Sorry bro, I'm PC guy....
Sorry bro, I'm PC guy....
Trolls take heed...LOG OUT & FUCK OFF!!!
You can't upload directly from iTunes, but here's what you do to prep: Fire up iTunes...
Find the track and right click, or control click, the track and scroll down a little to 'Show in Finder'.
This takes you to the track... now you know where it lives. This is where you will point to when uploading. Typically, it's in a folder called 'iTunes Music'. It's usually something like your HD > Users > YOU > Music > iTunes
If you need to convert them to MP3, go to your iTunes preferences, click 'import settings' under the 'general' tab and select MP3. With your track selected, go Advanced > convert to MP3. The MP3 version will live with the original file...
If this sounds confusing, there's help here too: http://support.apple.com/kb/ht1550
Can't Control your Future. Can't Control your Friends. The women start to hike their skirts up. I didn't have a clue. That is when I kinda learned how to smile a lot. One Two Three Fouir fun ter thehr fuur.
Outstanding, and thank you so much. This info just made the process much less like trying to remove a tooth with a hole punch and a hammer (don't ask).
This is another early track recorded for our second album. We rerecorded a handful of these tunes for the third release, but this one was discarded. I'm really not altogether certain why, perhaps we felt it a bit primitive and red-necky. The track features the by now patented dirty bass sound I preferred then, and still do. Essentially, we ran a chord from the control room that split into two other rooms, each containing an amp. One was set to a clean, buoyant tone, the other to either an overdriven guitar amp or my bass amp with a distortion pedal. Rather than running direct to the board, we'd mic the cabinets from a few feet away, giving a fuller "room" sound. When mixing, I could then fade between the two tracks to get the proper level a tune required: a cleaner tone for the ballads, a much more harsher tone for the rockers. I initially got the idea from an interview in a guitar rag with Sting, who would do pretty much the same thing using both an upright bass and his electric.
Don't Get Defensive
Last edited by chefcraig; 02-08-2011 at 08:46 PM.
“The greatest enemy of knowledge is not ignorance, it is the illusion of knowledge.”― Stephen Hawking
Lol Sorry my music does not suffice. Rock On The Mighty VH. No Punk Rock. Enjoy.
Last edited by SunisinuS; 02-08-2011 at 10:50 PM. Reason: Faith No More. Sheep on. Done with the Inbreeding. You all pat yourselves on the backs too much.
i did not do this..
Another one of those classic genius posts, sure to generate responses. You log on the next day to see what your witty gem has produced to find no one gets it and 2 knotheads want to stick their dicks in it... Well played, sir!!
now Pete's Brother.....that belongs in the Community Theatre on a Monday evening!!
Outstanding, and thank you so much. This info just made the process much less like trying to remove a tooth with a hole punch and a hammer (don't ask).
This is another early track recorded for our second album. We rerecorded a handful of these tunes for the third release, but this one was discarded. I'm really not altogether certain why, perhaps we felt it a bit primitive and red-necky. The track features the by now patented dirty bass sound I preferred then, and still do. Essentially, we ran a chord from the control room that split into two other rooms, each containing an amp. One was set to a clean, buoyant tone, the other to either an overdriven guitar amp or my bass amp with a distortion pedal. Rather than running direct to the board, we'd mic the cabinets from a few feet away, giving a fuller "room" sound. When mixing, I could then fade between the two tracks to get the proper level a tune required: a cleaner tone for the ballads, a much more harsher tone for the rockers. I initially got the idea from an interview in a guitar rag with Sting, who would do pretty much the same thing using both an upright bass and his electric.
Liner notes? Sorry did not get that far.
Last edited by SunisinuS; 02-08-2011 at 11:43 PM. Reason: Kristy you oh so angry thang......did you at least "get over it" when you came? Comedy.
LOL! I just record a clean track direct on it's own channel while running a plugin for playback only to get some kinda Marshally sound, and the harmonic feedback I dig.
Then, on mixdown, I can re-amp the clean track to sound however I want it.
My best friend had a mid-50s 50-watt Fender Twin for a few years back in the 80s.
Man, crank that bitch up with a distortion box at high volume and that amp sounded so evil, if it was a person, it would be coming after you with a knife!
http://www.supload.com/listen?s=hOIUyq
thanks vain and kwame
Rocket Download had that David Bowie "Golden Years" Vibe
Awaiting the epic posting of Elvis J. Palmstain's work.......
Downloaded a buncha you guys' work the other week. Just now sat down and checked it out.
Jay, great job on Whole Lotta Love.
Goddam, Vain. That song Humid just kicks fucking ass! My fave out of the lot you uploaded.
Chef, the instrumental side of these tunes reminds me of Rush: Fantasy reminds me of Bastille Day in it's opening riff. Feed Me reminds me of Rush during the Vapor Trails era. Medicated just reminds me of Rush in general, lol. Good stuff!
Ashtralia that little .aiff clip was fucking cool.
We got some grate musicians around here.
Hey what the fuck. Keep rockin'!
This track was my attempt at writing tv theme music for the opening credits of an action/adventure/cop show. It was meant to be accompanied by footage of foot chases, car chases, fist fights, shit blowing up, ect, ect. and end up with the hero and his cronies drinking someplace amidst beautiful women. I named it 203 for what amounts to roughly it's running time and because the title "Theme from a Non-Existent TV Series" was already used on an Elton John album in 1976.
Initially recorded for our third album (but left off because only three of the band members played on it), the track starts with my usual distorted bass and questionable sense of time keeping. That's my friend Craig on the leads that ultimately make the tune worthwhile by providing some much needed melody, with my bro Robbie on drums and me on some snatches of rhythm guitar.
203
Eat Us And Smile
Cenk For America 2024!!
Justice Democrats
"If the American people had ever known the truth about what we (the BCE) have done to this nation, we would be chased down in the streets and lynched." - Poppy Bush, 1992
Just a silly Jingle.
Find more artists like Cry Life at Myspace Music
Recorded on:
http://www.rolandus.com/products/pro...?ProductId=481 But used the EX model
Liner Notes:
Back when MP3.com was actually a functional and great website, it would allow anyone to upload music, and then package and sell that music for the Artist and actually ship a CD to the consumer. So you could upload an album, upload the cover art, and price the CD at $8.00. Then someone who visited the site could order the album and MP3.com would split the money with you (artist got $4.00) and then would produce a CD complete with your artwork on the cover, and ship it to the purchaser. They also allowed people to download the songs one at a time and the artist would get a nickel for each download.
Where I was living at the time, I had a friend that worked at RocketDownload which was a local Shareware company start up. Knowing that there site got big hit numbers, I told my friend to ask the owner of the company to let me make him a jingle/theme song and if he liked it to post it on his site, only caveat was that they had to link to MP3.com (so I could get paid). Well he agreed, and at $.05 a play I made like $134.60 or close to that (enough to put a full set of tires on my car).
The song samples the Apollo 13 mission with myself answering their radio calls.
All Guitars: Me
Bass: Me
All Vocals: Me
Drums: Electronic off Roland Keyboard
The lead guitar is purposefully loud tinny and frantic, meant to grab attention and be noticed (this is a commercial/jingle).
The breakdown and outro to the song was my "Journey/Steve Perry" impression just giving the listener a soft "space" feel and to pound the website into their head.
Thanks for listening.
Audio of Apollo 13's first call help (Houston we got a problem...) answer....Software Costs too much!
As an Electronaut in Cyberspace.
I must a traveled most everyplace.
Now I'm looking for...
Someplace that's free....
Now I have found a site to shareware with you
It's got the Downlow and the Downloads too....
Rocket Download.
Rocket Down.
Rocket Down
Rockit Down.
In the Vacuum of Cyberspace...
You can get your Downloads from one place.
Rocket Download.
Navigating Cyberspace....Software was meant to be free....
Rocket Download
When your feeling low down....
Rocket Download.
Last edited by SunisinuS; 02-24-2011 at 02:58 PM. Reason: We will see if this embed works
that's the new sound dude. i'm totally borgnining your concept.
http://www.jeffstanley.net/
Tell him Chuck sent you.
Last edited by SunisinuS; 03-03-2011 at 10:19 PM. Reason: Chuck from Ashland. Or just say "Diet Cola."
Been busy, struggling with an over-taxed CPU but got Pro Tools working again after a few weeks down and still getting a few things done... Guitar tracks to a new tune... This is a PODfarm Vox AC30, Marshall Plexi and my really-real Mesa-Boogie MK III's dirt channel tripled.... it needs a John Paul Jones - meets- Robert Deleo-in Geezer Butler's basement bass line and drums, but I like where it's going...
http://soundclick.com/share.cfm?id=10475860
and here's another I did a total cab emulation mic-switch-out on the existing tracks that sounds way bigger now: also AC30/Marshall + a Soldano Mod and the Boogie...This needs a McCartney-meets-Entwistle "The Real Me" vibe...the flange effect is still intentionally heavy at the end, yes...
http://soundclick.com/share.cfm?id=10029542
Last edited by jhale667; 04-03-2011 at 06:57 AM.
Being the guy that usually forces a distorted yet melodic bass line over just about anything, this might come as a surprise, but I really do not believe such a treatment would work on this, jay. The melody is already present from the guitars themselves, so to even add a counter-melody would be just too busy sounding, at least to my ears. I honestly think some sort of simple scale or an almost walking bass line would be more effective, and would not overpower the arrangement. In the outro, you could even get away with the bass repeating a 3 note octave figure (think low E, B, High E), essentially marking time by modulating, rather than moving the beat forward with accompaniment. And for this to work, a tone similar to a very clean and undistorted sound would be needed to cut through the guitar, and also to highlight the upper bass notes.
In any event, that's my take on it. Best of luck finishing up, as it sounds great at this stage!
On the first track J I would say resist that temptation to give it that one extra "dumb deya dumb deya" skip on the strumming. What was nice from the start was the "non-folk" (if that can be a word) vibe.
Yea but you then have to go beyond the riff and make a shot to the head. I just said it feels lazy that extra strum....like you are trying to say "uhm" when you are speaking "you know" ? So the fun of the recording process is to get beyond that and give yourself some time to think. Think where YOU want to go with this.
Ya know, it's just plain strange where inspiration will come from at times. I was thinking about your tune while flipping between the Marlins game (we lost) to the Shell Huston Open (Mickelson has the lead at 16) when I ran across a commercial for some new "shoot 'em up" video game. The soundtrack had the usual space-opera theme to it (yet another variation on the themes used in Holst's The Planets), and I thought of the problems with coming up with a bass pattern for your song. I was still wrestling with the idea of a repeating figure when I remembered that sometimes, the best course of action is to do...nothing. So here is the pitch:
That's right, forget about a bass line. Instead, you could use a bass level drone from a keyboard (or even a seven string, for that matter), pretty much based upon the three note separation I mentioned earlier (low E, B, High E). This would eliminate the need for coming up with a suitable repeating figure, and could be used throughout the entire tune beneath the various chord changes. It would also change the entire focus and scope of the piece, suddenly making it far more dramatic as well as cinematic in nature.
Let me know what ya think, I'm going to get back and see if Phil can win the tournament.
All taken under advisement, thanks guys. Reeeeally got lucky today and was able to record (system hasn't been cooperating in that respect at all lately) some new Boogie tracks for this tune that I'd already put down a bop-kinda bass line for a few months ago when I'd borrowed a bass guitar but never got around to re-doing the guitar tracks for called "Faux Jazz". I didn't mix the track very high, but you can tell it sounds LARGE....
http://soundclick.com/share.cfm?id=10479601
(That's the 121/SM57/D6 Recabinet "Green 4x12 set-up on the Boogie + a PODfarm Plexi and a Bassman doing the cleans...)
Dude, firstly I dig that Calvin & Hobbes image.
Secondly, you ought to try Reaper. It is lean, mean, and unlike PT, it is very efficient, stable and trustworthy. It can do anything PT can do, and only 40 bucks for a license.
Just a suggestion. Will download your stuff at work tomorrow and check it out over the next few days.
i did this version of the racing car ad mimicking a racing car... love the bass at the start.
http://www.supload.com/listen?s=JSFe9M
Your neighbours must love you...
creepy
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