Fray

Why's that?

Bump. I know one of you audio engineer types has gotta know this one!

In terms of litigation, I think your knowledge of the source can have a legit effect on the somewhat subjective decision of whether or not your piece is original. Basically it helps their case if they can prove that you used their song on purpose -- so if they could somehow show that it started out as a remix, it could help their case. Bear in mind I'm basing this on a dumbed-down explanation I read in Confessions of a Record Producer; I'm by no means up on music law. Of course that has no bearing on the philosophical question. Music law is pretty wacked out While we're talking about philosophy, just because you don't have a remix on OCR doesn't mean you can't call yourself a remixer without qualifying it. The site's standards aren't meant to be a certification exam

It gets a little tricky because a lot of people use multiple programs (e.g. Reason + Cubase) or get some sounds from hardware. This sort of thing has been done quite a bit before, and mostly by people who stick to a single piece of software as their sound generator (usually Fruity or Reason).

Definately try before you buy if you're a piano player. If you're just looking to punch in synth lines you'll probably be ok, but if you're going to play piano parts you should consider sprining for fully weighted keys (or better yet, hammer-action). The most likely reason you'd use the MIDI-in on the Axiom is to dump settings to it from some device that doesn't have a USB port Not that there are many of those lying around...

IIRC Sibelius is more streamlined for creating notation than producing digital music (although it can do the latter as well). So unless you're looking to print out sheet music or scores, or you really do your thinking on a staff, you'd probably do better with something else.

Let me explain my setup. I have a behringer eurorack UB1622FX-Pro mixer accepting the analog output from my keyboard and synth. The main output from the mixer goes to my soundcard (ye good olde audiophile 2496). The soundcard mixes all inputs with audio coming from the computer (e.g. soft synths) and sends that to its output. I run that output BACK into one of the mixer channels, but I route that channel to the sub output instead of the main, and hook the sub output to my monitors. This all works fine, I can hear anything coming from the keyboard or software on the monitors, and it seems to sound ok. Although if I've done something naughty please let me know. Here's the wierd part: just to experiment, I turned the monitors way down and tried sending the soundcard output channel to the main output, essentially sending the soundcard's output straight back to its input. I expected a horrible, ear-splitting noise. But I got nothing, even if I turned the monitors back up. Even more interesting, everything else still works like before, I can still play my keyboard through the monitors. So something is obviously wise to the fact that I've created a feedback loop, and is somehow cancelling it. Neither my mixer nor my soundcard advertise this feature. Anyone care to venture an explanation? Is this just a standard feature of an audio interface? And if you're wondering why I'd deliberately do something like that, I just wanted to make sure I knew which buttons on my mixer I REALLY shouldn't accidently hit when the speakers are at full volume.

Gentoo is awesome but definately not the best if you're at all concerned about time. It's definately the most time-consuming distro Tell us how it works out for you, I'm really curious to know the state of the art for Linux sound. Last I looked (couple years ago) it wasn't very good

Couldn't the high mileage just mean someone was using it regularly for long distance commutes? If it's mostly highway miles, that means comparatively less wear on the car. I'm guessing you have no way of knowing that though

Ok I can see what you mean I guess if anyone's really interested they'd pay the $20.

I agree that $20-30/hr is kinda steep. That's what my parents paid for lessons from somebody with a Masters' degree in their instrument, at least in New Orleans circa 1998. Or maybe it was a half hour, I can't remember. I'd say start at something more like $10. Good luck w/it!

Hey, this preamp costs over nine thousand! (OVER NINE THOUSAAAAAND! OVER NINE THOUSAAAAAND!) Yeah, you can get a decent preamp for like $70. PreSonus makes good ones around this range.

Unfortunately most MIDI controllers don't exactly have the best quality components in them If you can't get it fixed under warranty, I say pop that bitch open and see if you can spot the problem. If you can figure out how to get the key sensor off you might be able to order a replacement part from M-Audio. This usually requires phone work; manufacturers (annoyingly) tend not to sell that sort of thing on the internet. If you can't find replacement parts, you might be able to switch the key sensors out with less important ones, like the bottom A and Bb. Just don't get too far in over your head if you can't afford to buy a new one. It also might help to check around places like harmony central or the M-Audio forums (if they exist ) and see if someone's got the same problem as you. Oh, and make sure you don't have it setup with some crazy 2-note keyboard zone that has disabled velocity sens

Sennheiser HD 280 pro 64 ohm. What are you plugging yours into? Thanks for the explanation. They aren't distorting in the least when I turn them up (at least not as far as I can tell) -- it's just too loud for my poor widdle ears. As for amp circuits ramping up faster on one channel than the other, that sounds exactly like what's happening. I think the headphone/control room circuit on my mixer (Behringer ub1622fx-pro) might just be kinda cheap or something. Either that or it's slightly broken

Okay, so I have 64 ohm headphones that I'm plugging into a my mixer headphone output, which is something around 150 ohm. I was under the impression that the input impedance was supposed to be greater than or equal to the output impedance, in which case I have things backwards. Am I risking that I'll fry my headphones or my mixer? I have noticed that the headphone sound seems a little wonky -- it leans to the right, especially at very low volumes. And I need those low volumes since the headphone impedance is so darn low. Someone please clue me in on how this stuff works

Damn, this is a fantastic mix! I've been listening to it over and over for the past two weeks.

A vocal remix of To Far Away Times? Can I get a "hell yeah"? Ruben's piano backing is gorgeous too. This one is pure gratification for me

I read this in a music production book somewhere: "People tend to mix their own vocals too low." So true. The vocals are way too quiet in this otherwise-awesome remix... I can understand wanting to hide little weaknesses in your singing, but it's better to do this with layering, chorus, reverb, or overdrive/distortion than to do so by just turning the track down. Otherwise, this is great. If this is a "love it or hate it" remix, I'm in the love it camp :) Edit: if you're in the "hate it" camp, you suck!

Woo, nice. I'm gonna weigh in against the intro, I thought the theremin noise was unneeded fluff, but everything else about this piece is fantastic, from the creativity to the mastering to the instrumentation, etc. This is an instant favorite. Highly reccomended!

Very nice. This is probably the most exciting GL piece to listen to, with the possible exception of Afterlife. The up-tempo sections are a nice departure from his usual, more ponderous style. The variety in the arrangement is really impressive. You can literally HEAR the many hours of Gray's life pouring into each passage

Nice stuff as always, Darke. Very atmospheric and effective. I found the fadeout of the eighth note part at 0:30 a little distracting, though.

Good... God... This is awesome. Easily among the best vocal remixes here.

Damn, this is fantastic. The style is clever, and the execution is slick. Not much more to say about this really, it's an instant classic.

Good work as always. For the most part, this is the usual matter of Gray doing what he does best. However, the castlevania electronica elements really make this mix -- they provide a degree of ballsiness too often missing in new age music I really dig it when an artist effectively borrows from one genre to enhance another.

Jeez, I really love this. Some very clever and energetic orchestral work!