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Messages - Paul Vnuk (Ma Ja Le)

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21
Music Gearheads Tech Talk / Re: Eventide UltraChannel for FREE
« on: June 11, 2014, 10:55:46 AM »
Just an FYI, it uses Ilok/Pace as a protection scheme, but you do not need to own a physical Ilok. Its something new the company have been doing. You can authorize an Ilok and use your plug-in on any computer or simply authorize it through the Pace/Ilok system to a single computer of your choice.

22
Music Gearheads Tech Talk / Re: What synths did O÷phoi used?
« on: May 27, 2014, 08:58:32 PM »
Nice pic Paul - any chance you have one of the other side as well?

No sorry

23
Music Gearheads Tech Talk / Re: What synths did O÷phoi used?
« on: May 25, 2014, 09:58:31 PM »
Ok, I found a picture from when I was in Italy with Gigi. Most of the synths have been mentioned but given the spirit of the thread I though you might enjoy it.

24
Music Gearheads Tech Talk / Re: What synths did O÷phoi used?
« on: May 10, 2014, 01:43:46 PM »
I can not remember for the life of me what Gigi had in his studio when I was there. I do know that he used a fair bit of sampling and sound worlds recorded to various DATs and CD recorders which he then manipulated and recombined into his finished products almost always through real time performance. I will try and find my photos from that era and see if anything jars my memory.

Paul

25
Hey friends,

Although not an ambient album in the strictest sense, last year I released a new album as part of a modern jazz trio call the Moss Garden Sessions.

I played drums as well as engineered and mixed the album.

Each song started life as a live in studio improvisation and if we liked what we just came up with, we would quickly start a second and even a third take of the newly birthed piece. The album was recorded and mixed old school, meaning very little editing and ZERO overdubs. On occasion we would merge takes like the begging of take one into take two just like they used to do it in the early days.

Most of the songs are heavily Eventide & TC effected guitars along with a miked Mesa Boogie Amp, soprano and tenor sax and a 4 piece 1966 Slingerland drum kit augmented with odd percussion bits and a remo mondo snare.

In a few spots we also added EWI instead of sax and korg wavedrum again all played live.

The album was mastered by Robert Rich at his studio and he did a fantastic job!

Chris Short of Ma Ja Le and Gerry Baccash join us on bass for three songs making it a quartet as well.

The album is available on itunes, amazon and you can get the physical CD from me or on CD Baby.

Or I just added it to bandcamp where you can preview the album as well as purchase it for a mere $8, if you are a hi-rez fan be sure to download the album as a 24-bit flac file.

http://greghurleypaulvnukjrbriangood.bandcamp.com/album/the-moss-garden-sessions?fb_action_ids=10201958439946221&fb_action_types=og.likes&fb_source=aggregation&fb_aggregation_id=288381481237582

26
Music Gearheads Tech Talk / Re: Reverb Plugin Sound Demos
« on: February 24, 2014, 10:42:06 PM »
Found this just now...really reflects what Paul was talking about.  Give it it chance its not your usual sales demo.... it may surprise you, it did me!

Lexicon 224 Digital Reverb Plug-In Demo


I forgot about that demo, but it pretty well sums up why the 224 is my most used plug-in reverb. I have used it on Pop, CCM, Jazz, Ambient and Folk projects and it has never let me down. Dont get me wrong, I love the PCM Bundle as well, but that is modern Lexicon where as the 224 is the sound of classic records and even classic space music that is ingrained in our memory.

I also love Will's UA demo as he is one of the few people I know in the industry who like and get the whole ambient, art rock thing and his demo shows. Its not your usual this is a drum room or acoustic guitar in a space thing.

27
Music Gearheads Tech Talk / Re: Reverb Plugin Sound Demos
« on: February 21, 2014, 10:20:05 AM »
One interesting thing to think about here is that back when hardware reverbs were all that there was, you bought a box, or two and you dove in and made it work for everything, now we have plug-ins, most of them at mere fractions of the cost of the old hardware and we can have one that is better for ambient reverb, one that is better for halls, one for rooms. Its like each plug-in is akin to what would have been a preset on hardware.

That said, I find out of the current crop that you have listed here that I own.

Usually use the Tsar for simulating woody sounding rooms for drums, percussion and acoustic guitar.

I use the Lexicon PCM bundle (which like the PCM 96 which I also own) really is not what most of us old timers would consider "the lexicon sound". The PCM plugs/PCM96 are really closer to a TC M3000/M4000 style of verb as they are very open, pristine and clear. They are great for those types of high quality verbs where you are not sure what the verb is doing to your sound until you take it away.

Spark verb has become my new - recent favorite for both working quick, fast and intuitive editing and more importantly does the big, effecty, cloudy classic bathed in verb, 10 to 20 sec tail thing that we we have
come to equate with classic 90's space music...it actually remenid s me of what I use to get out of my Alesis Wedge (a secret weapon of many space music guys and Alesis' clone of a PCM 70) only cleaner.

Not listed above, I am a sucker for true old school emulation and as such my single most used reverb is UAD's Lexicon 224 emulation. I use it for vocals, space music, drum rooms, you name it. It just has that awesome classic, studio album sound that when you hear it in a mix, your brain tells you that you have heard it before. It is the reverb sound of mid period U2, Daniel Lanois, David Sylvian and more. Plus what I like about the UA plug-ins is that it is the real thing as they went back to the original papers, the original designer and the original parameters and algorithms and put that into the software. This is the vintage Lexicon sound, cuz it just is. UA also did the same with the digital EMT240 and while it sounds great, I find less uses for it in my music.

Lastly if you want a good in the box plate, the UAD EMT 140 is hard to beat.

Also you should check out demo's of PSP Spring reverb its pretty effecty and weird, but great for sound design.

28
UVI Spark Verb
UAD Lexicon 224
Softube TSAR
Lexicon PCM Natve Bundle

Got these and sold/and or never touch my outboard boxes anymore.
They are that good.

29
Everything and Nothing / Re: Ambient Music + Copyright
« on: January 05, 2014, 03:55:26 PM »
Wether music or art is a labour or a passion should be ENTIRELY at the discresion of the artist. Meaning they have the right to give away or sell their work as they see fit.

It is not the right of lazy entitled wanna be's to take that art and claim it as thier own.

Otherwise if I want to live in your house because its nicer than mine, well then hey I am moving in.
Does not matter if I earned it, own it or not. I want it so it should be!

This noble cause of the poor artist making art by any means necessary because they are a poor artist is pure bull ....

30
Everything and Nothing / Re: Ambient Music + Copyright
« on: January 04, 2014, 07:37:55 PM »
I should also mention that when we are talking about sampling another artists work I am assuming that we are talking about lifting things off of previously released works of art from albums or film. Commercially released loop libraries of course are fair game :-)

I should also clarify that I do understand to a certain point why the hip-hop generation went and sampled famous bits and pieces from old vinyl or famous songs, I get that from a novelty and interest standpoint.

However I don't understand why in the electronic music genre someone would need to lift an atmosphere or a drum groove etc. That seems like laziness, and yet I know it happens.

31
Everything and Nothing / Re: Ambient Music + Copyright
« on: January 04, 2014, 07:31:38 PM »
1: If you use a sample from an already existing work then you credit & COMPENSATE the creator and the source

I think you need to go a step beyond this, please ask first.  ;D  Don't just assume that someone will let you use their art anyway you feel fit, it doesn't work like that.

I absolutely agree!!! I think that somewhere in my thought process was that if you credit and compensate the original artist that there would have been first contact and permission.   :)


32
Everything and Nothing / Re: Ambient Music + Copyright
« on: January 04, 2014, 04:19:18 PM »
I think the issue of sampling comes down to 2 things,

1: If you use a sample from an already existing work then you credit & COMPENSATE the creator and the source
2 : Create your OWN sound sources

Seams simple to me

33
Check out Media Monkey and Media Center

what company make media center ? cause when I google it..I get a lot of other stuff..
What is the strongest points by the two ???


JRiver makes Media Center

I should mention that is is not free its $40 but it is one of the few full audiophile options that allows direct streaming to your converters and bypasses any processing and such which iTunes adds. I dont know the details of this, but it does sound better than iTunes and will play and tag both ALAC and FLAC if that is important to you.

34
Check out Media Monkey and Media Center

35
I use iTunes to manage my digital library as it still has the best system for playlists, sorting and such, as well as it works best with my idevices. For hi-rez listening I use Media Center.

36
Music Gearheads Tech Talk / Re: Cans.....Whats on your head?
« on: December 30, 2013, 07:48:02 PM »
I listened to the AKG K712's at AES a few months ago and these are what I am saving up for.

38
Thanks

39
Really great Paul....takes me back to when I was about 10yrs old or so and I would bellow my lungs(I cant sing) out to Come oh ye and Hark the herald at this time of the year, though it was just an organ and no such production as you have given it.

Interesting you sent it out to Sadler to master....a great engineer...did you feel to close to it to do it yourself.

Thanks so much!

Thank you Julio!

As to mastering I am one of those people who believes that its rarely a good idea to master music that you have recorded or mixed.  I will do it from time to time with my own ambient stuff, but when it comes to client work like this christmas project especially in the rock/pop/jazz/country realm I will always encourage the client to hire a mastering engineer, which I really am not.

As to Trevor Sadler, I have a 10 year working relationship with him and really trust his ears and gear, although I also have used Robert Rich and think he does a stellar job as well, and last year I had a client who had an album that I recorded hire Howie Weinberg master the project so that is one of the highlights of my recording engineer life.

Paul

40
Thank you Paul! I always wanted listen how you drumming. I know from Discogs you are the drummer for the Rick Santiago Jazztet and also plays percussion with the Grace Church worship band.

Thanks,

Wow I should change that  :D Its been years since I played with Rick and all I have is a bootleg recording of us ha ha!

I should note that I only play drums on the original song, the rest are someone else. Interestingly though the orchestral toms and cymbals and such that I played on that track I am going to re-purpose into an upcoming tribal album because when the strings and guitars are stripped away and some reverb added, its very much a cool percussive soundscape.
 

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