19 Jan
2016
19 Jan
'16
10:23 p.m.
Over on Soundcloud Mark Bennett has posted an acapella recording of a
traditional Irish ballad, as an open collaboration project.
I found this song totally captivating so decided to try my hand.
This is what I achieved. I hope you like it.
http://www.musically.me.uk/music/The_Parting_Glass.ogg
Mark hasn't set any time limit so I'm sure he'd welcome more entries.
For those interested in such things...
I loaded Mark's audio into Rosegarden then played along on a MIDI keyboard.
The nature of the song meant that cheating with copy/paste wasn't an option
(which is actually a good thing) so I played through multiple times until I
had a feeling for the whole piece, then built up track by track.
In order of appearance:
Mark (of course)
Rushes
Wide Bass + Ghost Ensemble
Moor Drums
Post Horn
Ghost Ensemble in particular has a very slow attack, and Rosegarden's 'jog'
command came in very handy.
--
Will J Godfrey
http://www.musically.me.uk
Say you have a poem and I have a tune.
Exchange them and we can both have a poem, a tune, and a song.
21 Jan
21 Jan
11:18 a.m.
Hi Will,
The instrumentation is great in that it supports the singer, without
putting it's self in front of the singer. I listened to some of the
competition and the original stem, and I like yours the most.
Gerald /JimsonDrift
On 19.01.2016 23:23, Will Godfrey wrote:
Over on Soundcloud Mark Bennett has posted an acapella
recording of a
traditional Irish ballad, as an open collaboration project.
I found this song totally captivating so decided to try my hand.
This is what I achieved. I hope you like it.
http://www.musically.me.uk/music/The_Parting_Glass.ogg
Mark hasn't set any time limit so I'm sure he'd welcome more entries.
For those interested in such things...
I loaded Mark's audio into Rosegarden then played along on a MIDI keyboard.
The nature of the song meant that cheating with copy/paste wasn't an option
(which is actually a good thing) so I played through multiple times until I
had a feeling for the whole piece, then built up track by track.
In order of appearance:
Mark (of course)
Rushes
Wide Bass + Ghost Ensemble
Moor Drums
Post Horn
Ghost Ensemble in particular has a very slow attack, and Rosegarden's 'jog'
command came in very handy.
12:28 p.m.
On 01/19/2016 05:23 PM, Will Godfrey wrote:
Over on Soundcloud Mark Bennett has posted an acapella
recording of a
traditional Irish ballad, as an open collaboration project.
I found this song totally captivating so decided to try my hand.
This is what I achieved. I hope you like it.
http://www.musically.me.uk/music/The_Parting_Glass.ogg
Lovely work, Will !
Best,
dp
22 Jan
22 Jan
9:40 a.m.
On Thu, 21 Jan 2016 07:28:53 -0500
Dave Phillips <dlphillips(a)woh.rr.com> wrote:
On 01/19/2016 05:23 PM, Will Godfrey wrote:
Thanks a lot Dave and Gerald. This song really caught me up, and I just did
what felt right. Mark's acapella was remarkably clear.
--
Will J Godfrey
http://www.musically.me.uk
Say you have a poem and I have a tune.
Exchange them and we can both have a poem, a tune, and a song.
Over on Soundcloud Mark Bennett has posted an
acapella recording of a
traditional Irish ballad, as an open collaboration project.
I found this song totally captivating so decided to try my hand.
This is what I achieved. I hope you like it.
http://www.musically.me.uk/music/The_Parting_Glass.ogg
Lovely work, Will !
Best,
dp
24 Jan
24 Jan
5:54 p.m.
On Tue, 19 Jan 2016 22:23:46 +0000
Will Godfrey <willgodfrey(a)musically.me.uk> wrote:
Over on Soundcloud Mark Bennett has posted an acapella
recording of a
traditional Irish ballad, as an open collaboration project.
I found this song totally captivating so decided to try my hand.
This is what I achieved. I hope you like it.
http://www.musically.me.uk/music/The_Parting_Glass.ogg
Nice. It would have been perhaps also nice to have a bit more presence
on the instruments though :) If only for a bit more balance between
voice and instruments. The instruments uplifting the voice without any
volume adjustments.
If I may continue on with the remarks, and on with the reverb...
Basically, I find that the reverb is intrusive and even has some hisses
at times. I would have liked to hear a reverb that is natural sounding,
carrying warmth and a tad of depth, while still giving the feeling of
space. As if the reverb could actually reflect the material of the
walls, the wood they are made with.
Please bear in mind that there is a difference in criticism between the
artistic effort and what we could call the 'production' technical
aspect. On the artistic side it is very good :)
Cheers.
25 Jan
25 Jan
10:18 p.m.
Thanks for commenting. I often review my work in the light of people's
observations.
Currently about half the listeners have said the backing should be louder - the
other half say it's just right {shrug}.
There are two different reverbs working on this. The vocal track came with
reverb already present, and no de-essing. It was however remarkably clean,
especially considering it was a single straight run.
On Yoshimi, I used a reverb that I felt was compatible - a variation on
'Cathedral 1'.
The pad for the first verse is called 'Rushes', which is fairly descriptive. In
the last verse, along with the softly padding drum there is sometimes a shaker.
It is fairly quiet, and in fact on cheap systems is all but inaudible. I wonder
if that is the 'hiss' you are hearing.
Thanks for listening, and I'm glad you enjoyed our work.
--
Will J Godfrey
http://www.musically.me.uk
Say you have a poem and I have a tune.
Exchange them and we can both have a poem, a tune, and a song.
26 Jan
26 Jan
1 a.m.
On Mon, 25 Jan 2016 22:18:33 +0000
Will Godfrey <willgodfrey(a)musically.me.uk> wrote:
Thanks for commenting. I often review my work in the
light of people's
observations.
Yes, it's always useful.
The pad for the first verse is called
'Rushes', which is fairly
descriptive. In the last verse, along with the softly padding drum
there is sometimes a shaker. It is fairly quiet, and in fact on cheap
systems is all but inaudible. I wonder if that is the 'hiss' you are
hearing.
Maybe 'hiss' is not the right word. There's a good example right after
the word 'was' at approx. 26 seconds. It is heard at the same time as
the following word 'too'. I'd call that a 'phaser reverb' :)
It's a
metallic high-pitched swoosh. At least it sounds like that here on the
M-Audio studiophile speakers (not the best I agree). With the Sony
MDR-7506 headphones this effect is attenuated a bit but nevertheless
present.
Without getting too zen about this, sometimes it is what's not there,
or what's barely there that brings out the support for the forefront.
It's not easy to describe. For instance, the instrumentation would not
play that role. It is too obvious.
Cheers.
11:42 a.m.
On Sun, Jan 24, 2016 at 12:54:12PM -0500, jonetsu(a)teksavvy.com wrote:
On Tue, 19 Jan 2016 22:23:46 +0000
Will Godfrey <willgodfrey(a)musically.me.uk> wrote:
As a layman reading this and looking at
https://en.wikipedia.org/wiki/Presence_(amplification), is that
achieveable without using an equaliser?
Although unrelated, I found this:
https://en.wikipedia.org/wiki/Presence_(sound_recording)
--
"If you're not careful, the newspapers will have you hating the people
who are being oppressed, and loving the people who are doing the
oppressing." --- Malcolm X
Over on Soundcloud Mark Bennett has posted an
acapella recording of a
traditional Irish ballad, as an open collaboration project.
I found this song totally captivating so decided to try my hand.
This is what I achieved. I hope you like it.
http://www.musically.me.uk/music/The_Parting_Glass.ogg
Nice. It would have been perhaps also nice to have a bit more presence
on the instruments though :) If only for a bit more balance between
voice and instruments. The instruments uplifting the voice without any
volume adjustments. 
12:40 p.m.
On Wed, 27 Jan 2016 00:42:37 +1300, Chris Bannister wrote:
As a layman reading this and looking at
https://en.wikipedia.org/wiki/Presence_(amplification), is that
achieveable without using an equaliser?
What is your definition of an equaliser? How much control do you want
to have? How exact should the control be? How much distortion is
allowed?
For a guitar with at least two single coils you don't need an RC element
to get a tone control. You only need two switches. Just use on of the
coils, use both coils or use both and change the phase of one coil. So
two coils and two switches = 4 sounds. Instead of using 2 switches, you
could change the distance between a pickup and the strings, then you
could consider the "equaliser" would be a screwdriver, but actually
it's physics. keywords are "time domain", "insulating material"
etc.,
e.g. move your hand in front of your mobile's speaker to get a wah-wah.
https://en.wikipedia.org/wiki/Electronic_filter
https://en.wikipedia.org/wiki/Distortion#Harmonic_distortion
http://www.premierguitar.com/articles/phasing-out-how-to-get-out-of-phase-s…
Do you need a processor and RAM for an equaliser? For a digital
equaliser you need a processor and RAM. For an analog equaliser you
don't need it.
To control the tone you need a tone control.
12:58 p.m.
On Wed, 27 Jan 2016 00:42:37 +1300
Chris Bannister <cbannister(a)slingshot.co.nz> wrote:
On Sun, Jan 24, 2016 at 12:54:12PM -0500,
jonetsu(a)teksavvy.com wrote:
Very good question.
On Tue, 19 Jan 2016 22:23:46 +0000
Will Godfrey <willgodfrey(a)musically.me.uk> wrote:
As a layman reading this and looking at
https://en.wikipedia.org/wiki/Presence_(amplification), is that
achieveable without using an equaliser? Over on Soundcloud Mark Bennett has posted an
acapella recording
of a traditional Irish ballad, as an open collaboration project.
I found this song totally captivating so decided to try my hand.
This is what I achieved. I hope you like it.
http://www.musically.me.uk/music/The_Parting_Glass.ogg
Nice. It would have been perhaps also nice to have a bit more
presence on the instruments though :) If only for a bit more
balance between voice and instruments. The instruments uplifting
the voice without any volume adjustments. Although unrelated, I found this:
https://en.wikipedia.org/wiki/Presence_(sound_recording)
It may or may not be related, although it does have to do with little
details that contributes to support the main expression. Those are also
called Foley sounds. The use if highly creative. It can be a sound
of dry leaves being brushed, tailored and mixed with a snare. It can
be just the sound of 'the air' in the countryside, mixed in. It would
interesting for this recording, to remove the reverb, add tailored
'countryside air ambiance' sounds (it can be very subtle, no need for
blowing wind !) and only then reintroduce reverb.
1 p.m.
On Tue, 26 Jan 2016 07:58:22 -0500
"jonetsu(a)teksavvy.com" <jonetsu(a)teksavvy.com> wrote:
It would interesting for this recording, to remove the
reverb, add
tailored 'countryside air ambiance' sounds (it can be very subtle, no
need for blowing wind !) and only then reintroduce reverb.
And of course, not adding the reverb straight into any track, but
rather have a track only for reverb and send other tracks to it.
9:03 p.m.
On Mon, 25 Jan 2016 20:00:22 -0500
"jonetsu(a)teksavvy.com" <jonetsu(a)teksavvy.com> wrote:
Maybe 'hiss' is not the right word.
There's a good example right after
the word 'was' at approx. 26 seconds. It is heard at the same time as
the following word 'too'. I'd call that a 'phaser reverb' :)
It's a
metallic high-pitched swoosh.
This is on the original vocal track. What you are hearing is the effect of not
de-essing the vocal then applying reverb. You can't de-ess after reverb has
been added, so I could do nothing about that.
--
Will J Godfrey
http://www.musically.me.uk
Say you have a poem and I have a tune.
Exchange them and we can both have a poem, a tune, and a song.
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11 comments
6 participants
participants (6)
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Chris Bannister -
Dave Phillips -
Gerald Mwangi -
jonetsu＠teksavvy.com -
Ralf Mardorf -
Will Godfrey