Show Posts

This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.

Messages - Julio Di Benedetto

Pages: 1 ... 29 30 [31] 32 33
Other Ambient (and related) Music / Re: CDs are Dead....Almost!
« on: January 13, 2011, 10:03:51 PM »
To me, it's a piece of art, many times featuring personalized signature of the artist, I have to feel it in my hands, open it, load it into my CD player and taking the journey. I simply need this kind of ritual.

This is what it is all about.....the ritual.  There is simply nothing that can "touch" it.  Without going into a how de ritualized existence we tend to live, without the ritual we are somewhat robbed, or the experience is certainly lessened.

I recently made my first itunes download......Ambiant Otaku, the out of print starting prices waS $82. To rich for me and on top of It I had not really heard the music, so.....the itunes download sort of felt like downloading an app on my iphone.  To my taste it was fast food disrespect to the actual music, love it, just dont like the delivery.  From an archival perspective, Im all for it, but as a first thanks, unless perhaps you pad it out with additional artwork, text, photo's etc..... otherwise its just so cold!

Perhaps with time I will catch up to evolution, or just go extinct!



Other Ambient (and related) Music / Re: CDs are Dead....Almost!
« on: January 09, 2011, 08:50:14 AM »
I do like special editions, and I have plenty of them, but the reality is that on the server, I now have much easier access to all my music.  It's playing constantly when I'm home.  Whether it's a special edition or a set a files, it all sounds and looks the same on the server.  Here's my interface: server

I think this is the the preset future of playback.....what started the process of ripping my cd collection into itunes @44/16 was I wanted to take advantage of my mastering grade digital to analog converters and monitoring system in my studio.  Playback on my plextor external drive or computer drive is just to noisy.  I think if music @44 or 96/24 bit was made available by artist and playback of such files was only capable via computers, Im not sure if any hardware plays back at 24bit, the idea of a cd doesn't  work because it cant store a 96/24 file, well not much of what we come accustomed as the standard length of 74 mins.  Dvd could be and option.  I think it will be usb flash drives or something of the like, they are to expensive right now to make it a viable option but I think we could be really close.  With the large store capacity of some of these drives, music, artwork, photography & video
could be available.  Im not sure about downloading......I dont know enough about flac to be able to say if it could handle 96/24 or even 192/24.

I dont think receiving a flash drive in the mail equates that of receiving a beautiful packaged digipack......however what I describe above perhaps would change how I feel.

Heres a link to software that can playback 192/24 bit files

Other Ambient (and related) Music / Re: CDs are Dead....Almost!
« on: January 08, 2011, 06:55:22 AM »
Thanks for the informed posted Mike.....came across to me as upbeat and realistically positive.

The leaf post is inspiring for me and I hope others......artist & music lover!

I have great faith in the cd format and do not see its demise until something physically better comes along......itunes & mp3's are not the toll of its death bell.  I choose Option #1  

To further this discussion.......below is part of a Robert Rich interview that Mike posted a link to recently on this forum.  A great artist's perspective.

Synth ME: How has the Internet impacted your work both in content and context? How are you approaching the uncharted future as an artist?

Robert: Of course, we live in a quickly changing and contradictory landscape of info-culture. I happily adapted to the Web quite early, and I have held my own domain names since 1996. It's a blessing for independent artists like me to be able to control our own image, our own distribution, and to be able to contact listeners directly. In this regard, the Internet is a tool of empowerment. I love the fact that people can share their own music with each other immediately.

On the other hand, the ease with which people can share free bootlegs has undercut not just the mainstream music business, but also the independent scene. It has rendered the music disposable in many people's minds, which can get discouraging for someone who spends a year or more on a new release. People don't realize that someone like me might only sell a thousand copies of an album, compared to tens of thousands of free copies shared. I console myself that file-sharing is a form of marketing, and that the people who get the music for free would not have purchased it anyway. The only way to survive in "free culture" is to remain enough well-liked by the listeners who follow one's artwork that they *want* to pay for music as a show of support, as a vote of confidence. Without those few supportive listeners, it would get rather discouraging.

So while independent musicians are empowered with greater visibility, and novices have a better chance of getting heard by a handful of people, we are simultaneously rendered incapable of sustaining ourselves financially through recordings. Artists have become marginalized in a propaganda battle between "free culture" proponents and their perceived nemesis the "recording industry." This means we artists have to find different ways of surviving, whether by keeping a day job, or by repurposing our art. For these reasons and others, I think music is becoming increasingly subservient to image, as more musicians rely on "work for hire" corporate jobs like sound design for film, television, computer gaming, and other multi-media outlets that remain commercially viable in this information-saturated culture.

Other Ambient (and related) Music / CDs are Dead....Almost!
« on: January 06, 2011, 09:21:19 PM »
This is a forum topic over at 12k......One forum member by the name of Leaf post this on 12/30/10 which I have pasted below. I feel this is well worth posting here.  It has inspire me not to give up on cd releases, which I have never intended on doing, nevertheless, with free downloads and artist cutting cd prices just to be able to share without much profit, if any..... manufacturing CDs today in our community requires a lot of passion & belief in what we do as musicians and needs a greater, more powerful sustained voice from the music lovers that listen!


i made some adjustments as i wanted to keep my reply simple.

I see and experience the only cd market left for obscure and small labels as Limited edition cds in good packaging.

I was selling 1000 cds about 3 years back in 1.5 years.Now i am down to 300.I always sold these as limited editions and for me its the only option.

I do not like files , i like to feel , see , have art , a package and i collect cds.

So do at least 300 people worldwide and as labels phase out cds it simply means those who do them will become more rare and sort after.

There will always be a % who want cds.

I see a day when cd in collectable art packaging will be worth alot more maybe an audio cd / flac data cd / art , package .

As eno has just done.

Instead of slowly eroding your art into a cheap and worthless digital commodity return it to art , do the opposite , dont follow trends make them.

There is no future in selling cheap mp3 via itunes , or cheap music for artists.For mass produced labels maybe but as musicians we really have to consider our worth.

As an artist selling his own music on limited cd ( glass master with full art etc ) for 5 years now and with about 8 releases i can say for me its now about limiting my sales , not maximising them , about selling less , distributing less and making my art and label more collectable , making it harder to buy it and making it so each buyer is a collector and supporter of me as an artist.Sell less , charge more  , return music to a valued work of art.

I end all digital distribution ( via  a major network and on every major digital retailer ) in 2011 and you will only be able to buy my work direct from me , on my site .I also end all distribution with pile it high and sell it cheap retailers .

The future for me is selling 100 / 300 limited works of art , of music / flac and in good packaging and making it so you have no choice , you buy the work as a work of art from me direct or you go buy or download some free musical commodity.

Sorry but many are heading in the wrong direction as artists , devalueing their work , piling high , selling cheap and really being sucked into and endless spiral of worthlessness.

The future is in becoming small , self suficient , offering good creative art , nice packaging and a mixed medium of cd , flac , wav and above all cutting out pointless middle men  , deal direct as artist  / label with the music buyer who supports you as an artist.

We must return music in peoples minds as a work of art.

Selling digital files does not equate to a  living for small labels.Its a trap and the trend is killing music and the idea musicians can make a living.

Its an erosion of creative spirit in music by market forces and consumerism trends that suit mac and the rest of  ' the corporation '

Digital only sales will in the end kill music i feel as art and all we will have left is a load of watered down labels selling files for 1 cent and a few highly collectable artists labels doing to exact oppsosite .

Do the opposite form the pack i say.I invested my time in collecting all my customers contacts , selling direct.I sell more direct than via distributers and retailers  now , way more.

We have to step back now , make efficient and above all work as a painter selling his work to a buyer.

Take a pro active step , force all sales through your site , all mediums controlled by the label and artist ( if an artist run label ) Price the works at a good value and remind the buyers anc Colectors ( the key ) that theya re supporting art and artists , not itune and the rest of big business.

Educate and appeal to the listeners heart and thank them for direct support.

Its a  worthless relationship that sees a listener want to pay as little as possible for your work.They dont emjoy it so much and value it less and you ? you make no living.

Mp3 via distribution is a  trap as are cheap file sales.

Music Gearheads Tech Talk / Re: Gear: Studio shots by Deb
« on: January 01, 2011, 09:08:02 PM »
Just for beer money I wrote down the current number of views this thread had received when I first posted on it in early december 2010......49,257, that in itself is a staggering amount.  As of today its 50,233.....!

Gear seems to be popular.

Music Gearheads Tech Talk / Re: How do you process your field recordings?
« on: December 30, 2010, 08:16:30 PM »
Thanks to loads and loads of human pollution around, I find myself editing my field recordings to get them as human-free as possible (no cars passing by in the distance, no airplanes overhead, no dogs barking in the neighbourhood, you name it). Then I process them in some sampling unit to see what I can squeeze out of them. Crickets, for a start, sound spooky when played back two or three octaves below their original pitch.


Thanks for the comment Stephan.

this is one of the aspects of field recording that interest me, that is in my head as I have done nothing yet....... manipulating the everyday, the sounds that is, with processing.  I really have no idea what will come of this adventure.  Im not a sample kind of guy....... I love analog with a decent amount of wavetables for balance. But this field recording as got me thinking in a whole new direction. The idea of recording a space, say a parking garage or an empty shopping mall, never seen one of those..... a quiet stadium, the rhythm of machinery.  Nothing new here , but new for me.  The hard part seems to have all this make sense in the context of music. There in lies the journey


I'm glad Paul is on this thread because in my mind I believe he has proven it....."Seed"  He and James Johnson created a sonic gem with that CD, from the recording to their choice of mastering engineer.  I have no idea of the gear they used, but beyond the beautiful music, the sound is astonishing, and imho this is where ambient music if we need to be genre specific should use as a reference cd.....I do!

Personally I have gotten to a point with my synths that I have what I need, there's always something out there but I don't really need it.  What I did need was a signal chain upgrade, and a pre amp way of working is my preferred method.


Although James Johnson is a good engineer. Had to set the record straight. Seed was engineered by Paul Vnuk Jr and Christopher Short of Ma Ja Le.

James Johnson was primarily a co-writer and keyboardist on the album. Final production was done at the Moss Garden (Paul's studio) For those that know us Paul and I work closely together on production of Ma Ja Le music, sometimes haggling over each phrase of the music to make it just right. Hence why the follow up to Seed has been seven years in the making.

It is what it is...

Hi apologies for omitting you in my post.....all three of you are clearly name on the Seed cd cover, just not aware of the details. Should pay more attention to the liner notes.  Thanks for making this clear.

Remember engineers/producers are out there to help musicians get the best sound and music they possibly can. Sometimes it's worth spending the $$ on the engineer rather than on the piece of equipment.  ;)

This is a great point.....we spend large amounts of money on gear, inanimate gear, instead of investing in human beings with more musical knowledge than I have and a greater set of studio skills who can actually use this equipment to bring the music to its full potential.

Music Gearheads Tech Talk / Re: How do you process your field recordings?
« on: December 29, 2010, 09:04:53 PM »
Thanks for the comments everyone

though I too find any kind of spacial FX, anything that messes with the stereo field at all, often ruins the sense of being there.

I like that Mike......"the sense of being there", what a great thing to be able to incorporate that into ones music, and I can see how it could be messed up with too much processing.

Sometimes a lot of crafting can create a whole new sound....

This is something I look forward to also.

I wonder if field recording is akin to taking photographs, where you have a certain location in mind or you wander without direction and capture as you go, this is how I have taken pictures in the past. lets see if the same applies.

Music Gearheads Tech Talk / Re: How do you process your field recordings?
« on: December 29, 2010, 07:07:06 AM »
Thanks Thomas......I can see how a backup of the original file is a must, after all it is a sonic picture thats captured and not easy to duplicate, if at all.

Music Gearheads Tech Talk / How do you process your field recordings?
« on: December 29, 2010, 06:49:12 AM »
Just got myself a Sony PCM D50 recorder and was wondering how others handle their field recordings......

Do you load the files directly into your daw via usb or another digital input and leave the recordings unprocessed?

Do you run the audio through external fx and then into your daw? This is something I have in mind to do.

Do you load your field recordings into samplers, soft or hard, for manipulation....... programs such as Camel audio's Alchemy, SS Kyma come to mind and Synths such as Roland's V-Synth
or the Nord Wave that can use sampled sounds as oscillators.

There's a myriad of possibilities, and as I have no experience with this I would be very interested to hear how others approach this.


Other Ambient (and related) Music / Re: CELER I wanna see some opinions!
« on: December 28, 2010, 09:34:18 PM »
Just received...."In Escaping Lakes & Pockets Of Wheat.  really beautiful music, great packaging, and absolutely horrid production/mastering.  I have a very good monitoring system in my studio and my bass cones were producing frequencies that move the cone in a way I had never seen or heard before.  Today in my car the speakers distorted and my driver side window vibrated so much it produced harmonics......perhaps this was intended.....Wow, 3D music.  I dont think so.  Its a shame because I love the music.  Im going to rip the cd's in mp3 format on to my computer in the hope that the compression will help to eliminate these rogue frequencies because none of this is evident when you audition tracks on the net.

Come on Labels & Artists.....please get the basics right so we can enjoy the the wonderful music you release!


Music Gearheads Tech Talk / Re: Any last-minute 2010 gear purchases?
« on: December 28, 2010, 08:43:57 PM »
I have been looking at this...... What do you think? Be quick now, the years about to end and I want to get some extra tax deductions :D ;) ::) 8)


Just picked one up off ebay in mint condition for $359.  Excited to introduce field recordings into my compositions.


Music Gearheads Tech Talk / Re: Ambient music and Mastering
« on: December 27, 2010, 05:53:51 PM »
Hey Jesse,

I like the essence of your idea/production technique, but I might be concerned about the "accumulative aspect" that has come up recently in other threads.  If I have understood you correctly.....lets say you have a piece of music that has say a total of 15 individual tracks and you master each one separately, then reconstruct the mastered tracks in your Daw, then Bounce the 15 tracks down to a stereo pair, and then re-master that  2 track once again.....not sure thats a good idea.....again Ive never tried it but, seems like a lot of xtra processing, which in turn denigrates the signal.  

Best thing to improve your music pre mastering is to run it through some hardware instead of bouncing the multitrack to a stereo 24 bit file within the Daw......send it out into the real world and recapture it back into your Daw as a 2 track.  It will sound better it you run it though a Mackie or a high end whatever you may have and back into your daw then hand the job over to the inadequacies of software, even though you go through some extra conversions

All the best & Happy New Year....Julio

Music Gearheads Tech Talk / Re: Any last-minute 2010 gear purchases?
« on: December 27, 2010, 05:15:08 PM »
I have been looking at this...... What do you think? Be quick now, the years about to end and I want to get some extra tax deductions :D ;) ::) 8)


Other Ambient (and related) Music / Re: John foxx
« on: December 18, 2010, 05:54:34 PM »
One of the many reasons I love to come here is for music knowledge, see whos playing what and expand my listening as many many others do Im sure.....this thread got me to look into John Foxx. I didn't know he was the original Ultravox! Anyway, stumbled across this video.  Dont know if the time frame is appropriate for whats being discussed here but its a nice tribute from one of the Lords of Synth Pop.

Now Playing / Re: Currently listening, part 1
« on: December 09, 2010, 03:36:50 PM »
In my car:

Brian Eno - Neroli
Autechre- Peel Sessions 2
Harold Budd- White Arcades
Steve Roach- Mystic Chords & Sacred Spaces Part 1 & 2
AC/DC - Back In Black ;D
Steve Roach - Dreamtime Return
Ian Boddy- Slide
Cyber Zen Sound Engine- Auslander
oophoi- Athlit
Telomere- The Stellar Sea
Saul Stokes - Outfolding

Computer CD drive;
David Sylvian - Approaching Silence

Other Ambient (and related) Music / Re: New Brian Eno
« on: December 09, 2010, 10:18:17 AM »
Ah....That makes much more sense.  Thanks Mike

Other Ambient (and related) Music / Re: New Brian Eno
« on: December 09, 2010, 07:27:43 AM »
Stumbled across this performance via Warp Records.  I think its a live performance but I can't read Japanese.


Music Gearheads Tech Talk / Re: Gear: Studio shots by Deb
« on: December 06, 2010, 06:05:22 PM »
That's true.....Im treading with careful feet.

Music Gearheads Tech Talk / Re: Ambient music and Mastering
« on: December 06, 2010, 06:00:49 PM »
Hi......Ive done my best to refrain from bumping this thread up but I promise to be quick about, and so here is why no music should be released without this, especially ambient......The Mastering Room!

I know, I hear's that guy again with the huge pictures. A picture is worth a 1000 words.  None of this stuff you can plug in to a Daw channel.  In the past i spent in mastering software probably close to what  mastering a project might cost in a room like those above and failed. Sure some of this is beyond our budget, but not all of it.  We do our best to mix the music we record. I for one want my music to be in the hands of an Mastering Engineer how can truly hear what I have put body, soul & tears into.  What's crucial here is not so much the racked gear but the love put in to those rooms, the major part of the money goes into the acoustical construction, then Speakers, power amps and cables.

I may seem like Im some Audiophile champion.....but everything I say is what I aspire to do for my own work and what I have learned in my own short journey.


Pages: 1 ... 29 30 [31] 32 33