How can I not get this? (DVD page on Amazon to be released on Jan 4th.)
As with the original triple album released 34 years ago profits will go to UNICEF.
Kind of: “All artists’ royalties from the sales of the DVD will go to UNICEF” which must mean that Rhino (a division of AOL Time Warner) decided to either keep the profits or contribute the money quietly. Because, you know, they do that kind of thing.
And that’s how I can not get it. A $20 direct contribution to UNICEF sounds like the way to go.
People who read this web site should recognize all of Dark Lanternist compilation called “RIAA shooting itself in the foot and quickly reloading”
This is how the recording industry treats it’s customers. If you want to shoot yourself in the head then you should consider going into business with these guys and signing a contract with these psychopaths. Really, it’ll be ok, you’re special and they will recognize it and completely fuck your career.
This could be huge: Professor Lessig has announced that CC is working on project that would recover “lost” rights to artists who have previously signed them away. This quite an ambitious and important step for musicians who have made the career ending move of signing with a major label in the last 40 years.
if the creator wants, the system would then refer the case to a legal aid clinic or Volunteer Lawyers for the Arts, so that with the help of a trained counselor, the creator could reclaim his or her rights. We’d offer this tool for free. And while, of course. we’d give creators the freedom to license any rights they recover under Creative Commons licenses, we wouldn’t require them to do so. Instead, our only purpose is to make the law simple so that it might work better for the people it was intended to benefit: Creators.
This is just smart.
And finally, I want to say that while I don’t think CC should be the very first place you drop a charity dime, if you are one of the people that posted one of the over 2,300 uploads to ccMixter or if you spent some time enjoying it you should definitely considering giving something back. If I understand it correctly, the IRS is looking at number of donors to CC this year as a means to determine their tax except status (I can’t find the link where I read that). So while the amount is, of course, important, just being counted as an active supporter of CC is important too.
(disclosure: I used to get paid from CC but I don’t any more. I may someday again. If your donation to them is contingent on me never doing that again I totally understand and I’ll try to accommodate.)
A few years ago I quit my day job with hopes of realizing my life long dream of becoming proficient at improvisational be-bop jazz guitar. I consider this form of music to be the highest achieved by mankind and I looked at myself (romantically) as not being a complete musician until I could converse at a competent level in that art form.
About four months into heavy practicing and lessons (the first I had taken in nearly 20 years) I was loose and limber. My ears were in the best shape they had ever been and my fingers were reacting with a nimble touch I had only dreamed about. In a word, I was swinging.
Then it happened: my hands blew out.
I’m including the full text of a specific method for extracting vocals from fully mixed tracks. This tutorial was posted to what is now the dead part of the gybo boards. This method is very hit or miss, but when it hits, it’s magic:
1. Get ur mp3 (make sure its atleast 192kps , preferably 256 or more) or WAV (much better obviously)
2. Load it into soundforge and do a ‘PAN/EXPAND’ process with the settings set to ‘mid side’ ..
This gives you a WAV with the Left-right material and centre mono material separated..
3. Grab the Centre mono material (which will hopefully have significantly more vocal than instruments/music.. save it as a mono WAV and load into Cool Edit
4. In Cool Edit select a section of instrumental with no vox (bit you want to reduce/remove from the vocal) and get a noise reduction profile (at 24000 FFT size + about 300 snapshots in the profile)…
5. then select the whole WAV.. preview the noise reduction.. listen to what it does..
6. In the eq graph line bit.. increase the noise red below 200 hz and less between 300-10000hz .. giving a bit more clarity to the main vocal ‘region’
7. Then maybe try some midband compression (300-8000hz) with a very fast attack (with readahead set to about 12ms) and 100ms release.. (i’ll have to post a pic of the comp curve to show you how to get good results) to help gate some of the background music left over.
8. Then go to www.soundhack.com and download the amazing, yet seemingly unheard of,.. spectral plugins (VST) (theres a free trial)
9. go into cubase (or wot ever prog u use) import the ‘pella’ you’ve made and use the spectral gate to reduce non fundamental harmonics (see soundhack pdf for more info)…
The trick is to do this ‘in the mix’ for best results… Using a fast attack and slow release with the spectral gate helps remove transients like snares and cymbals..
bloody hell .. can’t believe i’ve told you all how to do this.. took me bloody ages to perfect!..
Thanks for sharing Tim.
Buried in my logs I found a referral from a very good example of using Ableton for exactly what it was intended for over at sampleoidz.co.uk.
If you’re wondering what a uc-33 is, it’s the thing in my lame picture.
In fact, if you’re wondering what any specific reference is just ask, this is the setup most of us arrive at eventually but with this kind of expose you can get there a whole lot faster.
Started by a group of infectiously proactive remixers in Redding, this project has branched out all over the UK and is part of an even wider freeculture.org.uk grass roots movement (although it’s not clear to me where the funding to run the websites or very cool events is coming from.)
Remix Redding guys came to me about a year ago to try and coordinate with ccMixter but I was just starting ccHost (generic open source project that now powers ccMixter and this site) and they were too eager to wait a few months while that came together. Considering the overall free music movement’s life will hopefully be measured in years and decades a part of me thinks it’s a shame that only a few months difference would put us on different codebases.
But overwhelmingly I’m excited (and jealous of their energy) and since both our projects are developed out in the open I predict the two codebases will be sharing remix sources within the year.
Check out the big mix on Staccato: a Creative Commons music show » Episode 24 – hosted by Grant Robertson. I’m still smiling…