13 Nov
2004
13 Nov
'04
7:40 a.m.
Greetings:
I've placed on-line a song I wrote and recorded with the help of
Ardour, TiMidity, DOSemu & Seq+, a bunch of LADSPA plugins, a guitar, a
harmonica, and my dulcet-toned vocal. It's here if you'd like to check
it out:
http://linux-sound.org/ardour-songs.html
I'll be adding more pieces to the page Real Soon Now, but at least
it's a beginning... :)
Best,
dp
13 Nov
13 Nov
9:20 a.m.
Welcome to the world of Independent Artists, DAVE! Terrific!
If you offer an autographed CD, I'll buy one. And, I'll bet others will
also. . . . . and just in time for the holiday season gift-buyers.
Tom Poe
SONG STORM
Reno, NV, USA
www.ibiblio.org/studioforrecording/php/playlist.php
On Sat, 2004-11-13 at 04:46, Dave Phillips wrote:
Greetings:
I've placed on-line a song I wrote and recorded with the help of
Ardour, TiMidity, DOSemu & Seq+, a bunch of LADSPA plugins, a guitar, a
harmonica, and my dulcet-toned vocal. It's here if you'd like to check
it out:
http://linux-sound.org/ardour-songs.html
I'll be adding more pieces to the page Real Soon Now, but at least
it's a beginning... :)
Best,
dp
7:58 p.m.
Hi,
It's great to hear what one can do with just Linux based music tools.
I was impressed by your song and their are a couple of improvements in terms of song that
I'd suggest.
1. The very start, begin with Harmonica to introduce the instrument.
2. Go easy on the toms in each second bar of your phrase (leave them out, vary them, make
them *less* obvious).
3. Add vocal harmony in 3rd chorus (keep listener interested.
my 2pence,
kind regards,
Luke
13Nov2004 @ 07:46 Dave Phillips thusly spake
Greetings:
I've placed on-line a song I wrote and recorded with the help of
Ardour, TiMidity, DOSemu & Seq+, a bunch of LADSPA plugins, a guitar, a
harmonica, and my dulcet-toned vocal. It's here if you'd like to check
it out:
http://linux-sound.org/ardour-songs.html
I'll be adding more pieces to the page Real Soon Now, but at least
it's a beginning... :)
Best,
dp
--
/ / _
/_ /_/ /< /=
0421 276 282
8:34 p.m.
Hi,
It's great to hear what one can do with just Linux
based
music tools. I was impressed by your song
Yes, cool.
and their are a
couple of improvements in terms of song that I'd suggest.
1. The very start, begin with Harmonica to introduce the
instrument. 2. Go easy on the toms in each second bar of
your phrase (leave them out, vary them, make them *less*
obvious). 3. Add vocal harmony in 3rd chorus (keep listener
interested.
Great thoughts. but anyway, the piece is really cool. Real
music, handmade elements, liked it.
Thanks & best regards
ce
14 Nov
14 Nov
8:26 a.m.
luke(a)chipcity.com.au wrote:
I was impressed by your song and their are a couple of
improvements in terms of song that I'd suggest.
1. The very start, begin with Harmonica to introduce the instrument.
I agree, it sort of jumps in without introduction.
Actually I was trying to recreate the situation where the harmonica
player shows up late to the gig and jumps on to the stage just in time
to deliver his blistering solo... well, I got the "late to the gig" part
right... ;)
2. Go easy on the toms in each second bar of your
phrase (leave them out, vary them, make them *less* obvious).
Agreed again. They're obviously sequenced, and I should have spent more
time making variations. The drums are the part I like least. The
rhythm's okay, but the part's repetitiveness annoys me too.
3. Add vocal harmony in 3rd chorus (keep listener
interested.
I thought of that moments before Ron Parker suggested the same thing.
I'll probably add another voice this week, maybe get around to fixing
that drum track too.
Thanks for your opinions and suggestions, Luke, I appreciate that anyone
takes the time to listen to it.
A little more background about the recording. The song's been sitting in
my head for about a year or longer, but I didn't have the gear to do a
decent recording. Getting the Delta 66 and getting deeper into Ardour
changed that, so now I'm all fired up to record more material. I like a
"live band" kind of sound for my songs, very few of them would want a
lot of arrangement, but I also use sequencer tracks extensively
(sometimes it's just easier for me to write the parts via MIDI). I'll
post more material to the page, hopefully my production values will show
some progress as I move along.
Next song: "Maria Elena", a guitar piece. Two acoustic guitars, acoustic
bass, I play all parts (no MIDI). Should be on-line in a day or two.
Btw, I followed some suggestions from other Ardouristas and tried some
LADSPA plugins I hadn't ever used. SC4, Gverb, and the TAP plugins are
*sweet*...
Best regards,
dp
9:36 a.m.
Hi guys,
--- Dave Phillips <dlphilp(a)bright.net> wrote:
I thought of that moments before Ron
Parker
suggested the same thing.
I'll probably add another voice this week, maybe get
around to fixing
that drum track too.
Thanks for your opinions and suggestions, Luke, I
appreciate that anyone
takes the time to listen to it.
A little more background about the recording. The
song's been sitting in
my head for about a year or longer, but I didn't
have the gear to do a
decent recording. Getting the Delta 66 and getting
deeper into Ardour
changed that, so now I'm all fired up to record more
material. I like a
"live band" kind of sound for my songs, very few of
them would want a
lot of arrangement, but I also use sequencer tracks
extensively
(sometimes it's just easier for me to write the
parts via MIDI). I'll
post more material to the page, hopefully my
production values will show
some progress as I move along.
Next song: "Maria Elena", a guitar piece. Two
acoustic guitars, acoustic
bass, I play all parts (no MIDI). Should be on-line
in a day or two.
Btw, I followed some suggestions from other
Ardouristas and tried some
LADSPA plugins I hadn't ever used. SC4, Gverb, and
the TAP plugins are
*sweet*...
Best regards,
dp
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luke(a)chipcity.com.au wrote:
I agree, it sort of jumps in without
introduction.
Actually I was trying to recreate the situation
where the harmonica
player shows up late to the gig and jumps on to the
stage just in time
to deliver his blistering solo... well, I got the
"late to the gig" part
right... ;)
Agreed again. They're obviously
sequenced, and I
should have spent more
time making variations. The drums are the part I
like least. The
rhythm's okay, but the part's repetitiveness annoys
me too.
I really like Luke's suggestions. Very sensible pop
arrangement ideas. A month or so back, my studio
partner Bill Bailey, mentioned Peter Gabriel and his
drum production. I heard Sledge Hammer at a sound
check and didn't listen closely but I think if you
studied Gabriel's drum production you would find that
there isn't one cymbal hit in that song--I'm not
absolutely certain about that. So, what was he
thinking:
Part of Gabriel's success is his production and sound.
He has a loud in your face style. Cymbals are loud
announcements and Gabriel has vocals in all the spots
where cymbals belong but the vocals are more
important. Solution; no cymbals. You think?
In contrast, Dave's song is an entirely different
style of music but it has the same considerations of
every song including Sledge Hammer. So we make
decisions when arranging music; what instrument best
dictates the fell for any given part and if drums,
then everyone supports the drummer. If vocals then
everyone supports the vocal part.
In my own ignorant tractor repairman way, I like to
consider full orchestral arrangements. How many string
players and how many parts; 12 players and one part?
The most talented audio engineers in the world can't
make 12 selfish fools sound good. To book, imagine
some poor construction worker trying to hum the
melodies of 12 fools.
Anyway,
ron
I was impressed by your song and their are a
couple
of improvements in terms of song that I'd suggest.
1. The very start, begin with Harmonica to
introduce the instrument.
2. Go easy on the toms in each second bar of your
phrase (leave them out, vary them, make them *less*
obvious).
3. Add vocal
harmony in 3rd chorus (keep listener
interested.
10:12 a.m.
R Parker wrote:
I really like Luke's suggestions. Very sensible pop
arrangement ideas. A month or so back, my studio
partner Bill Bailey, mentioned Peter Gabriel and his
drum production. I heard Sledge Hammer at a sound
check and didn't listen closely but I think if you
studied Gabriel's drum production you would find that
there isn't one cymbal hit in that song--I'm not
absolutely certain about that. So, what was he
thinking:
Part of Gabriel's success is his production and sound.
He has a loud in your face style. Cymbals are loud
announcements and Gabriel has vocals in all the spots
where cymbals belong but the vocals are more
important. Solution; no cymbals. You think?
PG's decision re: the cymbals was a very commented-upon move at that
time. It's also worth noting that:
Cymbals are rich in high frequencies, they cover a lot of sonic area
that is exposed without them. When these areas are open new
possibilities arise, including simply leaving the space open. African
percussion is glorious in its resources, but I don't think cymbals
figure very prominently. Cymbals are actually an interesting technology,
and I don't think the metallurgy was available to African instrument
designers.
So perhaps PG simply wanted to redesign the sonic space in a more
African style ? Leaving out the cymbals is guaranteed to open up areas
that could be filled with something else or just left open too.
I love his songs and his arranging skills, not to mention the fact
that he gets some great players on his sessions...
In contrast, Dave's song is an entirely different
style of music but it has the same considerations of
every song including Sledge Hammer. So we make
decisions when arranging music; what instrument best
dictates the fell for any given part and if drums,
then everyone supports the drummer. If vocals then
everyone supports the vocal part.
Yep, it's the song for me (if that's what I'm focused on). I'm
typically
telling guitarists that I don't give a damn how well they play their
!@#%ing instrument, I want them to play the *song*.
When Fuzzy Samuels (bassist for CSN&Y, Manassas, Taj Mahal, etc.) worked
with me I noticed that he knew the words to every song I sang. I remind
players of that, because it indicates that for Fuzz the song came first.
Exactly how is an instrumentalist supposed to know what sort of drama to
add to the song if they don't even know what it's about ?!
Obviously for other kinds of music I have different criteria.
In my own ignorant tractor repairman way, I like to
consider full orchestral arrangements. How many string
players and how many parts; 12 players and one part?
The most talented audio engineers in the world can't
make 12 selfish fools sound good. To book, imagine
some poor construction worker trying to hum the
melodies of 12 fools.
I'm not completely sure I understand this illustration, but it *is*
colorful... ;-)
Thanks for the comments, Ron. Phase 2 of the song is already under
construction...
Best,
dp
11:24 a.m.
Yep, it's the song for me (if that's what
I'm
focused on). I'm typically
telling guitarists that I don't give a damn how well
they play their
!@#%ing instrument, I want them to play the *song*.
LoL, it isn't any different no matter where we go or
what we compare it to.
In my own
ignorant tractor repairman way, I like to
consider full orchestral arrangements. How many
string
players and how many parts; 12 players and one
part?
The most talented audio engineers in the world
can't
make 12 selfish fools sound good. To book, imagine
some poor construction worker trying to hum the
melodies of 12 fools.
I'm not completely sure I understand this
illustration, but it *is*
colorful... ;-) Thanks for the comments, Ron. Phase 2 of the song is
already under
construction...
Best,
dp
__________________________________
Do you Yahoo!?
Check out the new Yahoo! Front Page.
www.yahoo.com
1:44 p.m.
R Parker wrote:
My guideline for writing is, if I
use six words, the reader remembers six words, if
eight words they remember six, if 10 they remember
nothing.
How Dubya did it, I think... ;)
I'm packing up the studio
and moving it into the basement of a bar to produce a
live old school bebop jazz double album tonight.
[snip cool goings-on in rparker's existence]
If you never hear from me again, assume I screwed up
and am swimming with the fishes. :~)
You cool... I look forward to hearing about it... and maybe hearing some
of it ?
Best,
dp
"My hands are blue..."
7498
days inactive
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days old
linux-audio-user@lists.linuxaudio.org
8 comments
5 participants
participants (5)
-
Dave Phillips -
luke＠chipcity.com.au -
mchristoph.eckert＠t-online.de -
R Parker -
tom poe