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Messages - Altus

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261
Music Gearheads Tech Talk / Re: Best way to organize studio layout
« on: May 10, 2009, 12:12:52 PM »
Einstein,
I have the exact same problem where my midi keyboard is at a 90-degree angle from everything else.  Seren, I see you do the same thing as well.  ;)  I've been on the lookout for a desk with a very wide slide-out shelf that would be long and strong enough to accommodate a midi keyboard (instead of a standard computer keyboard).

Has anyone seen such a desk?

262
Everything and Nothing / Re: last.fm
« on: May 10, 2009, 12:03:36 PM »
Indeed.
http://www.last.fm/music/Altus


It's an interesting tool to see what people listen to, which in turn tells you what people are enjoying.  For example, one track I wrote called "Magellanic Clouds" has a huge spike in plays compared to anything else.  As a result, I'll be re-working and expanding the sound of that relatively short track into a longplay album later this year.

263
Everything and Nothing / Re: found sounds
« on: May 04, 2009, 04:43:14 PM »
"The researchers add that the tones are far beyond the edge of human hearing, some 12 octaves below the lowest detectable note. While orchestras tune up to the A above middle C, at around 440 Hertz, the Earth rings at a much more stately 100-5000microHz. That is one vibration every 278 hours, or 11.5 days."

As much as I'd love to hear it too, I don't think it's possible.   :D

264
Gah!  I'm still waiting for my copy.  This is torture!    ;)

265
Everything and Nothing / Re: Music, free or for sale ?
« on: April 10, 2009, 06:37:07 AM »
Also, I think that if you give something away once, people may be unwilling to pay for something in the future.

I'd have to disagree on that.  The model to give something away, and then charge for more is a model that's used in the games industry with much success.  For example a company will release a free demo of the game, allowing access to a few levels or limiting access in an open-world type game.  It gives players a chance to check it out first before dropping their hard-earned money.  The massively multi-player genre (such as Warcraft) usually allow players full access to the game for 10 days for free, to get them hooked.

Now take that model to our music.  Give away an album or two and use those as a hook to garner attention and fans.  Then charge for the third, fourth and fifth release, etc.

Another idea to really hook your fans, give away your sixth album as a thank you to everyone who's purchased your albums.  The idea is to create loyalty in your fans, who are the best at spreading the word of your music.

I could be used as an example.  I started releasing my work publicly in 2001 as free downloads.  At the end of 2006, I setup my first (and probably only) release available to purchase (Winter Embrace II) as a benefit for StillStream.  Between 2001 and 2006, I had 11 free releases.  Since I already had a fan base, it actually made money.  It's been purchased around 350 times.  The fact that it was benefit for StillStream definitely had a part to play in those purchases, but it's also available on iTunes and eMusic which has no mention of StillStream... and that's where 85% of the purchases came from.  I can guarantee that if I charged for all my releases, would be far lesser known and would result in less profit.

And I still consider myself in an obscure deep hole of a sub-basement when it comes to underground "unknown artist".  ;)

266
Everything and Nothing / Re: US Copyright rant
« on: April 07, 2009, 06:52:25 PM »
and he also might decide the $600 or $1500 or $3000 he might make is a lesser consideration than the possibility of getting 5,000 people to hear his work as a free download, rather than just hundreds who might have bought it.
Exposure is the main reason I release through CC.  Sure, a lot of people might download my stuff casually, listen to one track and just delete it afterward.  But at the same time, I know that there's a lot of people downloading it, enjoying it and keeping in their library.

Loren, I may be reading you wrong, but you seem very defensive on the subject.  I hope you understand that these are my personal opinions and certainly don't think my way is best.  It's just what works for me.  :)  I'm just glad to see other artists take the same approach.

267
Everything and Nothing / Re: US Copyright rant
« on: April 07, 2009, 04:23:50 AM »
No, CC is not about compensation or money, just sharing.  Distribution?  I would imagine freely distributing your work to anyone and everyone gets your music out there quite well.  And yeah, I agree it can be used as viral marketing by the big boys, such as Radiohead and NiN.  But the plus side of having well known artists use a license they really don't need, I think it legitimizes the whole CC concept and in turn helps people like me.

Anyone have any other thoughts on this?

268
Everything and Nothing / Re: US Copyright rant
« on: April 06, 2009, 07:26:38 PM »
Curious.  Why would you think releasing through CC would mean giving up the rights to one's own work?

270
Everything and Nothing / Re: US Copyright rant
« on: April 03, 2009, 06:40:14 PM »
Creative Commons is the way to go in my opinion... although I have a feeling you were being sarcastic.  ;)

271
Other Ambient (and related) Music / Re: Discovering New Labels
« on: March 04, 2009, 05:17:25 AM »
hearing a recording of a small dog constantly barking and what sounds like someone urinating on a sidewalk looped for minutes on end can catch one off guard and start the questions coming :-\
Haha!  Wow, that does sound irritating.  I understand completely your thoughts on whether the artist is trying to express something important to them, or just trying so hard to be different that they fall flat on their face because it's horrible music that nobody could enjoy.   ::)

272
Other Ambient (and related) Music / Re: Discovering New Labels
« on: March 03, 2009, 08:12:50 PM »
Here's something to consider...  How many people out there don't "get" ambient music in general?  They say it's pointless... where's the melody, etc.  You could say the same thing about us not "getting" the really avant-garde stuff.  Just playing devil's advocate here.   ;)

273
Everything and Nothing / Re: Fringe - anyone watching this show?
« on: February 14, 2009, 07:00:06 AM »
Yeah I'm enjoying it as well.  Sort of like X-Files for the 21st century.

274
Everything and Nothing / Re: Too loud!
« on: February 13, 2009, 05:12:09 AM »
maybe my receiver has some kind of internal gizmo that automatically "adjusts" quieter sounds
My amp has a setting like that.  It's called Midnight Mode.  The idea is you have the volume fairly low, so it brings up the quieter parts so you can still hear it.  No chance a settings like that is on?

275
Music Gearheads Tech Talk / Re: Camel Audio - Alchemy
« on: February 12, 2009, 05:03:45 PM »
I've been hearing quite a bit about this synth.  I'd love to hear your thoughts on it once you've had some playtime with it.

276
Music Gearheads Tech Talk / Re: Spectrasonics - Omnisphere
« on: February 03, 2009, 05:20:49 AM »
Very nicely played.  A somber mood, which I love.
Have you considered playing on live show at www.stillstream.com?  They'd eat this stuff up.

277
I enjoyed this release in bed last night, very soothing.  The final track "Heavenly Ascension" I especially enjoyed.
By the way, I'm really digging your new netlabel.  I like the fact that it caters to one style of ambient music... it means that there's a very good chance I'll enjoy every release.  :)

278
Music Gearheads Tech Talk / Re: Spectrasonics - Omnisphere
« on: January 30, 2009, 05:15:00 AM »
I haven't played too much with the effects within Omnisphere.  For now, I've been turning them off and using my standard tools.  On another note, I like the added information they include with the samples, such as how they produced the sound and with what synths, processors, etc.  You can tell a lot of love went into this tool.  :)

279
Music Gearheads Tech Talk / Re: Spectrasonics - Omnisphere
« on: January 29, 2009, 05:41:47 PM »
I recently got Omnisphere as well.  It's interesting how Atmosphere had a "sound" to it, and I find that Omnisphere has it's own "sound".  I agree that a lot of the patches are too complex/busy to write music with (Atmosphere had the same problem), but I use them as a base and edit them to fit my needs.  Also, heavy reverb will smooth out the sharp parts.  The hard part is trying to make it not sound too much like Omnisphere, which I usually fail at.  haha.  Oh well, fun synth in any case.

280
Music Gearheads Tech Talk / Re: Ambient music and Mastering
« on: January 29, 2009, 05:36:07 PM »
I'm in the EQ camp as well.  While writing, I use a 7-point parametric EQ to roughly "sculpt" the sound.  Then in the mastering phase, I'll use a 30-band EQ to fine-tune it.  I've never used compression, however I will use subtle limiting if I get some stray peaks hitting 0db.

Another thing I've been doing for years when EQing is dropping the 1k range down 3-10db.  Not to the overall mix, but to tracks within the mix that need it.  It opens up the sound beautifully.

For reverb, I'll run separate instances with their own settings for each "instrument" since I find simply putting reverb at the end of the chain is too limiting in what I'm trying to achieve.

It's interesting to see how others master their work.  :)

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