mause

yoo this is wild, nice work! strong Djrum vibes with the violins and vocals, luv it

dont usually do the whole circle of fifths thing..just play around with chords until it feels "right" i guess...circle of fifths stuff is good tho. ? wHo CoUlD iT bEeEeEeEeee??? ? hehe

The transition to the keychange toward the end of this. (At roughly 4 mins) I had been sitting there trying so many weird solutions to transitioning into that keychange and then that one happened..just felt..right and smooth i guess. In my mind its an elegant solution to a stupid, self inflicted problem. I tend to get kinda annoyed with a lot of my own music so its kinda refreshing to have a moment like that one.

in big bucks music world, words speak volumes louder than actions..fake it till ya make it and all that...

im quite hungover and so bloody ready to unload my thoughts on this topic. Strap on IN..in..strap in..christ, my head hurts... fuck spotify, spotify is shit. its shit for musicians and its shit to use because it lulls you into a sense of security thinking all the music you want will magically be there which half of it just isnt..they dont tell people that though as a musician putting music on spotify you're just licensing your stuff to their terms..its a loosing deal, the house always wins. that being said, its a bit churlish to treat spotify like the be all and end all of a music career, its a supplement..a coverage vehicle AND NOTHING ELSE..its basically a big advert rather than an alternative to selling music BUT it isnt sold that way to its customers. it should be treated like the trial version of music consumption, leading people to go on to support artists directly. or like a convenient way to consume music in times when you arent able to access your paid music. also, fuck spotify, that "3-4 years" or whatever quote is one of the most abusive things he could've said. speaks waves about how detached the CEO's are to their actual business. the 20 US cents i get every month from them really bring a warm fuzzy feeling to the table, at least a dollar or two was made off my music and im only seeing peanuts of it..mm yeah thats just encouraging. ALSO, i thought spotify wouldve jumped on the bandwagon with some perks due to the ol 'rona sitchiation, like bandcamp, mixcloud and even soundcloud made some semblance of effort (even if it is just a paypal link..?) but spotify couldve got some outstanding PR material for waiving some of their extortionate cut..but i guess they just didnt realise what was going on in the outside world past everyone suddenly using their services all day every day because theres fuckin nothin else to do. "Mr Ek! Our company is reaching an all time high of $50Bn value!" "Those customers sure are generous this quarter, Jenkins, if theres one thing me and my company need its simply just more money! Our 100 million dollar a month real estate locations across the globe are in need of real attention..the European HQ's Gilded Bidets arent shiny enough.." Remember, Mr Ek, without musicians you're nothing. So just do everything in your power to make us all feel cheated and insignificant..pah, as if we have any power..its fun to pretend Ek wants to make people believe that music isnt a craft..what he's setting out to do with spotify is to plant this idea in consumers heads that music is just a thoughtless service, carried out for the benefit of no one...changing the perception of music to that of a factory line where products seemingly just appear and can be sold for a quick buck but the workers on the line see a few dollars a day, totally disproportionate to the amount that the item they just built are consumed by the customer for. im not going to stop using spotify as an artist. in my eyes, its just another advert for my music. im never gonna see anything past peanuts from it but if it means 1 more person can love or hate what im dumping out then im happy. It's an awful, manipulative and criminal business..leeching off the backs of hard working craftspeople like a fucking money parasite but sadly theres no alternative to just playing along with their abusive games. I hate the current climate of music consumption, i hate the people involved with manipulating consumers into abusing the people that make the music that makes their lives brighter and more fulfilling and most of all, i hate the fucking guy who's running the whole operation..changing the landscape of wider music consumption for the absolute worst, providing a twisted idea of how to fairly enjoy on of the greatest things we humans have to celebrate. Music is more than just a fucking cattle auction, its one of the most deeply ingrained human experiences, and its being slaughtered for a quick buck.

the suffix "let" also implies they are both smaller versions of something too..so like..is the hierarchy Leaflet > Leaf > Pamphlet > Pam ??

there was a sean lock bit where he asked "at what point does a leaflet become a pamphlet" and its been distressing me all day

yes.

yeah i have tried limiting to one process but ive found doing incremental processing works quite well for me personally. I think aswell it depends on what processor your using, ableton's compressors tend to get out of control if you go too heavy on them hence having a couple in the chain to gradually build up with like that but with something like ozone or those real nice waves ones you could defo do it with just one. compression > eq is good sometimes too, ive done it on a couple tracks but as a producer ive got more experience using the eq first so its more comfortable, what is music production without comfort zones ? interesting stuff about saturation there, i'll give it a go..i usually just ad tiny amounts of saturation to beef up the sound not usually to affect the compressor in that way..to control peaks ive always just ued the attack on the comp personally, lots of good bits to try in there tho will give em a go! -12 seems to be a pretty good standard for streaming, i think its close to what sc uses but they change it every now and then i think..im sure theres a detailed specs on sc's algorithm somewhere..never really looked for it just made sure my tracks are somewhat consistently dynamic so they dont go super quiet

this is the kind of process i'll do to a track before uploading to soundcloud, its not a pro master by any means but gets the whole track sitting around -12dB LUFs. i think i mightve overcooked the eq a bit there too.. usually, you'll just send a single bounce with a bit of headroom..i think some engineers might do it with stems but that would probably cost so much more to get letter_mauster.wav

yeah it wouldve been ultra old skool to buss the drums like that, but with the amount of different channels going on it would be an absolute nightmare to keep them all under control ? i'll have to have a look at the project again to give a proper answer to the saturation question but i think it was just a lot of units applying very slight software saturation in the chain, maybe on a parallel buss with some gating so the transients weren't totally smushed out ? yeah was super lucky to have access to it, did a lot of mixdowns on it fuckin lovely console. only regret is not using the bus comp more, that things a beaut!

it all checked out mate, its very interesting to hear what a different engineer would do on the track. I think also having that feedback from the engineer is really constructive too, music's a learning game and it fuckin rewarding to learn another perspective on something you just spent so long exclusively hearing and deafening yourself to. Fresh ears and all that! god i suck at watmm formatting posts, didnt mean to double post there

a lot of that made perfect sense, i think its not entirely useful to have such a short clip to reference as that whole track is like..6 mins long with a fair bit of dynamic range between the sections. plus, the rest of the ep was taken into consideration when mastering this no doubt, so all in all it was more for demonstration about dynamic range control between that quieter section and that loud bit which is probably the loudest part of the whole record. (whole track is here). (and it was mastered for vinyl so im sure there were some limitations goin on there too) also, about the mix, yeah it wasnt great. the way the track was produced was a bit stupid, each drum sample hit had its own channel in ableton and there was a messy web of groups and sends. mixed down on an SSL AWS desk got it much tighter but still, yeah needed a proper sort out and frankly i didnt feel like putting another string of hours into what was a overwhelming project. some would say "it had that old skool charm of rough mixed" ..or something like that ? the track has some really quiet moments, as did the EP as a whole, so I do think the engineer did a really good job finding a middleground between making it more punchy and controlled without destroying the quieter, more gentle sections. Would be really interested to hear what a different engineer wouldve done to it. maybe in the future when i got the cash to burn it would be interesting sending one track to a bunch of different engineers and seein what they all do different. no probs! I could have a dig thru my shit and post another if you guys are interested ? maybe a full track this time

heres a snippet from the premaster and the master for the track by koschitsky. might work on a quick and dirty home master version but wont promise anythin..if anyone wants to have a pop at it feel free fx22_master_1-fx22.wav fx22_master_2-B1._fx22_KoschitzkyM.wav

does typing in a comedy font make boring shit more interesting? worth a go i guess.. it depends what you want from the master, just uploading to soundcloud or something like that all you really need to do it get a free LUFs meter and get it sitting around -12dB LUFs so it soundcloud doesnt fuck wit the dynamics of the tracks. essentially, when you upload they will analyse the audio file and apply something similar to a normaliser..making sure the traks are around the same dynamic range and average loudness also helps you keep a consistency across your music so one track isnt bastard loud and another teeny and quiet. its all just very very fine eq-ing and veeery slight compressor work to get the LUFs to a nice, consistent amount, tho of course its very project dependant so..yeah its kind of a part of the production process ideally..maybe idk? if u wanna sell it or get it pressed, best off going to a professional for sure they know wot they doin, it can be pricy depending on where you go but fuck like, the difference it makes is bananas personally, automatic mastering services like landr and even the auto master in Ozone seem like a bad idea..especially if you want to be giving the people listening the best experience of your music, take control of the sound and learn to master OR get a pro with experience in your respective musical field to have a go at it..landr makes electronic music sound a bit flat imho, doesnt sound as bad on band projects with a good mix, i think its designed more with Rock sorta things in mind so..for us, i dont think its the best move really.

using youtube for music has one major, unmissable downside..the faux visualiser on the tab (in opera anyways) doesnt actually react to the sound. this is, in my opinion, unacceptable and causes me massive levels of distress everytime i see it.

it just arrived in the post aand my turntable gave up the will to live so i cant play any records, perfect timing ? looks gorgeous tho, might have to seek out the digis somehow until i can get a new deck in

gosh i wonder what it could be

copped one from weme direct with a bundle of other stuff, combined shipping is the way to go. havent listened to any of it yet, waiting for the wax but sounds like a great set by all accounts

anyone posted this one yet?

thats fuckin insane, legos really become crazy since i last bought kits

ahh that one looks crazy good

damn that looks like a great set. lego is pretty fuckin great ngl, spin some good music an get hooked into building some wild shit. theres worse ways to spend a long afternoon!

could be an interesting concept..or a laserdisc ?