From: someone@anywheret.net   
      
   "JimD"  wrote in message news:2017061211382469229-email@nowherecom...   
      
   > It happened pre Turmps official announcent, I believe. Would have to look   
   > that up to be sure. But since O had our IC spying on citizens for   
   > political purposes, perhaps Trump had come on their radar already   
      
   The Spying is Always for political purposes!   
      
   > The process we use is exactly the same as if we were making a modern   
   > recording.  We could turn these into finished records by adding some   
   > vocals and mixing them down.   
      
   I figured as much. But what's the ratio of Nonliving to Living in the   
   performance when it's all mixed together?   
      
   Like for my demo recordings, there are 4 tracks, piano, vocal, 'guitar', and   
   bass, which means that if I were to keep the 'guitar' and bass tracks, and   
   then actually play piano and sing, mixing that with the 2 tracks, I'd be 50   
   percent Live, and of course, also 50 percent Non-live, or in other words,   
   half dead ;)   
      
   > So, that's the track thing. I play probably 80 % of the stuff myself, one   
   > instrument at at time. Each pass kept adds a new track to the project.   
   > The other 20% ?  Parts from midis I found or was given, or tracks played   
   > by a friend who could do it better than me.   
      
   That's even worse than I thought ;)   
      
   > The bass line for our version Crazy Little Thing Called Love is my buddy   
   > George. Eric played bass on a few songs.  The drum parts for my solo / duo   
   > tracks include tracks my wife did, and a few done by our band drummer.   
      
   If that was for making an album, that'd be one thing, but actually go on   
   stage like that!   
      
   > Some would say it's best to bounce a song down to a stereo file, mono mix   
   > of the music ( less the drums ) on one side, click and nothing else on the   
   > other. Route the music to the pa, and the click to the drummer.   
      
   Since stereo ultimately starts from mono sources, and after all, that's what   
   sound *production* is, no problem.   
   Stereo is only important in sound REproduction.   
      
   > In that case the drummer would head the click in his or her IEM's and play   
   > the drums live. That's standard for live band backing tracks and makes the   
   > most sense in that use.   
      
   Speaking of that, I finally got to try IEMs - we'd gotten them at church for   
   the band and just as suspected, while I'm able to endure them for several   
   songs, I ultimately had to take them out, and besides, the mixer operator   
   has no clue as to what he's doing, so I wasn't heard, my Soulmate wasn't   
   heard, and  our other guitar player wasn't heard, so better I took them out.   
   I think I'm going to insist that we get a COMPETENT sound person, because we   
   Need one!!!   
   Perhaps if we'd get someone who knows what they're doing, I'd be more   
   motivated to leave them sticking in my ears despite the discomfort, but NOT   
   the way things are currently going!   
      
   > Ah, but I use these for my solo work too, and there a drum track is   
   > needed.  So the above way won't work.   I'd need two versions of every   
   > tune. One the weird mono mix with no drums and a click ( for band use )   
   > and another with no click, but with the drums ( for solo work ).   
      
   I don't know why those horrible clicks are even used when other more   
   pleasant, more drum/percussion-like sounds could be substituted. Even the   
   more pleasant 'tick-tock' of a wind-up metronome would be an improvement.   
      
   > Too much to keep up with.  So I leave the songs in Logic, and when I'm   
   > out, mute ( or unmute ) the drum track as needed.  There are probably   
   > better ways, maybe I'll find one someday.   
      
   Totally Live is the best way! ;)   
      
   > The other reason to leve the songs in Logic as multitrack files is so I   
   > can tweek them now and then. I enjoy going back and changing the horn   
   > parts, or replaying the piano line, or whatever. Our songs are constantly   
   > changing, I'm forever fiddling with them.   
      
   In other words the Recordings of the songs are constantly being changed ;)   
      
   > Nope.   
      
   > Imagine drilling the cylinder holes of an airplane engine. It's about   
   > precision, about doing it as expected. Just the right size, just the right   
   > angle.   
      
   An aircraft engine is a Machine, a band is Not!   
      
   > We weren't doing a jam. We wer trying to let Tim play the bass line he   
   > likes so I could redo it on keyboards for the backing track we'll use   
   > live.  Since we didn't stay in sync with the click, that bassline was near   
   > useless.   
      
   You wanted to redo the bass line on keys to replace the bass player?   
      
   > Kinda like free hand drilling holes in an engine block. Imagine lying the   
   > head assembly on the top, then just grab an electric hand drill and pop   
   > some holes in it so it can be bolted on. That would work, but you couldn't   
   > replace that head with another and use those holes. They work on the parts   
   > they were drilled in, but aren't in any way replaceable or standard.   
      
   See what mixing the NON-living with the living does...causes the  living   
   portion to be regarded as mere machines.   
      
   > The click isn't about the vibe. It's about playing the parts as written,   
   > on time, in time, repeatable.   
      
   That's easy do do - just play the 100 percent tracks studio recording!   
   And that can be, and always is, repeated constantly, with the very same   
   repeatable results, Non-living, Vibeless, and BORING!!!   
      
   > I agree. Absolutely.  Varying the tempo is musical.  But it's not   
   > universal. Sometimes the point is to stay in time with the other   
   > musicians.   
      
   That's another Awesome advantage of the Love Vibe, it lets you profoundly be   
   part of the performance by 'syncing' everyone in the band so that the Music   
   can be described by the same name I came up with for our church band, AS   
   ONE.   
      
   > Ever watch a marching band ?  Imagine a free spirit out there on the field   
   > turning when they feel it ?   
      
   > Or a drum corps, a line of drummers all playing the same parts.  No room   
   > there to go against the grain either.   
      
   Lots of Vibe there. They move around quite a bit yet still keep it nicely   
   together.   
      
   > If you really have a need to do the unexpected, to go against the group as   
   > a way of standing out, fine, but don't expect to ever work in my band.   
      
   That's not standing out, it's only being counterproductive at best, and   
   disruptive at worst.   
      
   > This is interesting.  I was wondering last week, had a conversation with   
   > someone about it, whether local hacks create excitement in a song in ways   
   > other than by playing it LOUD ?   
      
   Playing too loud only damages hearing and ultimately Kills the Music once   
   one is too Deaf to hear it.   
      
   > Are you saying that music can't excite you unless the tempo varies ?   
      
   That's only part of it. Tempo can vary within the timing too, along with   
   various other nuances such as the unique embellishments a musician adds   
   while playing - all those little, yet Powerful things that makes the Music   
   Powerfully Alive!   
      
   [continued in next message]   
      
   --- SoupGate-Win32 v1.05   
    * Origin: you cannot sedate... all the things you hate (1:229/2)