On Wednesday 18 January 2006 23:45, Florin Andrei wrote: I agree! Technically, to these ancient ears, pretty darned good. I saved a copy if thats alright with TPTB? -- Cheers, Gene People having trouble with vz bouncing email to me should add the word 'online' between the 'verizon', and the dot which bypasses vz's stupid bounce rules. I do use spamassassin too. :-) Yahoo.com and AOL/TW attorneys please note, additions to the above message by Gene Heskett are: Copyright 2005 by Maurice Eugene Heskett, all rights reserved.

On Thu, Jan 19, 2006 at 10:30:56AM +0100, Wolfgang Woehl wrote: /me prints out 'most distinguished sexy track' Many thanks for the compliments :) Best, Mr. Wilms

On Thu, Jan 19, 2006 at 03:44:31PM +0100, Thorsten Wilms wrote: Well, I think that anything I do is bound to be stamped with my character. One of the things I have enjoyed about working with your percussion tracks is the difference in style and feel between your creative technique and my own. Perhaps because they are disparate, they each add something to the other, making a richer whole. (Or, maybe that's too philosophical.) ;-) --Hard to do. Your track has so many small quirks to it (which I like), that to design some other musical elements to accompany it precisely would require a much greater amount of thought and time (and I do have other things I need to do). ;-) So, after importing your track into Ardour, I changed the tempo Ardour associates with the piece until it more or less precisely matched most of the main rhythmic ques in your track. Then, instead of listening *too* closely to all the minor variances, I composed the additional tracks as though there were a strict metronomic beat (which there was, at the most macro level). The small rhythmic quirks then became spice, interesting details to the overall composition. That's how I approached it. I did that (re: the flute) because your percussion track ended just about a quarter measure sooner than the rest of the composition, so I had to do *something* to distract from the fact that the percussion track had already stopped. ;-) The problem, as I see it, with being too critical of oneself or of one's creative products, is that if taken to extremes (and critical people seem to often become "perfectionists"), eventually *nothing* is good enough: everything is seen to have a flaw, and the flaws are viewed ever more closely, and magnified in the mind of the critical person, until they become for all practical purposes "fatal flaws," which make the entire piece or project or track not "worthy" enough. One then discards the flawed material and sometimes gives up in frustration, because it is so hard to make something that is "perfect." I personally believe that there is no such thing as perfect. Instead, I think that there is only the external realization of an internal creative idea/ideal, and the closer we can come to making the external version like the one we create inside, the better generally the creation will be. I'll check out ccmixter.org Regarding the individual tracks I recorded, some of them are very brief (only a few seconds long). There are quite a few tracks, for a piece that is so "airy." ;-) Thank you Thorsten. By the way, what kind of musical elements were you thinking of to accompany that track. If you give me an idea, I may be able to make an alternate composition using the same percussion track. Thank you everyone for your comments about this collaborative composition. best wishes, Steve D New Mexico, US -- ---------------------------------------------------------------- --From a church newsletter-- Miss Charlene Mason sang "I will not pass this way again," giving obvious pleasure to the congregation. ----------------------------------------------------------------

On Thursday 19 January 2006 15:52, Steve D was like: No, that's the nature of co-creation, this is why we need each other. Great track guys! -- cheers, tim hall http://glastonburymusic.org.uk/tim

On Wednesday 25 January 2006 19:01, Steve D was like: :) It's particularly pleasing to know that Flutter is being listened to. It's a style of writing that has sat on the shelf for 20 years in favour of other, more easily achievable styles. I went through a small creative 'death' around the turn of the millennium. It is thanks to the developments in Linux Audio that I have finally been able to realise these ideas and I am beginning to enjoy making music again. I feel very fortunate and immensely grateful. :) -- cheers, tim hall http://glastonburymusic.org.uk/tim

On Fri, 2006-01-20 at 07:50 -0700, Steve D wrote: A piece of advice that I've seen repeated many times by experts is to listen on many different types of audio gear while you're mixing/mastering. Of course, most of the work must be done on your highest-quality speakers and amps (ideally studio monitors), but you must do several brief reality checks, a few times, on things such as your car stereo, your TV, your laptop, your walkman's headphones, etc. The song will sound, of course, worse on those devices, but it must not exhibit unexpected huge problems - if it does, then go back to your mixer software and fix it. When it starts to sound more or less uniform everywhere, that's a sign you're getting close and you must not apply major transformations at this point anymore. Listen to professionally mixed music, in the conditions described above, to figure out what can be done. -- Florin Andrei http://florin.myip.org/

On Fri, 2006-01-20 at 12:02 -0500, Paul Winkler wrote: Absolutely. It seems like there's some similarity between these methods: instead of listening through near-perfect audio chains (studio monitors), force the sound to go through less-than-perfect media. A building's inner structure placed between your ear and the monitors is full of resonators, filters, chicanes, etc., a little bit like a lo-fi audio chain. If the character of the song survives through these distorting media, then it must possess coherence and balance. It is surprising how many indie songs fail these tests. I guess this shows the importance of the contribution of a good sound engineer to the overall result. -- Florin Andrei http://florin.myip.org/