Acid-Trip Bass Porn For Today
The bass guitar has only been around for fifty or so years (pause to remember Leo Fender, please), and it doesn't look like anybody has hashed out a standard and accepted playing technique for it yet (like the Simandl method for the upright bass). Folks keep tinkering with the body and necks, too - something I'm sure those who work on classical instruments would find abhorrent. Most of the time, though, it's differences in body shapes or electronics. This thing takes an ergonomic look at the neck, and the results leave me interested, if a bit seasick. The only pain I've ever experienced while playing usually came in conjunction with doing a lot of typing at work, and leaving that job seemed to make a lot of difference (both mentally and physically). I did notice that switching to a trackball mouse made a lot of difference, especially on the "clicking" finger. I had that lock up once while playing, and it was a scary experience. Stretching, warming up, and washing your hands briefly in warm water before playing (helps keep the strings clean, too) are great ideas.
Back Up Your Data!
This story pains me on so many levels. First, I can't believe a hard drive from a musician is worthy of Homeland Security scrutiny. Since these drives are usually used by professionals only to store musical data and not normal system processes, it seems extremely unlikely that there's anything incriminating on there (the name "Field Manual" aside).
It further saddens me that Walla has to go back to the original tapes to recreate the mix and master of the album. It's so easy to back up and copy a data drive, and having to send one through a potentially ham-handed delivery service (over the border, no less) seems like a great time to create a backup drive.
So now I've joined the choir of those begging you to back up your data by any means necessary. It's a big choir, and we have more than our share of disgruntled looks at problem users and slow shakes of the head when faced with a crashed drive that's taken every bit recorded to its gleaming, spinning platter with it. I'll promise not to be too loud or nagging; just get an external or internal drive and do it, especially if it means you're going to redo a lot of work in case the data dies. And remember that ALL HARD DRIVES WILL DIE - it's just a question of when. Here's what you should have, in my experience:
- Backup of all data on your computer on an external hard drive
- Especially important files on optical media (DVD or CD)
- Be sure you copy your profile (under Documents and Settings in Windows, under username in Mac) information
- Include all of your devices in this backup routine, including PDAs, phones, and personal media players
- Some musical recording programs (like Garageband) store their files in one big package, while others (like Sonar) use a separate folder for audio clips that are arranged by the file's attributes. Make sure you collect EVERYTHING necessary for your recording.
Lifehacker has some good and user-friendly tips for this.
Okay, sorry for the PSA. More bass wankery to follow.
The Age of Reason
I'm still getting used to some new software - the new edition of Reason is now loaded on my laptop, and I'm try to play around with the new features a little bit.
On first blush, the new Thor sythesizer is pretty spiffy - I was able to tweak some interesting sounds out of it, even though there's a dangerous amount of knobs and controls on it. Since the primary use I have for Reason is live performance, the soft synth capability is key to me. I can appreciate the new tweaks for lanes and vector-based envelopes, but I'm not sure how much I'll use that on stage. Same for the ReGroove function, although I could see the arpeggiator making its way into some of the live patches.
Oh, sure, there's the possibility of using it for actual recorded tracks, but I've learned something about myself - as a songwriter, I seem to make good ringtones. Thirty or forty sketches, about thirty to forty seconds long, and that's what I've got. The scoring project was a step in the right direction, I think, but even then I used more loops than I was really happy with. There's some more music work coming down for me to handle, and I'm going to try and stretch a little bit on that. It specifically involves a lack of loops, so there goes that crutch right there.
I think I'm just used to creating bass lines for the songs I play on. Once I'm past that, it gets a lot harder. Not so much that I want to actually play guitar or anything, but I do want to see what else I could put together on top of the rhythm section.
You Can Go Your Own Way
Let me preface this by saying I'm not a huge Radiohead fan - I think my wife may have an album or two of theirs, and I bought a tribute album for them by primarily R&B artists. My personal theory is that their songs sound better played by other people, but that's just an opinion, and I don't want to anger any Radiohead fans right off the bat.
That said, it's undeniable that they have a vocal and loyal following of no small consideration, and that following serves as a study ground on which to anchor their newest venture - the "pay-as-much-as-you-want" digital release of In Rainbows. Fans are asked to pay what they think the files are worth (one report on the Velvet Rope bulletin board had the website duly accepting a price of zero), and they get the files. There's also a boxed set with enhanced content and a "proper" album release coming out later.
EDIT: I tried the 'zero' route and it still asked for credit card information. So while I'm incredulous about the free story, I did at least witness the customized pricing window.
SECOND EDIT: I tried it again, and evidently the credit card information was just part of the new member registration. I skipped it, and with a registered profile (which asked for your home address and mobile phone #) I was able to get a confirmation page for a free download available on 10/10. If it works, I'll have to buy the album just to support their experiment, I suppose. I might also have Thom Yorke asking me why I felt the new album was worth nothing.
LAST EDIT: They're now charging enough to cover a credit card fee (about $.90), even if it doesn't make sense because you're not charging a credit card. Eh, still a small fee.
This move probably won't benefit smaller artists without Radiohead's fanbase (a fanbase built while the band was on a major label, in all fairness) in the short term, but it points to an interesting sea change. Radiohead was one of the artists "holding out" on iTunes and other digital services, and there was speculation as to which way they'd go when it came time for digital releases of new material and back catalog. Turns out that they're striking out on their own.
And while it's a bold move, it still leaves some issues unresolved. Radiohead still has an established reputation - even as bold as this maneuver is, they're still banking on their past work and fan loyalty for this experiment to succeed. The promotion and street work has pretty much been done, and they're getting plenty of publicity through word through viral marketing and press releases. What it does accomplish (in addition to promoting the new release) is seeding the idea that this is both possible and viable. Getting people used to the idea means it's occur more naturally for other artists - don't worry about the label, just put it out there and see what you can get.
This isn't going to kill iTunes or download services in general - people will still probably need gatekeepers and tastemakers to help them find music. But it is pointing to the fact that artists may not need these gatekeepers and tastemakers indefinitely, and it might not be such a bad idea to lead your own parade.
Scoring – no, not like that
I had to score a video project this week, and it turned out a little bit harder than I thought. The video in question was a take-off on a soap opera, so I was already at a bit of a loss (the only experience I have are viewing a few episodes of "All My Children," I think, after lunch in my fraternity house - the house mother watched it). I was also separated from my usual MIDI gear. I basically had to toss together some loops and add some effects in Soundtrack Pro with some help from Reason. Most of the music joined one scene to the next, but I inserted some sound effects under the action as well.
It gives me a lot more respect for folks who score television shows week in and out. I realize that some of the jobs have gone to music supervisors that find prerecorded songs to insert into shows (and then find more music to replace the original music on DVD releases), but this is still some hard work. I also couldn't imagine doing this without digital tools like Soundtrack Pro, Sibelius or Reason. I'm sure that if I did this on a more regular basis, it'd be easier to come up with some ideas and plot them out in a better way. Still, I couldn't have gotten by without the sketchpad ability (and the undo function) of these programs.
I REALLY wanted to use some fretless bass on the project - I don't think I heard a cop show or drama in the late 80s and early 90s that didn't have some kind of fretless bass licks underneath the action. A truly inspired era that was.
Amazon’s Music Store
So a lot of the reaction to the new Amazon MP3 store seems to be that it's good, but there's still alot of room for improvement. They like the lack of DRM and the fact that it has more major label content than eMusic (I'll leave it to the reader to make the qualitative judgment there), but the collection still seems a little small (2.3 million never seemed so small, did it?) and you still have to download software to use it (a pet peeve of mine; at least iTunes is a functional media player, not just a download assist widget - eMusic, I'm looking at you, too).
It may seem redundant to mention that the big news is that Amazon has finally entered the fray, but it's worth repeating for one reason - their strong recommendation algorithms. Since Amazon is a trusted name in online sales, it's going to act as one of the portals for people to find out about new music. The blogosphere and Pitchfork and so on and so forth will be there for those willing to do a little searching, but having Amazon there for the "normals" means it maintains its 800-pound gorilla status. Since I already have iTunes and eMusic accounts (and they haven't pissed me off too much yet), I'm not sure how often I'll venture to Amazon. Their inclusion of Righteous Babe songs instead of eMusic is interesting, and it points to recent defections from eMusic due to monetary considerations. It's usually the also-rans that die before the leaders, though, so nothing really exciting is goig to happen until iTunes and Amazon are the only competitors. If and when that happens, it'll be interesting to see what iTunes does with DRM.
Side note: did anybody know that Amazon sells musical instruments? I can't imagine purchasing one from them (these things need be seen and felt in person, from my viewpoint, Stick notwithstanding - that's just an exercise in faith on many levels), but it's good to know I could have a MusicMan bass at my door in priority shipping time.
Taking care of the digital loose ends . . .
We're getting close to the deadline of the podcast book, and there are few things that need to be taken care of before we move on the final production. The material has already been edited and vetted for accuracy, but there's the little matter of the accompanying CD. This is the first project I've worked on that will have digital media included with the book (the bass book had audio examples, but they're stored on the web), and the task of creating screencasts has fallen to me.
It's easy enough to show somebody how to use a program in person (go there, click that, please get up, what did you do to this poor machine?!), but recording the video for posterity is a different thing. Even with a script and decent prep time for the "shoot," I'd find myself reaching for the "abort" button on the iShowU software purchased just for this occasion (I'd tried a freeware version of another program, and it blew. Seriously blew. So much so that I won't dishonor the scientist it was named after by including it here) more often than not and starting over again. I managed to get through two Tuesday evening, and there's three more to go. Once those are done, I think the book will be ready. Maybe. We'll see.
Bass Porn For Today AND A Software Update
The Ouija Bass, courtesy of Thumbrella.
I'm also curious as to the new music offering from Apple, Logic Studio 8. According to the web store entry, it includes the program, Soundtrack Pro 2 (I use the previous version of this for the IMN Podcast), MainStage (a program design to help use Logic live) and a bunch of samples and virtual instruments. The inclusion of a couple new programs doesn't surprise me. What DOES get me is that they cut the price in half from the previous version. $1000 was enough to keep me using the software I already have. $500 is now a stretch, but much more reasonable. It's also more justifiable for me to have this package than the old Final Cut Pro software package I have now. I may have to look into that. I'm most curious about MainStage and how that will work live. Currently, I use Reason live for loops and synth patches, and I've got a light edition of Ableton I can use to trigger loops live and run the bass audio through the computer for recording on the fly.
BTW, that's now $500 on my shopping list for the Logic package and probably about $150 (I'm hoping for a cheap upgrade) for Reason 4 when it comes out later this month. The Playboy Psychonauts better be getting a lot of gigs to justify that expense.
Or I could start doing solo cruise ship gigs. Band-in-a-box, anyone?
My Work Computer Is Feeling Violated
A friend of mind brought back the most wonderful gadget back from Japan for me. Needless to say, it came to work with me for demonstration to my co-workers. It went over well, although I have to admit that my desktop seems to be a little ashamed, maybe even a little humiliated. I've decided against using it on my laptop - I do have to live with it, you know.
How many iPods can there be?
Just because the iPod started with the Model T version doesn't preclude the evolution of the species, I suppose. There are a hell of a lot of options now, though. We now have the Shuffle, the Nano (with video), the iPod Classic (with massive hard drive), the iPod Touch (with spiffy interface), and the iPhone (we've heard about the last one enough). I admit, I clicked a few times on websites for updates on the keynote speech, so I'll cop to at least latent fanboy tendencies. There are some good points and weak spots in today's announcement.
Good Points
- Huge HD on "classic" iPod
- At least one touch-screen option without the phone
- Price breaks on the huge iPod
- Video on Nano (although how much video are you going to want to fit on a small device like that?
Weak Spots
- Only 16 GB on the iPod Touch?
- A hybrid-drive iPod would have been nice
- Can the Wi-Fi devices network together like the *shudder* Zune?
I do like the Wi-Fi store, though, and I think that could be very important very soon. They just removed the computer from the equation and made it easy for just about anybody to get in on legal downloading. And that's key - legal downloading just became a lot cheaper. It'd be nice to have a computer to back it up to, but that's the techie in me.
Also, a quick note - if TNT starts showing episodes of "Law And Order" at 6pm, runs it for a few hours, but only calls the shows from 8pm the "Law And Order Mini-Marathon," what does that make the two episodes between 6 and 8pm? A mini-marathon preview? An exhibition match? Also, I'm quite surprised they JUST NOW got around to playing the dogfighting episode. They need to rip stuff from the headlines a little more quickly.
EDIT: I forgot about the Starbucks deal.
Ick.
I don't go to Starbucks 'cause I think the coffee tastes not-so-good, so this feature really means nothing to me as a consumer. It does extend the culture-branding power of Starbucks, which will result in a huge rise in Putamayo and Paul McCartney sales. The tech is interesting (it allows people to see what's playing in the shop, as well as the pat 10 tracks), and when it's eventually implemented, it'll be interesting to watch. Link it to WOXY.com and the funk shows from KCRW, though, and I'm sold.