jahala

Trance stuff.. FKN feat. Jahala - "Why?" (Aly & Fila remix) <- Paul van Dyk live Aly & Fila vs FKN feat. Jahala - "How Long" http://www.youtube.com/watch?v=BsfkseINYTg http://www.youtube.com/watch?v=TFXvxLs3lnE <- Aly & Fila live FKN feat. Jahala - "Still time" (Aly & Fila remix) http://www.youtube.com/watch?v=UAy7R9Z1p2M FKN feat. Jahala - "Can you feel me" http://www.youtube.com/watch?v=QsrnsbhSnaI Cheers, 🙂 J.

ASIO støtter bare ett "host" program om gangen. Noen program har et valg: "Release ASIO driver in background", som betyr at når du ikke aktivt bruker programmet så frigjør den asio-driveren - og da kan et annet program ta over.

I teorien kunne man da laget en melodi som bestod av alle mulige rytmiske sammensetninger og tempo og alle notekombinasjoner - og man kunne da saksøke alle som lager musikk....? Det er værre å sample fra en låt enn å "låne" en melodi.. Melodien skal være VELDIG karakteristisk for at noen tar kontakt via advokat 😛

1. Kjøp sample-cd'en Vengeance Essential House volume 1 og volume 2 2. Kjøp en gammel synth (the cheapest you can find.. korg ms2000, novation supernova, roland jd-8xx) Make some hits.. Less is more innen house i dag.. electrohouse is the shit.. = enkel monobass (med loads of effects..) og bangin' drums.. Lykke til 🙂 - J..

Klarinett?

www.taxi.com

Jeg liker den ekstra godt på skånetrafikens bussar........ 😊

Holy cow ... When you thought autotune was dead....

Det du beskriver er ikke noe kjent problem med software, det er et kjent problem med mangel på erfaring. Eq og komprimering er det som skaper et proft sound, og det tar mange år å trene sine ører til å skru bra lyd.. Det finnes ingen shortcuts, du må bare fortsette å jobbe med musikken og hele tiden sammenligne med annen musikk. - J.

Spectrasonics Trilogy, Plugsound (1-6) vst's, V-station, Native Instruments FM7 (FM8)...

Hei Magi! Jeg svarer på engelsk, slik at det blir enklere å forstå meg 😛 :: To write good lyrics is the same as being able to tell great stories. With as few words as possible, you need to capture the essence of an atmosphere, a mood, or a feeling. Most all great stories begin with an exciting, mysterious, unusual - in some way interesting start. The first sentences must capture the attention of the listener. This is often done by using "new", interesting or "textured" words - or by describing an interesting setting or interesting people with great imagery and metaphors. As the story progresses, some unexpected twists and turns keeps the listener interested enough to listen all to the end. It's hard to explain how to write a good lyric, so I have tried to analyze one - to show how the writer has used his words to convey images and emotions to us, to maintain an atmosphere and to carry the story forward. --- Tim Mcgraw - Grown men don't cry First verse: 1. I pulled into the shopping center 2. And saw a little boy wrapped around the legs of his mother 3. Like ice cream melting they embraced 4. Years of bad decisions runnin' down her face 5. All mornin' I'd been thinkin' my life's so hard 6. And they wore everything they own, livin' in a car 7. I wanted to tell 'em it would be ok 8. But I got just got in my suburban and I drove away My thoughts on the first verse, sentence by sentence: 1. Setting. The framework for the story - where are we?, what time, place, universe and so on. 2. People. Who is this story about. Don't forget that the observer (singer) is also a character here. 3. Texture, imagery. This sentence really says it all, doesn't it? You can picture two people embracing like they were melting together. The writer is activating our imagination - getting the mind interested.. 4. More texture and imagery. Without saying straight out that "the mother is crying because she's made some wrong choices in her life", the writer is able to transmit both a feeling and an image of hopelessness in the same sentence, still leaving our minds to "solve" the metaphor - making the lyrics more interesting than if the situation was simply explained.. 5. Change of focus to keep the story interesting. Back to the main character (singer) - and his relation to these other characters. 6. More imagery - again, without saying directly that these people are poor. 7 / 8. Moving away from the situation. Changing focus. This enables the listener to be prepared for a new setting, a new sidestory - something new. Also notice that we're not getting really personal with anything here in the first verse. The singer is mostly describing a situation that he is observing, not something he is actively involved in - this lets the listener join in on the observation and attach his/her feelings to the situation - instead of getting attached to the characters (which would be a bad idea, since we dont even know the characters properly yet, and it would be hard to feel anything for them at this point..?) It's interesting to see the songwriters use of "senses" in his choice of words.. SEE, HEAR, SMELL, FEEL, TASTE. (1. First we get the setting. ) 2. Then we SEE the people. 3. And you know the TASTE of icecream (metaphor: sweet embrace?). 4. You know the FEELing of tears on your face. and so on.. [CHORUS HERE] Second verse: 1. Keep having this dream about my old man 2. I'm 10 years old, and he's holding my hand 3. We're talkin' on the front porch watchin' the sun go down 4. But it was just a dream - he was a slave to his job and he couldn't be around 5. So many things I wanna say to him 6. But I just placed a rose on his grave, and I talk to the wind 1. New setting - a little more personal now, since we have gotten a little bit more attached / used to the singer character. 2. FEEL: most people know what it feels like to hold your fathers hand. Observe that we begin with the sense FEEL - which is the closest and most personal one to us all. 3. New senses... HEAR, SEE, - we are moving "away" from our person. HEAR is the third closest sense to us, and SEE is the one furthest apart.. So by describing "talking.. watching the sun go down".. - he is moving our focus away from the FEEL sense, step by step. 4. Now the twist in the story, and the reason for why the writer begun to move us away from the FEEL sense in the previous sentence. We are taken away from the "idyllic" father/son relationship and brought down to earth by the cold hard facts. 5. Back to the HEAR sense ("..say to him.."), moving closer to something more personal again? 6. FEEL. The touch of a rose - thorns = pain, but beautiful to look at.. - perfectly describing the singers "broken" relationship with his father.. And again back to HEAR (talk to the wind), and then to FEEL (the sensation of wind on your skin).. Moving to something more personal again.. The writer is pushing and pulling us back and forth between different senses, causing tension and expectation.. [CHORUS] Third verse: 1. I'm sittin' here with my kids and my wife 2. And everything that I hold dear in my life 3. We say grace and thank the Lord 4. Got so much to be thankful for 5. Then it's up the stairs and off to bed and my little girl says 6. "I haven't had my story yet." 7. And everything weighin' on my mind disappears just like that 8. When she lifts her head off her pillow and says, 9. "I Love You Dad" 1. Even more personal and serious.. Now we feel we know the singer character - and we are introduced to his family. Observe how the words and images get more "simple" and down to earth now. Instead of using clever imagery and "textured" words - the writer is taking the story "down to earth", describing with the most simple and easy words... 2. hold dear in my life (FEEL) 3. say grace (HEAR) 4. Conclusion sentence.. Afterthought.. A little breathing room in the story. We get ready for something new.. 5. New situation / setting / atmosphere.. another little twist in the story, and we are moving away from the tension/seriousness.. 6. Goodvibes are coming back as you picture the little girl asking to hear a bedtime story 😄 7. The good vibes are back indeed! Forgetting about the past and all the worries, focusing on the present. 8. More simple imagery, leading our imagination up to the final payoff sentence. 9. PAYOFF! What could be more good-vibe than this? 🙂 As you see, the writer is taking us on an emotional rollercoaster. We begin with observing a sad situation.. Then we are brought to the memories of an even more sad situation (poor relationship with his father).. And then a bit back up to a melancholic and personal situation where we get an afterthought - an "ending" of the sadness. And then back to the happiness of the present. By using clever and unusual images: "And saw a little boy wrapped around the legs of his mother Like ice cream melting they embraced" The writer grabs our attention, and takes our imagination on a journey. And as we progress in the song (story) it gets deeper and more personal - but also more simple and down to earth. So, the beginning seems to be "clever" to catch our attention - and then the story is made more and more simple to make it easy to remember and relate to.. The combination of a lyric that is interesting to listen to, easy to remember, and makes you feel something is what makes this lyric work. And there is the music - that with its mood-setting choices of chords and melody makes it even more interesting and memorable. And makes you feel even more for the words and the story... --- Even though these are my thoughts, I hope you got something out of them. Perhaps you begin to focus on how you build your story - and how you choose to tell it, and try to make it more interesting, memorable and heartbreaking/positive/"feelworthy".. - J.

Neumann SM69

Waves Mercury 5.0 er cracket, og den benytter samme beskyttelse som Cubase 4.0 så fremt jeg vet. Så... Ryktene er nok sanne

Jeg eide 2x powercore før.. Nå har jeg 3x UAD... UAD har mye mer karakter.. Og powercore virker å stå stille når det kommer til updates og nye plugins. Men jeg gjentar - Sonnox Reverb er den beste software reverb jeg har hørt... DSP or no DSP....... - J.

Sonnox Reverb finnes som TDM plugin også.

Sony Oxford (Sonnox) Reverb'en er den beste software reverb jeg har hørt.. ever... Anbefales! - J.

Hvis du vet hva du gjør, så kan du lage hits med en tuba og en panasonic taperecorder.. Its not what you got - but how you use it.. Det er flere verdenskjente produsenter som bruker Fruityloops.. Jeg liker ikke fruity loops, men jeg er ikke dum nok til å si at programmet sucks bare fordi jeg ikke vet hvordan å bruke det. - J.

Jeg har ikke lest alle andre posts, så kan være dette er sagt tidligere: Mixing er mixing, songwriting er songwriting.. Skriv ferdig låten på gitar / piano / instrument of choice før du overhodet begynner recorde. Hvis du mikser mens du lager låten bruker du mye lengre tid (siden du ikke vet hva du vil fremheve i låten før den er fullført), eventuelt blir den aldri ferdig fordi du sitter og hører på alt som er feil med miksen i stedet for å høre på hva som er feil med låtskrivingen. Separer de to arbeidsoppgavene, så får du nok gjort mye mer. - J.

HOLY =!(%?!=#%(!)&?(!

Sjekk www.amazon.com for slike bøker. Du finner veldig mange der. Ellers anbefaler jeg: Mixing with your mind - Michael Stavrou Dyr og liten, men veldig gode tips.. Den er for amatør -> semi-pro ..

Hva slags musikk er det du lager? Trance? Pop? Hiphop? Electronica? Til alle de sjangrene anbefaler jeg: Novation V-station, ReFX Vanguard, Native Instruments Pro-53, Native Instruments FM7 eller FM8 og Spectrasonics Trilogy.

Pitch-correction har blitt mer et "effektvalg" enn et skjønnhetsvalg. I kommersiell musikk hvor man ofte har veldig flinke vokalister bruker man autotune for å få et "more-than-perfect" preg på vokalen. Man bruker i blant høre at vokalen har et "metallisk" glatt preg. Da er det ofte en vokalist med bra pitch + autotune. Ofte er det slik at man heller gjør nye takes til vokalen blir bra i stedet for å bruke autotune. Men har man ikke mulighet for å gjøre nye opptak (f.eks i live-situasjoner) så er autotune et bra verktøy. - J.

Ved fasefeil på et stereospor (dobbel mono) kan man først prøve en phase-invert på en kanal. Det er også verd å sjekke ut voxengo pha-979 (http://www.voxengo.com/product/pha979/). Denne lar deg vende fase i en grad du velger, i stedet for standard flip (180 grader). En annen ting du kan forsøke er å bruke ditt opptak av to kanaler som et M/S oppsett: Lag to grupper / aux tracks. Gi de navn: "Side", "Full piano" 1. Velg det tracket som har mest fokusert pianolyd og send det til gruppen "Piano". 2. Lag en kopi (duplicate) av det andre tracket og gjør en phase-invert. Pan ene sporet left, og andre right.. Send begge sporene til gruppen "Side", og send gruppen "Side" til gruppen "Full piano". 3. Juster volumet på "Side" gruppen til pianoet låter bra i dine ører. Det som er bra med denne metoden er at når du lytter til miksen i stereo så har du en bred og full pianolyd. Men når du bytter til mono så eliminerer de to side-track'ene hverandre og forsvinner helt. Dette gjør at du kun står igjen med det fokuserte opptaket med mest "piano".. - J.

Foreslår at du sletter denne posten og heller søker på google........... - J.

WTF... Behringeren låter klart best med mye crispere og mer samlet og fokusert lyd... Focusriten låter crap.. Er du sikker på at du har stilt inn focusriten riktig?? EDIT: HAHA! Har lest hele post'en nå..... virker som focusrite'n var stilt inn helt bra.. hehe