Recent Recording Shenanigans

Posted October 12, 2009 @ 10:06 am | Filed under: High Fidelity,The Workbench

It’s been a while since I updated the blog with news of what’s been actually going on here. So here goes:

We recently finished up a 6-song EP with some friends in a group called Edhoculi… It came out very well, and I did a rough “mastering” job which may have left the final version a bit bright (such is the risk of mastering at a studio not qualified to do so). They’ve spoken of possibly putting the recording out on vinyl however (which would rock), in which case it would need to be remastered anyway… I’m hoping they pursue that. Check them out:

On somewhat short notice, we did a song for Kellie Lynne’s recently-released album. She’s a country/rock/pop artist from the area, and her bassist Bryan is a good friend of mine. Rumor has it that her parents like the recording quality… so have a listen here (the song’s called “Real Men Gone”): (EDIT: I was recently reminded how bad the quality is on MySpace’s player… check out the unmastered version on our “clients” page instead.)

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Note: This tutorial is pretty out-of-date now, and there are probably better ways to do it, but it could still be useful.

Pro audio work on Linux can seem daunting, but most of the friction is in the initial setup… after that, a Linux Audio system will remain stable for years, assuming you don’t update core parts of the system without thorough testing. So here’s my preferred method for installing a lean, mean, barebones Linux (Ubuntu) system and the latest version of Ardour — with some FX plugins thrown in for good measure.  I recently did this on a friend’s computer (Darren’s), and it went decently well, though his RME interface is being finicky (probably something RME-specific that I forgot to do).  I’ll try to update this with better info as I can.

Also, if you’re looking for a more full-featured audio workstation, please check out Planet CCRMA, 64 Studio, and Ubuntu Studio; Linux audio customizations that are much more complete than what you’ll get from this tutorial — though hopefully this tutorial will still be useful for you as a reference.

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Reverse, a one-night electronical diddy

Posted July 6, 2009 @ 10:05 pm | Filed under: Soundblogs

Here’s a little 1-minute tune that I wrote in an evening, originally for a friend who wanted something for a film soundtrack. He asked for it to be just over 3 minutes long, and focus on “reverse” elements so I threw in some reverse drums and backwards guitar tracks. The whole song is kind of an almost-palindrome as well: the melodies from the second half are reversed versions of those from the first half. I never did feel like it was finished, especially the louder section in the middle, but “Oh,” as they say, “well.”

  • Reverse
    Audio MP3

It was made using all free (FOSS) software tools: Ardour, Hydrogen, LADSPA plugins, as well as Cynthcart on a Commodore 64 (though I’m not sure if Cynthcart is “free” by the FSF definition, the author does make the source code available).

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Another reason why we’re open-source.

Posted June 29, 2009 @ 3:14 pm | Filed under: High Fidelity

Check out this link.

Just another clue that expensive VST plugins with flashy GUIs are not necessary for good music production.  In fact, you don’t have to spend a dime on software.   Concentrate your investments in good hardware if you’re building a studio.

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Ardour feature sponsorship

Posted June 23, 2009 @ 9:05 am | Filed under: Geekery,High Fidelity

So here’s a good example of the flexibility of open source software. I sponsored an Ardour feature request (see here ) last week.  It is now implemented in the 3.0 branch (which is still in early alpha phase, very unstable, might get released this fall sometime).  Attached are screenshots of my mockup and the final implemented feature (notice the “group tabs” to the left and above the channels).  There are several other workflow-related improvements that go along with the feature as well… all in all it turned out better than I expected, and I think it will be a huge time-saver.  I only wish I could have paid more!  It was no doubt much more than $75 worth of work.

Thanks to Carl H. (Hetherington I think) for implementing the feature, and of course Paul Davis and the rest of the developers for such a cool DAW.

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