Roxy in LA, '77; I have vivid memories of this show.  One of my all-time favorite prog bands from the 70s)
Codona (late 70s, Santa Monica) - memorable trio with the late Don Cherry, the late Colin Walcott (of Oregon), and percussionist Nana Vasconcelos--they walked off the stage still playing, and came back on stage, still playing, for their encore)
Ride/Slowdive - (1992, SF) - the golden era of shoegaze
The Verve - (1998, SF) - their last tour before disbanding (only to reform 10 years later with their original guitarist)
The dB's - Berkeley Square, 1988 (great powerpop; their last show (until reforming just recently))

Forrest

734
Music Gearheads Tech Talk / Re: Lexicon Goes Native
« on: January 15, 2010, 01:18:28 AM »
Quote
This forum seems a bit too hostile for us. We'll leave it to the experts.

Funny, I thought your comments about other ambient artists of the last 3-4 years wasn't too endearing, either.

Forrest

735
Now Playing / Re: Currently listening, part 1
« on: January 13, 2010, 10:29:08 PM »
Glad to see that I'm not the only one who's been going back in time.

Recently:

Gentle Giant - The Power and the Glory
Druid - Fluid (mid-70s prog--sort of a cross between Yes and Gentle Giant)

Forrest

736
Everything and Nothing / Re: Constructive criticism
« on: January 10, 2010, 08:45:02 PM »
I would agree that constructive feedback can be very be useful, whether it's coming from your friends, family or complete strangers.  It can be particularly useful to hear from people not accustomed to listening ambient music, as they have a very different take on the music that you may not have thought of.  (Of course, "it doesn't do anything for me" would not be that useful as a comment.)  In general, I tend to prefer more technical feedback.

Forrest

737
One piece of advice I would give is not to use the same reverb setting on all of your tracks.  It will help differentiate the back-to-front depth of your tracks, and make the overall effect less muddy.  Also, I would make sure not to overdo the midrange frequencies, as they can also make a mix very muddy in a hurry.

Forrest

738
Everything and Nothing / Re: good old vinyl... yet another article...
« on: January 07, 2010, 09:03:47 PM »
Now that it's so easy to "rip" vinyl to digital files, I'd be curious if anyone has ever done an A/B comparison between vinyl, and a vinyl-to-CDR rip.  Does the rip sound worse, or does it retain the "warmth" many people perceive from the original vinyl source?

I've done this, too, with the first Led Zeppelin box and with a Steve Tibbetts release that I originally couldn't find on CD.  In both cases, I've kept the CDR around because it still sounded warmer and fuller than the manufactured CD.  I don't think that a CD can generally beat the sound of a clean, well-pressed metal mastered LP or even a high quality pressing.

Forrest

739
Now Playing / Re: Long Term Listening - your ambient classics
« on: January 07, 2010, 08:57:23 PM »
Here is my list of long-term ambient favorites:

Jade Warrior - Waves
Steve Roach - Structures From Silence
Budd/Eno - The Pearl
Popol Vuh - Hosianna Mantra
Steve Tibbetts - Safe Journey
David Sylvian - Gone To Earth
Michael Brook - Cobalt Blue
The Durutti Column - LC
Kit Watkins - Thought Tones Vol. 2
Jon Hassell - Dream Theory In Malaya
Tetsu Inoue - Organic Cloud
Mark Isham - Vapor Drawings

A fairly old list, but I'm still breaking in the newer releases.

Forrest

740
I agree with Seren.  Time can really become an issue-whether it's because it's being used for other things, like creating music, or simply because there is less time to listen for pleasure because of longer work days.  Mike, I think you're being too kind--the only thing major or significant about my CD was that it came out at all.  It was a struggle every step of the way--probably not unlike your Fabrications CD.  I'm glad that this forum is generally civil and tends not devolve into the kind of scatological name-calling that recently hit the ambient list.  Wasn't too thrilled about Austere's comments, though, drunk or not.

Paul, isn't it about time for that next Ma Ja Le CD?  Inquiring minds want to know.

Forrest

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