The Bass Geek - Words about Music, Circuitry, and Fountain Square
The Bass Geek
17May/120

Bass On The Broadband

Truth be told, I was a little ready to dismiss this streaming radio station as a great idea, just not my kind of thing. Acclaimed bassist Brian Bromberg started the channel as a showcase for bass-oriented music, and it does address that, to be sure. It's just that the first couple times I tuned in, the music was rather . . . smooth. The songs all featured famous bassists quite prominently, but there wasn't anything I felt particularly attached to. The third time I tuned in, though, I joined right in the middle of Willie Weeks' solo in Donny Hathaway's "Voices Inside (Everything is Everything). And it went from there into a great Esperanza Spalding track. So the station redeemed itself there, and I've been tuning in every so often since then with (for the most part) good results.

The franchise names are there, to be sure:

  • Marcus Miller
  • Ron Carter
  • Victor Wooten
  • Stanley Clarke
  • Bootsy Collins

But there's been plenty of stalwarts you wouldn't hear on a . . . smooth station as well.

  • Damien Erskine
  • Adam Nitti
  • Yves Carbonne

And they've got a Bryan Beller track playing right now, in fact. No real shows to speak of, just wall-to-wall music with a Sunday feature on classical bassists (just like terrestrial radio putting their "public service" programming on Sunday?). So I'm happy to call this a decent resource (especially in the jazz and fusion genres, where bassists liked by bassists tend to live, I suppose). I'm not sure how much exposure this will give the artists on the channel to non-bassists, but for those of us who tend to be a little obsessive, it's great. Just remember that this is a stream, so there's no rewinding or downloads or anything like that. That said, no commercials, either.

EDIT: Just realized that I'd like to hear more stuff from artists like Matthew Garrison, Thundercat, as well as folks like Steve Lawson. I'm guessing the music is on the way, though, since this just started up.

17Apr/121

In The Movies . . .

If you saw me roaming around downtown Indianapolis or leaning over the railings near the White River with a portable audio recorder late last year, there was a very good reason for me to be doing so. I was recording background and foley sounds for Catherine Crouch's new short film A Pirate in Alphabet City. She was also gracious enough to use some incidental music I composed. Cast and crew got to see the final product last Sunday, and I couldn't be happier with the way it turned out. What surprised me was how much easier it is to put music in video than when I first started researching the subject years ago. No more messing with SMPTE code - just play along to the video (I did all of my work in Reason) and nudge the clips as necessary.

The movie should be hitting the festival circuit soon, and hopefully I'll get to do more work like this in the future.

12Apr/120

PERMISSIONS!

The stuttering audio problems returned late last night, even despite the UC-33 being off and unplugged. Heck, they continued even after I removed ALL of the MIDI gear. So that's a problem. - until I noticed some nasty red flags on my user folders when I tried to save a track within Reason. Out of curiosity, I rebooted from the Lion Recovery disk and reset the user permissions of my recording account. The results? Not only did the audio NOT continue stuttering, but I was able to get my devices working. Via USB. Even the "officially" legacy Roland GI-20. Just a quick device creation in the Audio MIDI Setup utility, and it's performing as expected. The problem traces back to when I was messing about and moving my user profile as part of an attempt to Boot Camp Windows 8 on my new dual-drive Mac Mini (again, don't try it - doesn't work all that well in theory and not at all for me). So I'm up and running at full strength again and . . . recording a track my wife says sounds like Katy Perry. Perhaps I should not have been so effective in my troubleshooting efforts.

11Apr/120

New Music Computer Unsure About My Old Devices

Another fun part of upgrading is seeing what devices still work with your new system. So far, my GI-20's USB capabilities are gone (it's officially not supported in Lion), and my UC-33 is stalling audio on my machine right now for some reason (tonight's troubleshooting includes testing USB cords, USB hubs, and working with the Mac's audio and MIDI settings to try and correct the situation). The device itself is class-compliant (i.e., the Mac should just accept it and move on), and I'm hoping to run the MIDI out on the GI-20 to the UC-33 MIDI in for usage that way. Did I think I'd have to ever daisy-chain MIDI devices together again? Nothing like new technology taking me back to the 90s! The M-Audio Duo seems to be working splendidly, though, so no need to work there. Thank goodness for small favors.

5Apr/122

New Music Computer Doesn’t Like Windows

If anything, just let this be a warning to never try and install Windows 8 on a dual-drive Mac Mini system. It doesn't work. Trust me - I have many days of effort to attest to it. I encountered several warnings that it was difficult, but I tried every possible configuration short of voiding the warranty and disconnecting one of the drives. Just doesn't work - gets through two reboots and hangs on a black screen. And throws up occasional errors, just to taunt you.

On a lark, I tried the 32-bit version on my 6-year-old laptop - took about half-an-hour to a full boot. Amazing.

That said, the dual-drive Mac Mini makes a great machine for Reason and the RAID array means the data is always backed up. Which is nice. But it definitely doesn't like Windows. At all. Even when given its own drive and no Boot Camp. What a prima donna.

So now I'm going to revisit Ableton Live Lite (free, courtesy of Soundcloud) and see how it plays with Reason. And we'll never talk about Windows again.

15Mar/120

Dynamic Range Day

The Loudness War rages on, even as folks calm down a bit and realize that music isn't meant to be overly squashed and forced through an aural firehose at the listener (yes, I realize quality mastering folks have said this for years, but even iTunes is getting in on it now). Would you rather have a conversation with a friend, or would you rather that friend shout everything at you at the same frustratingly loud volume? Even if you don't speak the language of audio geeks, the distinction should be clear. And thus, I ask you to show support for tomorrow's Dynamic Range Day - making the world a better place for its tender little albums. Support your right to use the volume control as you see fit, and let your music breathe.

9Mar/122

Beware of Upgrades!

Most studios know enough to test their systems and read up on issues before upgrading the OS on their recording computers, but it's important to remember that applies to all devices in this post-PC world - even your phone. Such as the tuning app that suddenly displayed everything a half-step sharp last night after the iPhone iOS 5.1 upgrade. And I was wondering why everything seemed a little off during the warm-ups. Luckily, there's always a backup:

  • Another tuning app
  • A hardware tuner

Gotta be prepared . . . test and backup. It applies to every digital device.

Tagged as: 2 Comments
8Mar/120

Mastered for iTunes

Got opinions about Mastered for iTunes? These people do! And it really doesn't change all that much right now. Asking for high-quality files in preparation for higher-quality consumer files isn't a bad idea, but good recordings were already there. The new tools to demonstrate how a file sounds is a bonus, but again, but quality engineers already understood the need to test. The principle that you should always record and master to the best possible format hasn't changed, and the jury is still out on whether the Mastered for iTunes files on sale at the iTunes store really do sound better - there's a ton of other considerations about the recording process in general that could affect that, no matter what tools and guidelines Apple provides. Higher fidelity is always welcome, so let's see what's coming out next. I'm not going to get too excited right now. When Apple sells full lossless or makes low-data cost streaming available, then it's the time to freak out. I like Ian Shepard's opinion that this is a step in the right direction, but the road continues.

And, of course, folks like Bandcamp already make lossless available . . . just sayin'.

2Feb/120

Dammit, Now I Have To Do Something . . .

So I made some noise about solo shows at the end of last year, and I went ahead and signed up for February Album Writing Month as a prompt to write some solo material.

And now I actually have to do it. Crap.

14 songs before the end of the month. Any ideas accepted.

I'm playing with the Loopy HD app for the iPad, which interfaces nicely with the SoftStep - I can choose and mute tracks fairly quickly, and the recording is a simple process. I'm still getting a weird fade in at the beginning of the loops, but I suspect playing with the noise gate will remedy that.

Now I just have to write 14 songs. Dammit.

19Jan/120

Full recording studio on the iPad? Slow Down . . .

It's NAMM time, so a ton of press releases are going around regarding new products and software, including this rather surprising announcement about a 48-track recording program that could host VST plug-ins and recording 24 simultaneous tracks of audio. As noted here, these claims are a little misleading and the software hasn't really arrived yet. It's easy to get caught up in gear announcements and the remaining fall-out, but a little calm would be nice here. The iPad is running hardware roughly comparable to the machines that were running Pro Tools many years ago, so it's not impossible to make these kinds of things happen. It's also true that this app will require the traditional studio equipment around it (an audio interface, good monitors, a good-sounding room, etc.) to make it work. And then there's the question of where all these audio recordings will live. Local copies synced with a cloud storage location?

The main appeal of this app to me is being able to record in a studio and then just grab the iPad and do edits and modifications elsewhere. But it's not a one-stop solution in a box, and the ad materials need to be a little more clear. And, of course, we have to actually get our hands on the app and test it. :)

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