#on top of doing digital versions of other instruments like drums while doing shows

[princeofcyberpunk]

whats up motornation or whatever do we do ocs here

wanted to finalize my design of my girl oc for this show so i decided to make her in VROID, as i often do when i need to finalize an oc design, cuz its fun to use and pretty versatile if you know your way around textures n shit

speaking of that, the textures of the hair, shirt, gloves, socks were drawn by me (by editing the t-shirt and otk socks items, but i freehanded the gloves' texture)

prince's infodump about how i made the shoes and also who the oc is under the cut cuz its long:

the way vroid works is kind of weird where shoes can be edited on a sort of grid thats a certain height (this goes for most of the items honestly) regardless of shoe height. basically the shoes i used as the base here were low-top sneakers that I drew a texture over using the grid system to make them into demonia boots. I also made the soles go as platform as possible in the settings to help them look like those.

This oc is named Avery (Ava for short). She used to live in Deluxe but fell into MotorCity (literally) after the walls of her pod shut off by accident in the middle of the night. While there, she met a barely working H.O.U.N.D that she'd activated by accident when he broke her fall in the scrapyard she ended up in, taking him in as her new pet/protector in this weird new place (she calls him Pup, by the way. hes completely harmless and acts like a real dog, unless someone tries to hurt Ava lol) The scrapyard ended up being the home base of a weird boy named Victor (though he calls himself Mazk, due to the weird mask he wears that covers half his face) who doesn't trust her at all due to her Deluxian appearance. She returns to the scrapyard later, having acquired clothes that more closely reassembled his (though she wears a very poofy skirt underneath her oversized band tee, much to his chagrin) and dyed her hair a very dark pink (she used to be blonde) and this convinces him to let her join his gang (of one guy) and she suggests becoming a band, dubbing them "AV Club" (Ava and Victor club!!! or audiovisual club depending on which member you ask)

Being fairly close to the edge of MotorCity (or as close as they're able to get to the border, cuz i think it was canon that nobody lives/is allowed to live 20-25 miles from the borders?) means the two (+ Pup) dont interact with other gangs as much, though they do think the Burners are cool. They don't normally drive their car, AJAX (a 1965 Red Mustang Convertible) but they do use her for the kitchen installed in the backseat and the hidden amps she has for their music.

[euniexenoblade]

Favorite music of 2023 :)

I've found myself dealing with a wave of writer's block, and in my desire to get past it I've decided to write whatever I can. Some people said they'd be interested in me talking about my favorite albums of 2023, so here's a short write up about albums I really liked and I hope everyone will give a try.

I found 2023 to be a pretty spectacular year for weird and interesting music. With artists like Lil Yachty doing a neo-psychedelia album (fantastic, give it a listen) and Avenged Sevenfold doing some progressive avant garde adjacent metal album (I think people are wrongly hating on it, it's spectacular), it shouldn't be too surprising to imagine that the bands the mainstream hasn't really heard of are making wild soundscapes unlike anything you've ever heard.

Kicking this off with one of my favorite Korean bands, Parannoul released two albums this year and they were spectacular - both in my top 10 of the year. Parannoul are a wonderful shoegaze band that create these songs that almost feel hypnotic, they create this dream like state for their songs in ways no other band seems to be able to. After the Magic, their third album, is no different in this, but brings a new warmth, brighter instrumentation, and just in general doesn't feel as self loathing and depressed as previous works. The other release, After the Night, is a live recording, which shows that the band can produce the same dreamlike style on a stage, but do it even better. My second favorite album of the year, this live album is so incredible, zoning out to the 46 minute "Into the Endless Night" while high was probably one of my favorite experiences of the year in and of itself. (Also, if you do chose to check them out, please listen to To See the Next Part of the Dream, it's one of my favorite albums ever made.)

Using Parannoul as a sorta link between things, I also found that they worked on a song on the new Turquoisedeath album, Se bueno. I won't claim to be an expert on drum and bass, but I had a killer time listening to Se bueno. When I discovered Se bueno, I also discovered a few other, more abrasive, albums that I kind of group together in my head. Namely Chaser by femtanyl (digital hardcore) and Sisterhood by lostrushi ("digicore" feels like a frantic version of trap). If you like this kind of music, give them a try, all three are on my list.

Everyone's top albums of the years seem to have their one and two spots stolen away by Javelin and Scaring the Hoes. Starting with the latter, Scaring the Hoes by JPEGMAFIA and Danny Brown is cool as hell. Beats unlike anything I've heard in hip hop before, and the flows of both men really bring it all together. It's a great album (it's my third favorite of the year), but I also think some focus on some other hip hop titles might be cool. Integrated Tech Solutions by Aesop Rock is just as impressive and interesting and deserves your attention. Alongside that Michael by Killer Mike is a fantastic listen, though it doesn't compare to the previously mentioned two, it's still a great album that deserves your time - he won those awards for a reason. The man got arrested at an award show, the least you can do is stream his album once.

Now, as for Javelin by Sufjan Stevens, it's a great album, but it's also such a sad album. His pain is horrible, and he does a great job at making you feel it. However, the music never really hit me like other albums of the year had. The lyrics murder your heart, but I'm a tad past gay pains and want gay joys. Which is why I want you all to listen to Ultra Paradise by Angel Electronics. Half Ada Rook of Black Dresses, half Ash Nerve (I doubt you know him) this is a trans and gay power pop album that's just beautiful and fun. Songs like Return to the Sky and One Thousand and One Nights are fun ear worms, and the rest of the album just has a level of repeatability and a level of joy and fun that most other albums this year didn't have. Is it as technically impressive as Javelin? No. But, shit, it's nice to be happy for once.

Continuing off of this idea, in 2023 we saw transphobia become horrifically rampant, the right wing are really intent to get rid of us. You can't avoid how much this world hates us now and it makes you want to just scream. It creates this feeling of anger, a desire for violence, like we're past being sad and nice and understanding. In 2023 the Hirs Collective put out an album on par with that emotion. We're Still Here is an aggressive grindcore album put together by trans, gay, queer people in general. My favorite release from the band to date, it's fantastic to see Hirs screaming "We're still here!" as the world tries to erase us. This is my favorite album of 2023, please listen to it, please give Hirs your money, they deserve it and you deserve their music.

A few more albums I wanna recommend that I can't really think of anything in depth to say: God Cum Poltergeist by Crisis Sigil (Ada Rook) is a fantastic grindcore album, Goodnight, God Bless, I Love U, Delete by Crosses is a fantastic synthpop adjacent album and I got to see it performed live and it's amazing music, Reborn Superstar! by Hanabie. is a great Japanese metalcore album, and go listen to Kikuo Miku 7 for some rad Hatsune Miku bullshit.

My top 50 music releases of 2023:

We're Still Here by Hirs

After the Night by Parannoul

Scaring the Hoes by JPEGMAFIA & Danny Brown

Dogsbody by Model/Actriz

Desire, I Want to Turn Into You by Caroline Polachek

After the Magic by Parannoul

Goodnight, God Bless, I Love U, Delete. by Crosses

God Cum Poltergeist by Crisis Sigil

uma by betcover!!

Ultra Paradise by Angel Electronics

Reborn Superstar! by Hanabie.

No Joy by Spanish Love Songs

Saved by Reverend Kristin Michael Hayter

Live in Japan by Mass of the Fermenting Dregs

93696 by Liturgy

Resistance and the Blessing by World's End Girlfriend

Kikuo Miku 7 by Kikuo

Javelin by Sufjan Stevens

Integrated Tech Solutions by Aesop Rock

Poil Ueda by Poil & Junko Ueda

Enola Gay by Asia Menor

Upal by Kostnateni

The Loveliest Time by Carly Rae Jepsen

Michael by Killer Mike

Exul by Ne Obliviscaris

Hellmode by Jeff Rosenstock

Hometown to Come by Minhwi Lee

Life is but a Dream... by Avenged Sevenfold

Chaser by Femtanyl

Sadness / Abriction by Sadness / Abriction

O Monolith by Squid

But Here We Are by Foo Fighters

Stone by Baroness

History Books by The Gaslight Anthem

Why Does the Earth Give Us People to Love? by Kara Jackson

Rookie's Bustle by Ada Rook

Futility by Yakui The Maid

Let's Start Here. by Lil Yachty

The Age of Pleasure by Janelle Monae

Bee and the Whales by Galileo Galilei

Zach Bryan self titled

Everything is Alive by Slowdive

Let's Hope Heteros Fail, Learn, and Retire by Alice Longyu Gao

Se bueno by TURQUOISEDEATH

Yoshitsune by Poil & Junko Ueda

Perfect Picture by Hannah Diamond

January Never Dies by Balming Tiger

Jenny From Thebes by The Mountain Goats

Never Falter Hero Girl by Katie Dey

Sisterhood by lostrushi

[argumentl]

The Freedom of Expression Ep 58 - [NSFW] The truth behind the DIR EN GERY misprint, and a mysterious voice...

K: Hi, this is Dir en grey's Kaoru, with this week's episode of the Freedom of Expression. Joe, Tasai, welcome...Um..

T: Ah!

J: What is it?

T: No way!

K: Its 'Young Jump'

J: Ah, Young Jump.

K: I think you already know about this, but we put an ad on it like this *shows back page*.

J: Oh, looks great!

T: Yeah, it does. Very impactful.

K: Its good, isn't it?

T: Yeah, great impact.

K: There's something a bit odd about it.

J: Haha

T: Huh? Where?

J: Eh? Something odd?

K: Yeah, its a bit strange. There's a bit of a mistake.

J: Is the kanji for Oboro correct?

K: Yeh, and this is right, about the release on the 28th of April.

J: And Wenesday is correct, right?

K: Yeah, and the explosion screening schedule is ok.

T: Yeah, it is.

K: The ticket price info is also all fine.

J: Yep.

K: After that there's only this bottom section.

J:Yeah.

T: DIR EN...

T, J: GERY, haha.

J: Has a new band formed?

K: We screwed up.

J, T: Hahaha

K: Its hard to believe, right?

J: Incredible. I did not expect this..Dir en gery.

T: I thought it was like a trick or something.

J: Oh, to make it go viral or..?

T: Yeah, going with Dir en gery.

J: Kaoru, what was it?

T: We'll find out about it here.

K: It was a total mistake.

J, T: Hahaha

J: Seriously? Eh? Really?

K: Yeah.

T: Does that mean it was done on a hurry, if its a seroius mistake?

K: Yeah, I guess so.

J: Well, Tasai, you work for a newspaper, and I also work for Rolling Stone, so we understand this, but our work is handed in for checking, you know, proof-reading. And they do spot mistakes, but honestly, I have never seen mistake of this size before.

T: Yeh. This is at the level of 'accident'. However, there is a case for saying that we cannot attack this. What I mean by that is that we too make mistakes.

J: Yes, thats true. There is that. Well, this goes for magazines etc too, but if you do proof-reading within the organization, for example, if the writer writes an article, the editor will proof-read it, and they may intend to, but if everyone is really busy with loads of other work, they will run out of time. Then they will get it checked by an external proof-reader. Even then there are sometimes still typos left over.

T: Yeah, there are.

J: There are, right? Human error happens.

T: Yeah, like if I misspell a name or something, I can correct it on the digital version, but on paper it appears on every copy out there.

J: Yeah..

K: But like this?!

J: Yeah, we say this, but we've never seen a typo this bad. Like, I've mistaken small details in names and stuff before.

K: Yeah, like Young Jump becoming Young JumP, right?

J, T: Yeh, haha.

K: Not like this! *points to 'GERY'*

J: Haha, this is...

*Sound of strange voice occurs in background - On screen text: 'What was that voice?! One more time.. (Clip of strange voice re-plays) No-one during the filming heard this. Its a mystery voice'*

J: Tell us what happened?

T: Yeah, lets ask.

K: Um, we had the design made, and the designer made the regular logo and put it down here in this fixed spot, so it looked as if the logo was done, even though there was a mistake in it. At the time, I wasn't looking at the band name, I was looking at the overall design, and ths impact it had. Like this image of Kyo from RokumaykanGIG. My eyes were drawn to the best parts of the design. It wasn't really designed to emphasize the band name. Its designed to showcase this top part, so I, like, didn't see it. Die didn't even see it, and he normally checks these really carefully. Even if we miss something, he normally spots it straight away. 

J: Ah, even Die didn't notice it! ???*1

K: Yeah. We were too busy checking that there were no mistakes in the tour schedule.

J: Yeah.

K: But the information is all correct, so if its just the band name with a mistake, well, maybe its ok.

T: This could become a really rare item in time to come.

J: Yeah, cause there isn't gonna be a misspelling with Dir en grey again after this. That point will be strengthened.

K: Not for a while yeah. A long time ago, we had a single out called 'Filth', and there was a mistake in the title of the song on the cover jacket.

T: Eh? So this is the second time this has happened to you?

K: Well...yeh.

T: Hahaha

K: Well, we occasionally make small mistakes *2, but...

T: This is big.

J: Can I suggest something? Good things come in threes.

K: Ah, terrible.

J: So there will be a third time to come, imagine it, it could be both the title and the band name with a mistake.

T: Hahaha

K: Well, what can I do about it now? If you buy the single 'Filth' even now, its still like that. So filth is spelled f-i-l-h..huh? h-f...um, it's..

T: ..t-h

K: f-i-l-t-h, but the i became f, I mean h. So because there were two h's I realised the mistake. If there really is only one h, it could be that they just made the letters look in that style, but they look the same to me.

T: Ehh? I want to line Filth up next to this magazine.

J: Yeah

J, K: Hahaha

T: Don't you have it here? Filth?

K: We do.

T: Lets put them out together!

K: When I saw this (*Young Jump*) though, well, I thought it was quite rare*3, it could become a talking point. If you take a bad thing in a smooth way, someone will notice, so I thought we could just go with it.

J: Brilliant!

K: And then I posted on Twitter, like 'Ooops'. And that was a photo of the actual magazine, so it really was like 'ooops'.

T: As soon as I saw your Tweet, I was like 'Huh?!' and I went to the convenience store and bought it. haha

J: Well, in that sense it is a rare item

T: Can we decide on the correct reading for this? How would you say it?

K: Ge-ri?

J: Dir en gery (ge-ri).

K: jeri? geri?

J: geri? jeri?

T: gari?

J: Its geri, right? Well, jeri is like..

K: In the basic form its geri, right?

J: Yeah. jeri might have to be 'Gerry' with two r's.  Which is best Dir en jeri or Dir en geri?

T: Should we decide? Even though it doesn't really matter.

J: Yeah

J: Dir en geri sounds like a struggling country rock artist or something, haha. Dir en jeri has jellyfish vibes.

T: The official name: Dir en Gery (jeri). haha.

J: I want you guys to do a joke live show as Dir en gery. You could switch parts, like Kaoru, you could be on drums.

K: Ah, but we did kinda do that once, we changed parts on stage. I just made a load of noise.

J: Ahh, so you could do that as Dir en gery somewhere officially and play one song.

T: Ahh, thats a good idea.

J: Do a cover or something.

T: You could do ???*4

K: Er, no. haha.

J: Haha, this will getting bigger and bigger.

T: But I heard recently at the MeguroRokumaykanGIG screening, Kyo said  that Toshiya used to play guitar a long time ago.

K: He was playing guitar the first time we saw him playing in a band...well, I don't know if he was playing it, or just waving it around a lot.

T: Yeah, Kyo said the stage was going wild.

K: Yeah, he wasn't playing.

J: So, when you guys switched instruments on stage, what did you do Kaoru?

K: Drums.

J: Oh, drums?

K: Thats the one I wanna try out the most.

J: So if you guys played as Dir en gery, Kaoru, you would be..?

T: Drums?

K:...Nah....*imitates playing the castanets*

J: Tambourine? Oh, castanets? So, it doesn't necessarily have to be the same instruments you play at the moment?

K: Yeah. As long as we play as a proper band.

J: Yeah, so Kyo could play the recorder..

T: Someone could hit the ???*5

J: Yeah, yeah. Oh, that would be good.

*The single Filth gets passed over*

K: I'll just get it out.

*K shows cover jacket to J*

J: Oh, here, right?

K: Can you see, there are two h's.

J: Yes. I see.

*K shows it to T*

J: The first h is a typo?

K: Yeah.

T: Its a bit difficult to spot though.

K: We didn't even notice, we thought it was just the design.

J: Yeah. Put them together now.

*K puts magazine and CD together*

J, T: Hahaha

K: By the way, it was the same person who designed both of these.

J, T: Haha

K: When he saw it he was so pained.

T: Its ok, ???*6

J: Ahh, well, it can't be helped though.

*On screen note: Again? (weird voice appears)*

J: Even if there is a spelling mistake, its conveying the atmosphere that is the main thing.

K: Yeah, thats the emphasis.

J: But on the other hand, you could say that as soon as 'Dir' appears, people recognise it as Dir en grey, even with this kind of misspelling. The name is that well know.

T: Hmm, yeh

K: Hm, well, yeh, if you look at it up to here. But for us, its impossible.

J: Well, I guess yeah. It goes for Rolling Stones too. For example, if the last n in Rolling Stones became an m, you wouldn't immediately spot it. If it came up all of a sudden, you would just think 'Ah, the Stones'. It's that kind of name recognition. You could see it in that way. But I didn't know it was the same designer who did it both times.

K: Our boss was pretty mad about it.

J, T: Hahaha

J: Really? I see.

K: He couldn't believe it.

J: Well, yeah. Its also the most important part.

T: Well, yeah, and cause its already in circulation.

J: Yeah. Well, everyone can keep it as a treasure.

K: Where's Kami?

J: Yeah, isn't he here?

Kami: Oh, Im here, I was just listening the whole time. People make mistakes, right?

T: They do.

Kami: This is just a mistake. So its wrong to point blame.

T, J: Yes.

J: Kami, have you made a mistake recently or something?

Kami: Im always making mistakes, and always getting into trouble.

J, T: Haha

Kami: As soon as you've made a mistake, it hurts, right?

T: Yeah, I know that feeling.

Kami: Yeah.

J: Yeah, the person who made the mistake knows it, you don't have to tell them.

T: Yeah, that hurts the most.

Kami: I bet if you made a mistake like this though, you'd get into big trouble.

T, K: Haha

Kami: I think you really would.

T: Well, heh, yeah. But if even Die overlooked this..its like a demon interferred..

J: Yeah, unbelievable.

K: But, anyway, Im taking it in a good way. Well, I mean, it's not good to take just any old thing in a positive way, but....its a bit like those remarks by Mori that we discussed recently.

J: Oh yeah.

K: Like how to move on with it.

J: Yeah, we can learn from that.

K: Yeah.

*Sound cuts out. On screen note: Suddenly, we were unable to record to voices. Was it linked to that sound we heard earlier?*

K: Um, the sound..

J: It seems as if the sound went off.

T: I wonder whether its to do with what we just talked about?

K: What, like, 'Stop this conversation?'

J: Haha, like from ths designer's perspective...'Please stop it!'

T: Haha, yeah, 'Please!'

J: So, what about the Oboro single?

K: So, we're at the last stage, just the mastering, and a little more discussion, and we're about finished. And then the packaging. Well, there's just a little bit longer till the 28th, about another month.

J: Well, Im looking forward to it.

K: Ok, lets finish here for this week. Thank you.

*On screen note: The voice that no-one, including the staff, heard during recording was recorded into the mic data.*

*1,4,5,6 Couldn't catch

*2, 3 Not entirely sure

To top

[thepriceofbeingaroseisloneliness]

THE FREEDOM OF EXPRESSION #46 30th December (TRANSLATION)

“Dir en grey MV shooting with 3D realistic avatars”

Appearance:

 Kaoru (DIR EN GREY direngrey.co.jp/)

 Joe Yokomizo (Writer / DJ)

 Tasai Reporter (Tokyo Sports)

 God ?

Notes before reading: This is a translation of The Freedom of Expression #46 uploaded last 30th December. Originally, I planned to upload this before the 31st livestream but in the end I couldn’t, so even if we know now how the 3D avatar MV looks like, I still want to share it here before finishing the livestream report.

Please don’t forget to subscribe to their channel and watch their actual video to support the program.

  Feel free to correct me if you spot any mistake or any confusing parts. ------ *In 2021, The Freedom of Expression will be uploaded on Wednesdays* Kaoru: Hello, this is Kaoru from Dir en grey…The Freedom of Expression is starting this time…. this week again…. Joe-san…. Tasai-san…. I feel like it’s being a while…. Joe: That’s true…. Tasai: That’s true… Kaoru: There was that program (we filmed) at that location…. *Kaoru means The Freedom of Expression #42 and #45* Joe&Tasai: Yes, yes…. Kaoru: And the time we recorded 4 programs on a row…. Joe: Ah, that’s right… Kaoru: We were free for a while… Joe: We were…. Nothing changed? Kaoru: Nothing changed, yes… Joe: It also seems like Tasai was busy as well…. Tasai: That’s right.  I saw the two of you before at the Niconico livestream…. *Kaoru appeared as a guest on Joe Yokomizo’s channel last 10th Dec* Joe&Kaoru: Ah! Joe: Thank you so much for watching!  Thank you for writing an article about it immediately!  *Tasai uploaded an article about the livestream at Tokyo Sports website* Tasai: I worked while feeling jealous of you two…. Joe: No, rather than that, wasn’t the Tokyo Sports sweatshirt, or  rather hoodie wore in a great shape? Tasai: Yes, thanks to you guys it’s going to be sold…. Joe: No,no….it’s thanks to Kaoru…. Kaoru: No,no…not at all…. Joe: Please make something for the second anniversary of the channel (Joe Yokomizo channel)…. Tasai: It seems that we will do a T-shirt collaboration again…. Joe: Oh! Kaoru: I’m looking forward to it. Joe: Someday, a collaboration set with The Freedom of Expression…. Tasai: Right? Joe: Yes. Tasai: Then, we could sell it… Joe: Sell it…. Tasai: And to go Okinawa…. Joe: Go to Okinawa? The three of them laugh. Joe: The plan is steadily progressing to that objective…. Tasai:  The three of us…. Joe:  Please….. (I hope that happens someday)….. Kaoru: So, back to the topic…..can you read the it?.... Joe: Yes, I can…..yes, this is another piece of good news….. *on screen* Title: “Dir en grey MV shooting with 3D realistic avatars” -Announced a MV created by shooting members with a 3D scanner. “The World You Live In” screening events were sold out on the same day that went on sale. In response to that, an online screening event called “The World You Live In ” -additional-“  will be streamed. With a special talk in which members will also appear, a music video created with characters using real avatars created with a 3D scanner will be screened. The song used for this will be their first digital single "Ochita koto no aru sora” that Dir en grey released in August this year. The scenes of the members performing are scanned, so it is possible to create scenes in various places. Joe: So, Kaoru…. Kaoru: Thank you for reading it…. Joe: This is really good news.…. Kaoru: Originally, the programs are uploaded on Friday…but we uploaded this earlier so we can talk about this….so this time it feels a little bit irregular…. Joe: An irregular update…. Tasai: But it’s ok…. Kaoru: Well, of course, I’ve already watched it…. Joe: You did? How was it? Kaoru: First, we took pictures, we got our makeup done, we took some body impressions and…. then, this thing…. how is it called?.... with a 360 degrees camera….then in another studio…another time…we wore clothes with dots….and then…..we played air….*kaoru plays air guitar* Joe: I see….You did as if you were performing…. Tasai: Ohh…. Kaoru: Then, with the pictures they took…. Joe: Sounds quite hard…. Kaoru: No, we were done in a moment…. Joe: Is that so? Kaoru: The pictures that were taken of me with my outfit….it was just a click, then the light and “yes, we are done”. Kaoru makes a comment about makeup. Joe: Maybe it would had been better to get more shoots… “Actually, how are the avatars going to be?” (top screen) Joe: When it was already done… Kaoru: The atmosphere of it….it feels like being inside a game…. Tasai: What about the outfits? Kaoru: It’s impossible to do with the outfits on…. Of course, you can do it if you take time to shoot like that…. Tasai: I see. Kaoru: But well…. Joe: It was done that way this time….as this comes out, naturally the first thing that comes to my mind is Kokoromi* *Kokoromi (ココロ見) TV program that has been broadcast irregularly since 2010 on NHK BS Premium. This program dedicated one episode to Hiroshi Ishiguro, director of the Intelligent Robotics Laboratory, part of the Department of Systems Innovation in the Graduate School of Engineering Science at Osaka University * Kaoru: That’s it…. Joe: It’s like you had the opportunity to do that…. Kaoru: Somehow, it was like….” we can do something like this”…..”is it going to be hard?”….. Joe: It’s like, you had a suggestion, and then it seemed possible to be done…. Kaoru: “So let’s try to do it” Joe: That is…. Tasai: I’m really looking forward to the screening…. Kaoru explains that for the recreation of his movements, he had to play holding his guitar higher than usual due to the pointers (dots) he had on him to capture the movements. Joe laughs and imitates Kaoru when he shows the position, he did to be able to do the procedure, playing the guitar chest high. Joe: Higher than usual…*playing air guitar at chest-high, Kaoru burst into laughter* “One of the highlights is the position of the guitar?” (top screen) Kaoru: When I saw it, I was thinking that…..”that’s really high!”*laughs* Joe: But the position of your guitar was like if another person was shooting instead of you... Kaoru: No, holding it up that way felt like when I play bass at home…. Joe: I see… Joe makes a joke about the photographer having to take his picture holding the guitar like that. Joe: Did the other members have to change it as well? Or just you? Because of that pointer…. Kaoru says that he thinks he is the only one who had to change. Joe: But Die plays guitar holding it really low…. Kaoru: That’s true… “About other members shooting” (on screen) Kaoru explains that he was watching the process and saw some impressions moving, like the shape of a person (before being completed) Kaoru: I saw just that, and I was like “Ah, Die!”…when I saw the appearance…..it gave me chills… Joe is curious about how they did the procedure with the drums. Kaoru explains that they took pictures of the drum set to reproduce a similar shape. Joe: Weren’t the drums the hardest (instrument)? Kaoru: Maybe…. Joe insists that the drums must had been hard to capture for the process. Then, he goes back to Kaoru holding the guitar chest high. He says that playing the guitar in a lower position is cool, Kaoru agrees. Joe adds that there are many guitarists that play the guitar like that, but he thinks there isn’t any that plays it that high (chest, almost shoulder, high lol) Kaoru: Not many…. Joe: Then, the song is the single… Kaoru: Yes Tasai: You are using (for this) the latest single “Ochita koto no aru sora”…. Joe:  Doing this mv once again in this way, see the reactions again… Kaoru: As it took more time to do, it’s like a polished-up version…. Joe: It’s like a new creation…..I’m looking forward to it…. “From 23:00 on 31/12” (on screen)” Kaoru explains how the stream is going to be. First, the performance, then the videos and later, a talk with the members. That it’s going to be the flow. Joe says he is looking forward to it, jokes about Kaoru playing guitar high chest. Kaoru wonders why God hasn’t say anything yet. Joe: God, are you there? God: I am! God is here! They laugh and “scold” him for not saying anything God: I already saw it! (the video) Joe: Did you? Tasai: Did God already see it too? God: I did, I did… Joe: But it’s because you are God, right? He is different from humans. Kaoru: As he is God, he can see everything, everywhere…. God: As I’m God, I have that power… Joe: Do you have that power? God: Yes….it was interesting…it looked interesting and cool…. Joe: Did you realized that Kaoru was playing his guitar that high? God: I didn’t pay much attention to that…. Joe: Is that so? Do you have any favourite part or a part that attracted your attention? God: Well, that’s right. The footage is good after all but, the song is good because after all, Dir en grey is good at writing songs…. They burst into laughs. Kaoru: Thank you *laughs* God: I think they are talented…. Kaoru: “They are good”*imitating God* Joe: You said they are good at it….like they are talented…. God: That’s because I’m God…. Joe: That’s right….you are a pro yourself…. What about other aspects such as the visuals or the song?.... God: It was fun…. Joe: Ah, it was fun….thank you for telling us… Tasai: God should also get an avatar (of himself)…. Joe: That’s right… Kaoru: indeed…. Joe: But we haven’t seen his appearance ever…. God: I can't show it yet…. Kaoru: We should do an avatar of him…. Joe: Right? It’s a possibility…. Kaoru: I think that Tasai could draw it (God’s avatar)…. *God's avatar drawn by reporter Tasai* (top screen) Joe: He has the skills….it’s legendary…. Kaoru: It’s legendary…. Joe: Then, let’s do that! Kaoru: Draw how you imagine him…. Tasai: My image of God…. Joe: We could draw him together… Kaoru talks about his face and so when God cuts in. God: God is just an old man, right? Kaoru: An old man? We got that…. The three of them laugh and start discussing about an idea of a story to draw. Tasai: You tell me that story, and I imagine it and then I draw it… Kaoru: An avatar of God…. Joe: An avatar of God……we could do a meeting with a screening and a talk…. The three of them laugh. Kaoru: Then, next year we are doing it again, from February….a screening of a live ‘Meguro Rock-May-Kan GIG’…..well it’s a concert film screening tour around the country….. Joe: And there will be a talk with the members? Kaoru: I think so…. Kaoru: So that’s it…. Joe: That’s it, right? Kaoru: Well, tomorrow, I hope you  all can watch the livestream…. Joe: That’s it….don’t miss it/stay tuned…. Kaoru: Well, I think it’s time to end the program…..Please subscribe to the channel…. Joe: Please subscribe…. Kaoru: Thank you for watching….! Tasai: Thank you for watching! God: Thank you for watching!

[doomedandstoned]

Cassius King Drums Up Hard Driving New LP, ‘Field Trip’

~By Tom Hanno~

In the doom/stoner metal circles, the name Dan Lorenzo has become synonymous with his Vessel of Light project, but there is more to this prolific guitarist than just that band. From his days in Hades to Non- Fiction to Vessel of Light, Dan has laid his trademark work to many albums, and now he presents us with an album of original music from his latest project, CASSIUS KING. 'Field Trip' (2021) will be out next week and is, in my opinion, a must-have album.

For a bit of historical context, I want to add that Dan has been using the Cassius King name for years, from his debut solo album to his endless cover song CDs with various lead vocalists; but it wasn't until 2021 when Lorenzo decided to make an all-original album with vocalist Jason McMaster (Watchtower, Dangerous Toys, Broken Teeth, Howling Sycamore, Ignitor). This decision stemmed from the Covid-19 pandemic keeping Vessel of Light from touring in support of their Last Ride album, with Dan also feeling that fans weren’t ready for a fifth VoL album without touring the last one.

Ironically enough, the song “Join the Exodus”, which we’ll talk about later in this review, was originally written during the recording/writing sessions for the second Vessel of Light album, Woodshed. Dan tells me that, “I actually recorded the music to the song Join the exodus for the Vessel of Light album Woodshed. I wrote so many songs that Nathan forgot about it. So then Ron ended up playing on it, and it just sat there for two years until Jason sang on it. It’s probably one of my favorite songs on the album.”

Despite the connection to Vessel of Light, I don't recommend jumping in thinking you're getting music that is just like them; there's obviously going to be a comparison because of Dan, but it's not an overly large one. Cassius King is less doom, even though there’s a definite Black Sabbath sound, and Jason McMaster has more in common with singers like Bobby "Blitz" Ellsworth and Dio, than he does with Nathan Opposition; who, as you know, provides his own awesome vocal style to the Vessel of Light albums.

Jason McMaster explains further, by saying that "It was the kind of material I had been wanting to do for a long time. It feels a bit like Ozzy and Dio playing poker over some leftover Sabbath material. The melodies came to me quickly, as well as some of the lyrics. Things I already had fit the visions I had upon first listen and it all flowed immediately. I would not call it a full "doom" application of terms, but its heavy, it reminds me of what I love about Sabbath and Dio songs."

Now that we have an idea on what we’re getting into, let’s begin talking about the best tracks on the album. We'll start with the aforementioned song, “Join the Exodus.” This is the one track where I will draw that direct line to Vessel of Light, and I had thought so even before Dan shared its origins with me.

Beginning with a heavy intro, with the guitars playing a stripped down version of the main verse riff, and Jason singing:

TEARS ON THE TRACKS IN A RACE, EMOTION GLEAM AROUND THE BEND I TASTE THE RAIN DROPS AS THEY TRICKLE DOWN MY FACE AGAIN REMINDS ME OF THE SAND FALLING FROM THE HOURGLASS TIME DISAPPEARS WITHOUT A TRACE.

Jason’s vocals are performed with such conviction, such power, that you can get the idea that he’s really really feeling what he’s saying, which helps make the song seem more honest than it would if he was just “phoning it in.” This goes without even mentioning the Dio influences in the lyrics themselves, and in certain areas of his performance here.

Musically speaking, this track is heavy, with a strong groove, which really makes sense because of the era of its beginnings. Woodshed had that heavy groove throughout the album. As always, Dan has a phenomenal guitar sound, and even if you didn’t know it was him on this, you’d still know that it was him within moments after hitting play.

Towards the end of the album, we find a song that is titled, "Six," which had a working title that Dan told me came from the way the intro guitar part had sounded to him.

"And I didn’t tell anybody else this," he confided, "but the working title for the song 'Six' was 'Randy,' because I thought that opening riff sounded more like Randy Rhoads than me! Not sure if you agree, but just a little bit of knowledge on the track."

I can definitely hear that Randy sound in the intro riff, but, in my opinion, it doesn't really sound like that iconic guitarist as we get much further into the track. In all honesty, I hear more of a Kiss meets Black Sabbath vibe once the riff opens up for the verse.

Jason really brings in that Dio vibe with his vocal performance, and it shows exactly why Dan partnered up with him for this album. Between Jason, Jimmy Schulman, and Ron Lipnicki, Dan put together an immensely talented band for this album, and they all absolutely crushed it on this track.

One of my favorite tracks is titled, "Apocalyptic Nations," which just so happens to be my favorite song on the record. This tune opens up with some tribal influenced drumming, and is a perfect way to bring in the album. I think of Judas Priest's Painkiller when an album opens this way. Lyrically, this song could be about many things, but I catch a Stephen King influence in there, with his book The Stand.

TRASH MY NAME ACROSS YOUR SEAS YOU CONTROL MY DESTINY BRINGING FATES UNKNOWN TO ME LEGENDARY, WHEN PEOPLE USED TO DREAM ANCIENT STORIES OF THE TRAVELIN' MAN YOU WILL BELIEVE

If you've ever read The Stand, you'll know that the villain, Randall Flagg, is known as "The Walking Dude" and that he is hell bent on destroying civilization through terror, violence, and death. The lyrics really could be about this "Man in Black," as he's also called, but it could just as easily be about a government that is just as hell bent on the same things as Randall.

As per his usual modus operandi, Dan pours his all into the riffs contained within "Apocalyptic Nations." They create the power needed to propel Jason’s vocals into the stratosphere, while also leaving the perfect amount of room for the other instruments to shine through.

The last track that I'd like to bring up is "Below the Stone," and is one of my two top picks from this album; with the other being "Apocalyptic." The riffs have a sweet little groove to them, and are, once again, the perfect vehicle for the vocal work. I'm unsure of what the lyrical content is about, but the execution, and the arrangement, makes this song shine, really standing out from the others. This chorus section really exemplifies what I mean:

OH, OH, OH, WE PRAY FOR THE LIGHT WE MAGNIFY ALL HOPE AND THE SEARCH WILL BEGIN BELOW THE STONES THE SECRETS LIVE AND BREATH OH, OH, OH, WE PRAY FOR THE LIGHT

Field Trip will be out in digital format July 23rd, with compact disc and vinyl due out this October. The CD will include two bonus tracks, a cover of Led Zeppelin's "Out on the Tiles" (Dan actually plays the bass and guitar on this cover). and Cheap Trick's "Big Eyes." The other ten tracks are all original tunes. I have an earlier Cassius King CD that Dan sent me, which is full of cover songs, and hearing them attack these originals is really great for me.

To sum it up in one short sentence: you need this album. Pre-orders will be announced soon via Nomad Eel Records, so get ready for that and I'll see you in the next review really soon. Enjoy!

Follow The Band

Get Their Music

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[fmdjoosungarchive]

location: daisung’s apartment

date: sept-oct 2020

word count: 1844

tldr; verification for sung’s song forever rain. full everything. sung doesnt know what h2o is. contemplates the overlap of emotions and rain. almost gives himself a cold. brings the album together with this final song, the last one he writes for the album

head resting atop the couch, recorder in hand, sung felt his eyes becoming heavy. sharp breath sucked into his nose as his eyes lifted once again, and he looked across the long pane of the glass, to all of the falling beads of water, racing down and down to the floor.

he’d missed this.

after so many months having written for this singular album, after having solidified a style that wasn’t common to his usual style of writing songs, after probably hundreds of hours by then of reworking his knowledge of mixing to fit this specific album, it was nice to come back to something familiar.

he needed this.

sung’s style could be eclectic, depending on who was asked, but to himself, he felt entirely predictable. natural was his whole energy. live, in person instruments sounded better to sung than anything digital, and so too did any kind of sound effects. over his couple of years of seriously writing music, sung had been known to use a wide range of household appliances to record his music with. craft pipe cleaners, a coffee can, even a plunger once, though that didn’t end up working --and it was new, don’t worry.

in the past, he’d also recorded rain to use in a song, but sung wasn’t one for being an outfit repeater, in the form of musical repetition. the previous rain was completely different from the rain that was pouring down that day. this one, his new object of affection, sounded heavy, almost insistent, as if it was asking to come in with all of its might. in an abstract form, sung would have liked to let the rain in, and sit with him a while.

he felt a hand on his shoulder, and he turned back, to quirk a quick lip up at his boyfriend, before laying back down. sung couldn’t decipher his mood that day. he’d had one schedule, that was postponed, which left him at home, and looking at the rain. a strange feeling he wasn’t sure how to name had come over him throughout the day. usually, sung was pretty good at figuring out what he was feeling, so that he knew how best to deal with it. this wasn’t sadness, but it felt similar.

when he hadn’t been drifting in and out of sleep, his mind wandered, thinking over the path he’d taken to create what he had of his album. sung was so proud of everything he’d written up to that point, even songs that he or the company had vetoed from consideration. it wasn’t complete, though. not yet.

without having known it, that might have been why he’d sat on the sofa for the last hour and a half recording the rain. -had it really been that long? the soft orange glow on his recorder and ever moving seconds said as much.

gosh.

sung yawned, then stopped the recorder. socked feet padded around to daisuke, and after telling him where he was going, the studio door clunked closed behind him.

if he had to give a name to the feeling he was having, it would be that he felt like the rain. they’d come to be so well acquainted in that time that they’d melded into one. the rain understood whatever was inside of him, and decided to share it, and vice versa. maybe if he focused hard enough, he could learn the molecular composition of rain.

jokes aside, sung did like rain, when he was comfortable inside with nowhere to go. if it had been a year or two ago, he’d have used the whole day to rest with a book or two, sat on that same sofa alongside the rain all day as a reading companion. these days, there was much too much on sung’s mind to rest like that, despite all of the unread novels in the multitude of bookshelves he’d insisted his and daisuke’s apartment have.

on the other hand, the connection he’d felt to the rain was purely based around feeling, emotion, which wasn’t possible otherwise. and sung wanted to write a song dedicated to the rain. true to form, black and white met flesh, a breath filled sung’s lungs, and when he let go, keys pressed down in their first chord. there was no true rhythm to anything he played. sometimes, a feeling, or an idea, could take him to the eventual tempo of a song. this could be that, vaguely, if the tempo is ‘slow song’. although, the idea of creating what would be a ballad for a rapper was tempting. many of the songs sung had written, and put into his final consideration pile, were slower. he didn’t want to get caught up in stereotypes and expectations of needing to be the fastest rapper on the planet. sung was happy to just make good music.

he was happy, with what he’d written so far. they followed a theme, and circled around, rather than aimlessly, like an endless cycle, coming back around to one another with purpose and sense. sung wanted to solidify that cycle.

thoughts pinged around further out. sung could take his time to rap, and make a slow composition, but he could also connect this song with the themes he’d been writing in the rest of the album.

sung paused his playing and grabbed a notebook. at the top, he wrote, ‘rain,’ and below that, started listing off everything this reminded him of rain. it could be romantic, searching through the storm for your lover during a difficult time to tell them you’re sorry and want to be theirs. rain could be joyful, bringing child-like spirits to dance and play amongst it. rain could be gloomy, highlighting the negatives of a day with darkened, obstructed skies, and wet, squishy clothes. but, rain could also be comforting. not only when there was the barrier of touch removed, only to enjoy it from a distance with warm, cozy comfort, but in experiencing it.

sung paused. his chair moved so fast it squeaked. his shoes were half righted on his feet. before long, his clothes were drenched. underneath the falling water, sung raised his head to the sky, eyes closed, and let the droplets hit his face as they pleased. the type of pressure on his skin reminded him distinctly of showers, then, crying in the shower. many people he knew had cried in the shower before, himself included, because it was impossible to separate tears and shower water. right then, sung felt like if he cried, no one would know.

there, was that comfort.

he wasn’t alone, when he’d stepped out onto the street. people had been passing by here and there, but sung hadn’t registered them, and they didn’t care to stop to know what he was doing. sung tested the theory, looking out, but most of what he saw were umbrellas, rather than faces. they could be anyone, doing anything. when he looked down, he saw a wobbly, vague version of himself.

chills hit, unsurprising for a man who hadn’t thought to grab a coat before storming outside in the rain, and so, sung took himself back upstairs, drenched, but sure.

sung could barely contain himself long enough to change his clothes before running back into the studio room. rather than going back to lyrics, he hopped back onto his piano with a new feeling inside, and started recording immediately. that took all of, ten minutes, but going back through it was harder. while this method meant that sung could let his emotions take over, and come up with something as authentic as possible, it also meant that mixing would take forever. even after choosing what he liked best, he’d have to go back to expand upon those ideas until they sounded right, and piece it all together digitally to get an idea of what he wanted.

it was worth it, though, to spend those extra few hours on it, because when it came to what he’d chosen as the final product, there was no doubt. the last thing he did with the composition that day was to figure out a little bit of a beat, with a small drum he had in the studio. compared to what he’d written before, it was nice to put more effort into live sounds, even more than he might usually.

after that, sung officially called it quits for the night... not like that stopped him much. he kept going back to the studio to jot down ideas and lyrics to where he started carrying the notebook around the house with him as he finished off his night. and, he finished late. not only because of his radio show, which might have been the only to blame under other circumstances, but because the creative thoughts flowing through him took forever to quell.

by the time sung woke up, that forever had translated into the concept of a forever rain. like the rest of the album, he’d taken the gloomy, comfort route. in tying the album together, it also expressed emotion, as is, point blank. really, the song was about the desire to let out emotions. sung struggled with the concept enough himself. being vulnerable in front of others could be terrifying, and sometimes, it was nice to have a non-living creature like the rain to share it with. while the end goal, the deep seated desire, may be to share with other humans, having rain was a non-judgmental partner to be listened to. after all, the rain understood pain; it was simply the result of clouds crying out from too much being bottled up.

feeling emotions as they came was important. sitting in one’s feelings was perfectly right. and sometimes, the overwhelming essence of letting emotions out can make you want to run away, but other times, you might want to stay. shrouded in, covered up by the innocence of rain, it can feel like the place to be is in that rain.

this album was sung opening up his emotions, to the rain of the listeners. the thought was terrifying, when bringing it to real people. it was necessary, good for him, though, because no matter how tempting it can feel to be in the safety net of a forever rain, rain would never last forever.

that day, the rain had stopped before he went to bed. the clouds had moved on, and so did too the strange feeling he couldn’t quite place. through the process of working on the song further, adding a guitar riff, matching ambient sounds to the rest of his ‘chapter’ songs, mixing and remixing and remixing again his own voice, sung had come back to that rain. whether the water fell from the sky, it fell from his eyes. in the shower, and on that sofa, wishing the rain would come to make him feel less alone. and yet, every time his own personal rain fell, it ended.

a forever rain was a concept, one that he would leave the audience to interpret, just like this album.

[haus-of-wu]

Time_Slip Reaction/Analysis

i might’ve listened to this on repeat all day at work

I was a bit worried about how far they were going to take this retro/newtro concept, but this album has only been a bunch of pleasant surprises.

Thank you for putting together such a happy-making album.

1) The Crown

I knew I loved this track the moment the video came out. It’s up in the rock anthem genre that Super Junior hasn’t touched in a couple years, and I’ve been waiting and ready for something like this. The percussion at the beginning of “The Crown” is an obvious nod to “We Will Rock You”, but the instrumentation and general vibe also reminds me of Imagine Dragons’ “Believer”.

The KRY “I’m ready for you now”s in the bridge are 1000, and the lyrics really hit home for me as someone who has been an ELF for roughly a decade.

2) SUPER Clap

Not gonna lie, when I first heard the demo on SJ Returns and saw Ryeowook immediately dancing in his seat, I wasn’t sold on it. (To be air, I was still super attached to “I Think I”)

Rhythmically, this track is very interesting. The bass line and sound effects on top keep the song very dynamic and gives it a continuous sense of urgency behind the tempo.

The song also makes a good use of space/silence. Ryeowook’s solo during a relatively quiet bridge was just the right way to break things up before the dance break instrumental. Also the expectant pause before Yesung’s solo “Yeah” just adds to the hype.

3) I Think I

I knew this was going to be a bop when I saw the teaser. It’s an easy feel-good song, and you can’t help but groove in your chair with the chorus. However, after listening to it a few more times in the past week, I can understand why it was ultimately not picked as the title track. It’s great as a song that everyone can sing/hum to because it’s predictable. This pro is also a con in the sense that it can probably be easily glossed over because it lacks an extra WOW factor.

One thing I will give the composer/arranger credit for is having the two verses use completely different melodies. Donghae and Heechul’s parts in the first verse are very syncopated R&B, while Kyuhyun and Siwon’s parts more comfortably follow the rhythm. The melodic instrumental is more subdued during this first verse, and becomes brighter/more obvious in the next, which makes this switch up work very well.

The chorus is ridiculously satisfying. Mostly because the “I Think I” section builds up really well to the drop - it just resolves so well. The last chorus really brings in all the dramatic accented percussion and brass, along with the vocal harmonies.

And of course, it isn’t an SJ song unless Ryeowook is just gliding above everyone else in the last chorus.

4) Game

I also was hesitant about this one when I heard the demo. I immediately got Bruno Mars vibes from it, and I struggled to picture SJ singing this.

Bad things first: the ad-libs at the beginning of this are the worse version of the beginning ad-libs from last album’s “Scene Stealer”. I understand that they want to use the beats and the ad-libs to set up the early 2000′s hip hop vibe, but the lyrics and delivery are just not as good.

If we ignore the first 20 seconds of the song, Kyuhyun swoops in with suave vocals before rap line takes the fuck off. The lead-up to the chorus “Say whatcha gonna do?” with the increasingly fast drums really makes me think of “cuz uptown funk’s gonna give it to ya” from Bruno Mars a la “Uptown Funk”. i KNEW this reminded me of something good god

This track grew on me. It’s has a good funky chorus with fire pun intended rap bars, and Ryeowook going up high in the last chorus.

5) Somebody New

The feel good American boy bands of the 2000s called, and they want their musical style back - this song just instantly makes you happy.

My favorite part is easily Hyukjae’s rap. It’s a more aggressive accented style that still flows exceptionally well in a track where you wouldn’t expect a rap verse.

This song makes my heart soft and warm, that is all. (Is it a SJ song if Ryeowook isn’t wildin’ up there? Nope.)

6) Skydive

I think this might be my favorite track on the album. If you wanted a tropical house bop with high-pitched distorted digital background voice samples and crystal clear singing, this is the song for you.

This song has a much fresher feel to it - it sounds like something a much more rookie group would sing. Like if SJ debuted in 2019, this would’ve been a dope debut track.

On a completely unrelated note, when the beat drops, the instrumental makes me think two cursed things: the caramelldansen chorus and the instrumental of this specific remix of the Chinese “Learn to Meow” song. Those two parts might be cursed, so I really can’t explain why I love this track so much.

I’d let SJ take me to the club any day

7) Heads Up

Mayhaps the foil to “Skydive”. This is a lot more sultry/mysterious and the instrumentation is heavily influenced by the deep synthetic brass. The lead-up to the chorus has some trancey/trippy scales.

I think this is the track that “sounds” most like their age. It’s a nuanced, confident, and sophisticated track that lets you hear their many different sides.

Kyuhyun and Yesung’s timbres really complete the vibe.

8) Stay With Me

This probably my least favorite track. That doesn’t mean it’s bad, I just don’t think it’s as up my alley as all the other tracks on the album. There’s a ton of good vocal harmonies, but it’s pretty lackluster for me.

I think it takes a bit too long for it to ramp up. “Stay With Me” is probably the most repetitive track, along with “I Think I”, but the chorus isn’t as satisfying as “I Think I”, which is why it ranks lower for me.

9) No Drama

A nice chill R&B groove. It’s something you’d play in the car while on a leisurely drive. Probably also a contender on the “Repetitive Track” list, but it’s not as grating to me as “Stay With Me” - it’s something I could listen to on repeat in the background while coding at work.

10) Show

This is the type of song you play during the finale of a musical. Like it just feels like happy bowing music.

Electric guitar solo - A+. The harmonies when everyone sings together are wild.

Another song that just puts a smile on your face.

[noramoya]

Mixing

You've seen all the photos of Bruce Swedien at a giant console, intently mixing a song. If fact when I started writing this post I was digging through some of them, but I decided to just show some mix notes and let your mind do the rest. Photos are so cold sometimes. I don't want to write specifically about the "Smooth Criminal" mix (I might comment on the notes in a bit), but rather what it was like when Bruce really settled in to mix a song.

FIRST, some terminology: -Appetizer, Entree, Dessert. =Tracking, Overdubs, Mixing.I came up with this analogy for my seminars because I like food, and it roughly illustrates how many albums were/are recorded. The appetizer/tracking is when the project starts. It moves fast with laying down drum tracks and bass and keyboards and scratch vocals. The song starts to take shape, but it has a long way to go.

NEXT, comes the entree/overdubs, which are the background vocals, guitars, polished keyboards, percussion, strings/orchestra, choir, and course lead vocals. The song now really starts to come together and almost takes on a life of its own.

FINALLY comes dessert/mixing. The musicians are gone, the mic cables are rolled up and put away, the pressure is now 100% on the engineer to take all of the tracks (some songs might be 40, others might be 120) and combine all of these sounds, add reverb, shape each instrument with EQ, compression or various effects - or leave them clean and pure. It's the time for the engineer to no longer capture the sound going into the microphone, but now create a sonic painting for the listener. I love mixing.

Bruce Swedien is a master mixer. We usually turned the lights to maybe 50% in the control room. There was fresh coffee, and maybe a couple Butterfingers or some popcorn. Usually it was just the two of us in the room for hours on end. It was not a collaboration - I was there to assist, not make a bunch of suggestions.

Back in the 80's and 90's we recorded and mixed on tape. The nice thing with tape is you get to the end of a song and it takes maybe 35-seconds to fully rewind to the top of the song. During that time an engineer has a few moments of silence to think about the mix, take a sip of coffee, stand up for a stretch, or chat with the assistant, or whoever else might be in the room. Most engineers now use Pro Tools or some form of hard disc recording, and everything is instant, losing those few seconds when everything just seems to take a breath before the next pass.

When Bruce would mix most of the time he was listening on his trusty old JBL 4310 speakers, which later were traded in for Westlake BBSM-8s, and later still for Westlake LC-3W12's. These are sometimes called "nearfield monitors", which are designed to deliver the music as accurately as possible, at comfortable, medium/loud volumes. The theory is they replicate a nice home or car audio system. Bruce was very scientific about the volume he listened on those mid-sized speakers, so his mix adjustments were actually changing the sound of the mix, not the volume heard in the room.

Here are two things that might be tricky to understand. First, Bruce starts mixing a song from day one of tracking (appetizer). He is already hearing an early version of the mix in his head, and making adjustments during recording that will make the song sound as good as possible when it comes time to mix. During the overdubs (entree) this continues, as he "mixes" the song after any and every new part is added. This way, everyone can hear where the song is going sonically. Second, when Bruce (or most engineers) mixes a song, he will mix it for hours and hours, sometimes 1-2 days. This is incredibly fatiguing, and the amount of focus it takes is impossible to describe. To keep listening deep into a song over and over and over again is more difficult than you might imagine, as the engineer must not let the sounds all jumble together in his or her brain.

That said, Bruce was very fast as his tracks were so prepped for the mix that there was no need to cleaning up mistakes and messes - that had all been done earlier during overdubs. So now he could focus on levels, careful placement of the high-hat just off center, very specific EQ'ing of each instrument and vocal. He would use very little compression, preferring instead to let the dynamics of the song explode out of the speakers. Let the song build from a whisper to a scream, take the listener on a ride.

Mixing, to the non-engineer, is very boring. There are no drummers telling jokes, or bass players telling about a disastrous date they were on the night before - it's just the engineer and his imagination. There were times when Bruce might mix for an hour and neither of us would say a word. Occasionally I might chime in with a comment about the reverb on the horns, or we might chat about his Swedish boat mechanic, or start discussing dinner options, but it wasn't a chat-fest. This was all about mixing.

No two days, songs or projects were exactly alike, but if Michael was there Bruce would get the mix where he wanted it, then he would have me bring Michael in. Michael would sit in Bruce's chair, I would have a notepad and pencil ready for him, and Bruce would leave. Seriously. Bruce would go to the kitchen and find a snack and leave me to face the upcoming hurricane.

Michael might make a silly comment with my nick-name ("Play the song Really Really Brad...") or he would just make a face and I would hit PLAY on the machine. He knew the button on the console to switch to the big speakers, and he knew how to crank the volume to 100%. By now I would have already had a pair of headphones on my head, and a look of mild fear on my face. It was going to be loud. Really, really, really loud.

The song would hit hard, and he would bounce in his chair and laugh and dance and take notes and bounce some more, like it was ride at a carnival! You couldn't help but enjoy the show. The song would end, and Bruce would come in and they would chat. "It needs more guitar, and more keyboards, and the snare needs to hit hard! Really hard!!" His smile and laughter showed that he loved where the song was going, he just wanted more... of everything. Bruce would take these notes and follow them within reason, as his job was still to deliver a great mix while giving Michael the sounds he wanted. Bruce was a master at finding that balance, and Michael was very persistent at wanting the song to match what he was hearing in his head.

We might stop for dinner, run the mix a few more times, then finally "print it" (record it to two track), then I would make cassettes for Bruce and Michael, and begin the long task of documenting every knob, reverb and setting into notes and Polaroid photos. They would leave and listen to it on the drive home and again on the drive in the next day. Sometimes it was perfect, sometimes hearing it in the car after a good night of sleep revealed something that could be better, and Bruce would make the adjustment. And I would document everything again. Then there's the choice of recording the mix to analog or digital, but I'll save that for another time. Go enjoy a couple helpings of dessert created by Bruce Swedien. I would personally recommend the impeccable mix of "Lady In My Life" followed by a heaping scoop of "Will You Be There", but the menu has a lot of choices. Enjoy your dessert !

[happymetalgirl]

Tool - Fear Inoculum

I didn’t actually intend to review the long-awaited fifth Tool album so long after its release, time and life got in the way of things, but I’m kind of glad in a way that I’m talking about it now after all the inevitable and ridiculous hysteria surrounding it has mellowed out, which is (spoiler) kind of a sign of the album’s relative quality next to the band’s other four records in and of itself. And, while now I get to talk about it without the confounding noise of the loud clamoring on about it, I don’t really think my words would have really been too different a month and a half ago than they are now.

Tool are a band, of course, who need no introduction; their cerebral brand of progressive alternative metal has become signature and iconic, and their four albums from 1993 to 2006 that preceded this one have served as an influence, if not a lofty aspiration, for thousands of artists since then. Like any self-respecting Tool fan, I consider Lateralus and Ænima to be roughly neck and neck at the top for my favorite spot in the band’s discography (the joint “Parabol” and “Parabola” together being my personal favorite Tool song). Those two albums show the quick crystallization of the band’s progressive metal psychedelia from their rougher, grungier beginnings earlier in the 1990′s. Though I do hold a lot of respect for how accomplished of a debut statement Undertow was, and how much ground it laid for the two albums to come. And even Opiate served as a strong prequel EP to that album. The band’s fourth album, 10,000 Days, however, took a perplexing turn from the heady, yet still metallic prog hallucinations the band had worked up to, and into more drawn-out, spacey experimentation, which I’d say haven’t really aged into anything and sound about as unnecessarily dilute and jam-band-ish as the day the album released in 2006. The album had its high points like the thundering bass of “Vicarious” and “Jambi” and the alternative metal oddity of “The Pot”, but it’s a largely tiresome and less rewarding listen than its predecessors. And that was the last we heard of Tool for thirteen years.

The tremendous wait for the album of course drummed up a lot of speculation of what it would sound like in relation to their previous works. Would it be a return to the beloved progressive metal of  Ænima and Lateralus? Would it be a culmination of all their sounds in retrospect into one gargantuan crowd-pleaser? Or would it be something totally new for the band. Not to toot my own horn, (and not like I can prove this anyway), but I had this hunch that this album would probably be just a delayed continuation of what the band were doing on 10,000 Days, and, while there is the occasional reinvigoration of their sound with some stylistic callbacks to their middle two records prior, lo and behold, as much as I wish I didn’t, for the most part I guessed right.

Coinciding with the band’s acceptance of the times and the advent of streaming with their release of their catalog onto digital platforms, Fear Inoculum was released as a single-disc CD and as a longer, digital version, with three extra instrumental interludes sprinkled throughout the track listing stretching it past the limits of the CD format to nearly eighty-seven minutes, and it sure feels like the hour-and-a-half-long listen that it is, and not in a flattering way. Like I said, the album is largely a continuation of the atmosphere-focused prog of 10,000 Days, which is only somewhat updated from the band’s 2006 effort. The main songs are all over ten minutes long, and the similarly low energy across the marathon track list doesn’t really make a great case for this direction in contrast to what the band have shown themselves to be great at, namely vibrant, untethered prog adventurousness.

The opening title track layers together plenty of diverse tom percussion and the band’s recognizable guitar reverb into a slowly growing and whirlpool (kind of like the album cover) of Tool’s 10,000 Days sonic pallet that gradually cascades into a thicker, distortion-fuzz-driven finish. The abstract, cryptic lyricism about shedding the influence of manipulative fear mongering is more cryptic than poetic, but I can see the vagueness of the subject being a good way to make it widely and appropriately applicable in its commentary and play into the paranoia of refusing to acknowledge exactly what this deceiver is. As a tension-builder, it’s a great way to start the album off, but it doesn’t really seal the pay-off as the heavy bass line tries to usher in a climax while the other instrumentalists mostly just coast on forward to the end of the song like a tired distance runner giving a bit of a burst to finish the last stretch. And that’s one of the shorter tracks, with over an hour left to go.

The second song, “Pneuma”, is structurally not too dissimilar, with a synthy bridge this time connecting the meditative tom-drum/reverb-guitar build-up to a relatively hum-drum metallic non-finale. It really only marginally feels like it’s that kind of progressively building song, clearly being more focused on its meditative ambiance than its intentional trajectory. In which case, I would have honestly probably preferred the band taking that approach more holistically, rather than trying to fit it into a prog metal formula. Lyrically, the song centers around a lot of transcendentalism that Tool have written about before, not really adding much new beyond perhaps a slightly different angle to meditate on it from. The song is followed by the first of the instrumental interlude tracks, “Litanie contre la peur”, which plays around with a melodically manipulated vocal inflection over some humming ambiance for about two minutes.

The third big piece on the album, “Invincible”, which finally plays a little more to the band’s progressive strengths. The guitar groove is actually allowed to drive the song and shine in a more energetic manner as Danny Carey gets to get a lot more bombastic behind the kit, as do the rest of the band during the instrumental sections throughout the song. It’s not only a more metallically groove-driven song whose heavier elements are actually used to cultivate a sense of meditation from a much more signature angle, but also a more interestingly progressive song that does more than just slowly swell up to a mild crescendo for ten minutes. The worries of the song’s warrior speaker are pretty transparently transposeable to the worry and struggles any aging artist (especially a long-absent artist like... Tool, maybe) to maintain their importance and the meaningfulness of their work.

The ominous bass hum of the second interlude track, “Legion Inoculant”, leads into the fourth of the album’s main epic songs, which keep getting longer and longer with the thirteen-and-a-half-minute environmental apocalypse warning “Descending”, which pleas for an end to the apathy that exacerbates the compounding climate crisis. Musically, the song plays into the somber melancholy of the lyrics, while taking a more balanced approach between the spaciness of the band’s last album and the heavier elements of Ænima in particular, perhaps intended given the similarity of that album’s title track’s subject matter. While some of the later sections feel a bit over-indulgent, this song deserves its length as it cascades through emotive defeatism via progressive metal ebbs and flows into this impending metallic crescendo that actually fits nicely with the melancholic rock build-up and the lyrical implications; it sounds like its tracking the collapse of , much like the title track of Ænima., starting and finishing with the sound of waves upon the shore that will continue to crash, just as they did before our takeover of the land, after our demise.

While the lyrical concept revolving around self-doubt and  of “Culling Voices”, is fascinating and all too tangible, the music falls more on the mild side again, with the band’s softer, more meditative atmosphere crashing just twice into explosive, but unimpressive climaxes of muscular, but not too creative, guitar riffing. The longest of the interludes, the wind-chime-laden and effects-doused electronic pulsing of “Chocolate Chip Trip”, features a tasty little drum solo to kind of make up for the lack of spotlight Carey gets on this album as he does so much of the rhythmic legwork, which I certainly appeciate and welcome.

The closing epic, “7empest” was the song fans were fawning over the most as a monstrous riff-fest after the album was finally released, and the riffing across the song’s almost sixteen minutes, as well as the repeating of the lyrical mantra, do capture some Ænima vibes, which makes sense knowing it was pieced together with motifs written during that era. The song’s lyrics once again call back to that breakthrough album with the repetition of the mantra “A tempest must be just that” in reference to the convenient muddying of the waters of responsibility for disasters caused by said chaos once it arises. It’s a song about those in power managing to use the chaos they create through their mismanagement to hide their guilt and just divert the blame on the chaos itself. The song is proggy in Tool fans’ favorite way and indeed dense with churning effects-laden riffage and a faster, much more aggressive vocal performance from Maynard James Keenan. While it is the longest, heaviest, and most vintage-Tool of the tracks here, I’d say it only stands a bit above the rest of the track list, and honestly maybe not surpassing the magnificent “Descending”.

The digital version wraps up with the odd, but disposable coda of the two-minute chirping sample manipulation of “Mockingbeat”, a strange note to end this version of the album on, but ultimately nothing destructive.

I had talked about Rammstein’s self-titled album and Slipknot’s We Are Not Your Kind as being among the year’s biggest of the biggest metal releases, but the long-awaited arrival of Fear Inoculum tops them both. Yet for all the drama building up around this album, all the hype that was inevitably going to hoist hopes and expectations to astronomical and similarly inevitably unrealistic levels, Fear Inoculum sits average at best, if not rather low in the band’s small catalog, and the rather quick hushing of this hype from fans and the metal sphere in general shows that I’m not alone in my relative underwhelmedness after the thirteen-year wait. While that sounds harsh, it is just because this album had such incredibly high expectations to live up to that it was most likely never going to meet. Fear Inoculum isn’t a terrible album by any means, but it does suffer from being drawn out the most by its weakest elements, its least creative ideas stretching it out in hopes of finding purpose for doing so, but coming back empty-handed. A little while after the album came out, Maynard made some kind of comment about this album being great eight years ago, which suggested that it had been in the works for a long time but perhaps held up by frivolous reasons, but also that it was composed largely near the time of 10,000 Days, as I thought it might have been, and it just kind of bugged me that this album probably didn’t need to be the huge prodigal event it was, maybe just an acceptable transitional moment for Tool to figure out what they wanted to do with their expanding sound arsenal. Instead we got arrested development dressed up as a comeback at a time when we might otherwise have one or two more albums from this band (by their releasing pace), possibly more accomplished. I had mentioned in my review of Opeth’s newest album that they deserved the patience with their prog rock transition, and that album showed it. It took four albums to get a record that could stand tall alongside their progressive death metal classics, but it came, and the journey did come with some good highlights along the way too. The journey to this album was a test of patience with clumsy publicity for several years more than anything else, not quite as rewarding, no music to offer along the way (aside from side projects), and still a sense of a band just picking up where they left off years ago without really assessing their direction. I’m glad Fear Inoculum is finally here, but I think others will share this sentiment with me even if they haven’t said it to themselves out loud. Yes, we got a few strong highlights out of this record, but I’m more relieved that the fiasco surrounding the wait is over than I am excited to have this batch of new songs (the latter of which I wish outweighed the former).

6/10

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💾 ►►► DOWNLOAD FILE 🔥🔥🔥 It is available for iPod, iPad, and Android-type portable devices. Using Nexus Plugins, you can do this. It will show you magical sounds and effects. When you enjoy it, the full version offers free longtime update loops. FL Studio Serial Key produces outstanding music. The experts and musicians work in the medium term and are used by DJs for top concerts. That is the most demanded program in this field. You can use this software all day without any worries. Everyone is afraid of security problems. When you deploy any computer program, enter viruses and malware on your computer, giving access to your profile and essential details. In any case, the FL Studio License Keys provide security; after installing this software, your computer can not be attacked, and secure your data. It has the advantage that anyone can easily update it with a single click. The last version will update automatically without doing anything. Perhaps, musicians are a significant thing they cannot forget in music production. In most cases, when the instruments are of better quality, the music will likely also be of the best quality. Once you know the basic principle of the operation, you can make any music you want with any tool of your choice. The unique functions of the full version did not sound like the extension shifting time. It allows the user to produce music of appealing quality. This studio contains a large number of effects and filters. That is very useful when it comes to popular music. Despite being such powerful software, FL Studio I first find FL Studio challenging to use for less experienced users or those who have never worked with a similar tool. It comprises many buttons corresponding to the various options accessible, which may appear excessive. It has a graphical user interface similar to that of a music sequencer. Nonetheless, detailed Help elements are included, so beginners can learn to use them over time. This application, which is always running on full screen, has a lot of options on the left side of the screen, while the right side is solely for mixing the uploaded music. A virtual piano is featured as well, ensuring that you may create the song or effect that has been stuck in your brain. FL Studio Crack uses the fastest method from your thoughts to your speakers. Because a complete kit of instruments and studio tools is included in the price of the package, no additional software is required to produce any style of music. FL Studio Drum machines and samplers, for example. It also has several plugins. The majority of them can be used as stand-alone programs. The user can create complete songs, backing tracks, loops, or sizzling beats using the included plugins, sounds, and tools. In addition, VST Virtual Studio Technology is included in the software, making it interoperable with other workstations. It can be a remote control and data transfer between digital audio programs. It is the top digital audio workstation in the music industry, employed by prominent piece creative artists. It is complete software in the music industry, providing an entire production environment and a digital audio workstation with additional capabilities. FL Studio Torrent is a digital audio workstation and complete package software for composers and producers. It comes with a fantastic graphical user interface. It is also compatible with both Windows and Mac computers. This software will make all of your dreams come true in the music industry. FL Studio Torrent is one of the most well-known publishers globally, and some of the most talented musicians utilize it. It also provides various audio tools and audio programs, and sound publishers. The new modules will allow you to develop powerful mixers, EQ, integrated devices, and further music modification and reproduction. This app is widely used in the music industry. FL Studio is simple to install, even though it is a very productive piece of software. It also allows users to interact with the tunes in new ways. You can also download WinZip Pro Crack. Stop the problem by clicking Copy on the map. Then, erase the objects by holding right-click. Beautiful and up-to-date user interface with a fresh look. It has large automatic rollers. You can use it with VST plugins installed, which is incredible. It has a new keyboard and a loop driver. Maverick rhythm provides original audio features in stretch mode. Various audio changes for use with piano. An advanced digital audio workstation is available in the market. Clean all the things with just one click. All people can use it very quickly because of its friendly user interface. Work efficiently according to your preferred choice.

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Recording Software Download For Mac

Free Screen Recording Software Mac

Voice Recorder software, free download For Mac

The #1 video, audio, game, webcam, screen and voice recording software for PC and Mac is intuitive and user-friendly.

Next, I'll list some premium options for Mac recording software and screen capture software so that you can choose the best package for your needs. Free or Open Source Screen Recording Software for Macs. If your project is on a tight budget, you may not be able to spend much on Mac recording software.

Record clips with Medal for free with hundreds of games to choose on PC and mobile. Start a game, press a button, get a link. Record clips with Medal for free with hundreds of games to choose on PC and mobile. Download for Mac. Accept donations. Custom buy button on clips. Synced mobile app.

Record videos as avi, wmv, flv, mpg, mp4, mov and more video formats; Capture video from a webcam, network IP camera or video input device (e.g., VHS recorder) Screen capture software records the entire screen, a single window or any selected portion.

How to Record Audio on Mac - External and Internal Sound Recording: Mac Computer is well known for its Macintosh Operating System. Most people choose MacBook or Mac PC because of its flawless performance. Mac OS offers some amazing features that are.

Most of you might have been wondering how to get your guitar track record into your laptop, PC, or Mac. While there are a number of ways to do so; one of the best ways is offered to you by the guitar recording software. There is a number of software’s designed to fit your needs finding compatibility with Apple, Android, and Windows platform.

Related:

As you search for the best one out; have a look at the review of top six guitar recording software you might find suitable using.

nTrack Software

Coming in a downloadable size of 56 MB/32 bit; this software projects real life songs with multiple tracks ranging from vocals, drums, bass, choirs, rhythm and lead guitar. The original file comes in .sgw format or song file format. Upon loading the song file; the program decompresses the compressed audio data. nTrack studio finds compatibility working with Windows 7, 8, 10, XP, Vista and 2003.

Recording Guitar

Recording Guitar offers you with the latest guitar learning and recording techniques. You get to share music exclusively created by you with others, enhance your practice time, and collaborate with players even far away from your home or practice session as well as experiment with a number of effects and amplifiers. This software is compatible using with all Apple, Android, and Windows devices.

Cubase Pro 8.5

While the previous versions of Cubase Pro are meant to use by amateur musicians; 8.5 version is solely for the professional ones. Star musicians and music producers have used Cubase Pro 8.5 for composing as well as recording, editing, and mixing music. Its high-quality audio and advanced MIDI tools make your music sound best irrespective of whether you are recording a rock show or orchestra in the studio or live. This software is compatible with Windows 7 and Mac OS; you will surely find this guitar recording software sublime in every respect.

RiffWorks

With a number of features; RiffWorks is a Mixer with built-in realistic reverb effect designed exclusively for Mac users. Naming the features you get automatic loop recording and track creation, recording songs in bites or riffs with various tempos, metronome, Re-Wire and REX, seven different effects from Wah, Modulation, compression, distortion, delay, reverb and SQ in the British style.

Mixcraft 7 and Guitar For Windows

If you have just created a chord or a brilliant melody and looking out to get it recorded so that other band members get to hear it; no other software can prove better than MIXCRAFT 7 AND GUITAR recording software. Featuring multiple sound effects and over 7500 loops; this software is designed especially for devices running on Windows XP, Vista, 7, 8 and 10.

Recording Studio Lite for Android

A multi-touch sequencer compatible only with android devices; Recording Studio Lite is the best match for simple and faster operations assisting with recording, mixing and editing. Using this version of Recording studio you enjoy creating up to 2 tracks (24 tracks with the Pro version) choosing between audio recordings or the virtual instrument ‘Grand Piano whereas in the pro version you enjoy with 8 different virtual instruments as well. A minimum of Android version 2.2 is required for its functioning.

What is Guitar Recording Software?

Guitar recording softwares are those musical softwares designed to help you to create tune recorded at home easily. These softwares come with various effects and loops to give a professional touch to your record. While there are softwares for windows; there are also softwares for Android and Macs. The internet offers you with hoards of choices with this type of DAW or Digital Audio Workstations. You may also see Guitar Chord Software

From amateur to professional musicians and producers; Guitar recording softwares are in great use for composing, recording, editing and also mixing music with your guitar. You can enjoy by seeing these softwares record your song and mark a prominent mark in the music world. You may also see Guitar Learning Software

Whether you are keen buying yourself a guitar or software for recording your created music using it; reviews are always of great help assisting you to make a leap only towards the right and most voted choice. While you seek to download a guitar recording software for your use; this review aims to help you head towards the right choice with the greatest benefit.

Related Posts

While recording a song or an audio track you will need the best features and tools to make it sound even and pleasant without any noise. Artists will be able to do that with the help of a studio recording software free. download full version. There are many types of music recording software that are available online and it is very easy to use. Some of the studio recording software, free downloads can be used for free.

Related:

n Track Studio 8

This premium software can be used as a recording studio on your PC to create beats, arpeggios, and sequences with the step sequencer. Songs can be started easily using the factory patterns and custom made ones can be created. Streamlined recording can be done with the multi-take recording mode that uses control parameter automation to separate the lanes for each track or internal recording routing can be done.

Samplitude Music Studio

This premium version can be used to produce music easily by using plug-ins, effects, and filters that can be seamlessly integrated. Sounds can be created with the synthesizers, samplers, and drum machines. The notations can be displayed, edited and printed for musical compositions and it can be used for rehearsals. Multitrack Recording is possible and can be operated using an audio remote app.

Anvil Studio

This freeware is compatible with the Windows platform and can be used for recording music with audio and MIDI equipment. It can be composed and sequence music can be created with MIDI equipment. The recorded songs can be played and music sheets can be printed. An unlimited number of MIDI tracks can be created and each song can have up to 8 audio tracks of unlimited length.

Recording Studio for Windows

This Windows app can be used for free as a multi-touch sequencer for the Window devices. It will be able to record, edit and mix the songs quickly and it can be used to create good music productions. Up to 3 tracks can be recorded after choosing the available Audio Recordings and instruments like piano, drums, guitar, etc. The virtual tracks can be recorded using the multitouch keyboard.

Recording Studio Lite for Android

This Android app can be used for free to record, edit and mix songs. Up to 2 tracks can be recorded using the audio recordings or virtual instruments like piano, drums, organ, bass, etc. The tracks can be recorded using the inbuilt microphone or by using an external one. After recording, the track can be edited in the editor and exported.

Logic Pro X for Mac

This premium software is compatible on the Mac platform and can be used at a professional level for creating music. The synthesizer which can manipulate sample will provide the best results and it has a huge library, keyword browser, performance controls and advanced synthesis tool.

Most Popular Studio Recording Software – MultitrackStudio

This premium software can be used to record tracks across different platforms. Audio and MIDI track recording can be done and one track can be added at a time. Multi-tracks can be recorded live simultaneously.

Free Screen Recording Software Mac

How to install Studio Recording Software?

Most of the studio recording software that is available online can be used first as a demo version to see all the features are suitable and if the software is compatible with the operating system. It is important to check if all the system requirements and hardware requirements are fulfilled as it might require devices like a microphone. After the demo version is run, the premium software or the freeware can be used by downloading the file and installing the software.

This software will be able to provide tools like spot erase, note repeat, drum machines, etc. which can be used to make the audio more appealing. Some of the software will have an in-built collection of sounds and plug-ins which can be used while recording. The powerful tools will help editors with every part of the workflow making it easier.

Voice Recorder software, free download For Mac

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First Drink (Au)

Remus did not know why he had let his roommate drag him out to a nightclub. He clearly remembered saying no, that he wanted to stay in and study for that exam he had the net day, yet somehow he had ended up here instead of on the couch inside their dorm with a textbook.

The room was very large, and very dark. The only lights were the brightly coloured strobe lights that flashed on and off, sweeping through the room and giving Remus a headache. Then again, maybe that headache was coming from the volume of the music. Nothing could be heard over is, and it was enough to make Remus feel like his bones were shaking. It was not the music he was used to, either. No words or classical instruments. Just thrumming and drumming and lots and lots of bass. The place was packed to the point where everyone was dancing up against one another, and almost everyone had some sort of alcoholic beverage in their hands, filling the room with the strong scent of liquor.

` The smell and the lights and the music and the people all proved to be too much for him, so he pushed his way through the crowd and out onto this nice little balcony.

The air was nice and cool, and there were only a few people out here. There wasn’t any music or strobe lights or alcohol. Just some tables and chairs. It was pretty much made for the people who got dragged here by their friends. Mainly designated drivers, Remus guessed. Which he wasn’t, he just wanted to get away from everyone else.

He picked the seat farthest from the door to the club, and sat down, pulling his jacket around him and turning on his phone. He had a pdf of his text book, as well as electronic versions of all of his notes, so maybe he could still get some studying in tonight.

Remus had only just got started on reviewing the different types of disabilities he might encounter working as a special ed teacher in at an elementary level, when someone sat down right across from him and said, “Talk to me and pretend like you know me.”

Remus looked up to see someone across from him that clearly seemed in their element at this club. Curly black hair fell to their shoulders, their leather jacket was in perfect condition and was left open to show a band t-shirt of sorts. Not a band that Remus recognized.

“And why should I do that?” he asked. Okay, normally he would not be so confrontational, but he was tired and cranky and just wanted to go home and study in his pajamas and eat an entire birthday cake he picked up from the grocery store, even though it wasn’t his birthday, nor the birthday of anyone that he knew.

“Because,” this stranger said, “I’m playing wingman for my best mate and I can’t exactly let the girl know I’m staying on the balcony to make sure everything goes well.”

Looking over the other’s shoulder, Remus could see a boy with messy black hair and wire rimmed glasses talking to a red haired girl who did not seem very interested.

“Okay then, Mr. Wingman,” Remus said figuring that he may as well humor the other since he was stuck here anyway, “I’ll pretend to know you.”

Mr. Wingman’s face broke into a smile at that. “Great,” he said, “And although I am flattered to be a Mr., you can just call me Sirius. And what shall I call you?”

“Remus,” he told him, and Sirius offered his hand. Remus set down his phone, leaving his notes from class visible, as he shook the others hand.

“So what brings you here?” he asked, “Designated driver?” Remus could tell what he really meant was why are you sitting on the balcony of a club alone studying notes.

Remus shook his head. “My dormmate dragged me out here, but I have got an exam tomorrow so I came out here to study while he does his thing inside.”

“So it appears I’ve stumbled upon a college boy,” Sirius said, his voice playfully teasing, “What are you studying to be?”

“I want to be a teacher,” Remus told him simply, figuring that the other honestly really did not care about what Remus wanted to be and was just asking to be polite. He figured that the other would be happy for the short answer. No one liked to listen to his weird little rambles about his thoughts and no one cared about the details about his major. It was just a face. No one cared about what Remus had to say.

Although, Sirius was different. He proved that with his next question. “Come on, that’s way too vague,” he said, playfully nudging Remus’s leg with his own, “Expand on that, or I’ll just assume that you teach a samurai ninja class.” He had a sort of mischievous smile, but not the bad kind.

“Firstly, I want to be a special education teacher at the elementary level. Secondly, you can’t teach a samurai ninja class. Samurais and ninjas are completely different, there would need to be separate courses. And I realize now that I’m rambling, sorry, I’ll shut up.”

“No, no, continue,” Sirius said, “I’m intrigued.” At first Remus thought that he was being sarcastic, but the way that Sirius was leaning forward, nearly completely disregarding his friend and the redhead behind him, proved otherwise. So Remus continued to explain the difference between samurais and ninjas, and how one could teach a course for both of those, they can not teach a single course that teaches samurais and ninjas as a single subject. And Sirius asked a bit about his interest in teaching, and why exactly he had picked to do special education at the elementary level.

Remus lost track of time, but eventually Sirius’s friend and the redhead went inside together. When Sirius saw things went well, he seemed please with the outcome.

“Well, my wingman duties are officially over,” Sirius said, “So how about I buy you a drink for all you trouble.”

“That’s really not necessary,” Remus said.

“No, I insist,” Sirius said, and he brought Remus to the bar, despite all of his stuttered protests. Before Remus knew it, he was seated on a stool beside Sirius in the loud club.

“What do you like?” Sirius asked, in a way of asking Remus what he wanted.

“Well, here’s the thing,” Remus said, “I’ve never exactly had a drink before.” You would have thought that Remus had grown a second head by the way that Sirius looked at him. “You mean to tell me that you are a college student in a club, and you have never had a drink,” he asked in disbelief, and when Remus nodded to confirm it, Sirius flagged down the bartender and ordered something called a Screwdriver.

“It’s the perfect first drink,” Sirius said to Remus, “You’re going to love it.”

But before the bartender could come back with the drink, somewhere else in the bar a college aged guy got on top of a table and screamed, “I’m the king of the world!” And then he puked right there on the table.

“And that’s my cue,” Remus said, “I had better get him back to the dorm. He’s got class tomorrow.” He really did not want to leave. He really liked Sirius.

“Before you go,” Sirius said, grabbing a napkin and scribbling out some digits on it and handing it to Remus. “Here’s my number. Go ahead and call me when you’re ready for your first drink.”

They both exchanged one last smile and a quick goodbye before Remus needed to leave and drag his stupid dormmate back to their hall.

A/N Sorry that is sucks, especially the ending, but hey, I tried XD

[beindiymusic]

The Best 8 Free VST Instruments You Must Have in 2020

. In this blog, you'll find the top 8 free VST instrument plugins available online that you won't want to miss out on! While you have to create an account for some of these instruments, you can download others directly and we've included the links with each plugin featured below. A few of them also require additional software in the form of some kind of product management software but don't worry we know you'll be able to figure it out because these are all must-haves and it'll be nothing that a quick Google search can't fix! These are the best free VST instruments for creating professional music without spending a fortune on expensive software... .

8 Free VST Instruments You Must Have in 2020:

DSK Instruments . The DSK Music site is run by a guy called Victor, from Spain and his freeware VST instruments are some of the best you can find around for free. There are a lot of free VST instruments on his site, dskmusic.com, and just because they're free it doesn't mean they're poor quality, in fact, you'll find it's quite the opposite! . You can find some great high-quality multi-sampled instruments there on the website. You can download a lot of free stuff at dskmusic.com: SynthsRomplersDrumsSamplers . The video below shows you some examples of what you can do with these DSK free VST instruments, and you'll see you've simply got to have them so be sure to check it out...just click here to be taken through to the DSK site where you will be able to download whichever free VST instruments take your fancy! . https://www.youtube.com/watch?v=pQewvfTmHqI Video Source: DSK Music: Free VST Plugins by PSJ . GTG 44 . The GT44 is a free analogue VST plug-in and it basically has all you need for a good music production piece. It's an old-school analog-sounding plugin and is the ideal instrument. Features include six voices, a sub, a filter envelope, a filter pitch envelope, and it also has a chorus plus much more! You can preview it here in the video below or just click this link here to head straight over to the download page to get it for FREE today: . https://youtu.be/zLloFnNrbP8 Video Source: 44 S || Free VST Plugin || Analog Synth by Free VST Plugins . Tal-Noisemaker . The TAL-NoiseMaker is another favourite free VST instrument you should have in your arsenal. This version is an improved reworking of the TAL-Elek7ro and has a completely new synth engine and a lot of improvements in sound and usability - It's basically another intuitive all-round synthesizer with a very good sound. It's easy to use modulation unit has some great modulation effects. A ring modulator and a syncable triangle are also included as part of this synth. There is also includes a small effect section included with this synth with a reverb, chorus and a simple bit crusher effect. Check out the demo below or head straight to Tal Software to download it now: . https://www.youtube.com/watch?v=a5l-31rc8kM Click here to be taken to the website to download the TAL-NoiseMaker . Dexed . This Dexed instrumental plugin is a multi-platform, multi-format plugin synth. It's closely modeled on the Jam AHA DX7 - the first successful digital synthesizer manufactured by the Yamaha Corporation from 1983 to 1989. It was and still is to this day one of the bestselling synthesizers in history, so you've most probably heard a song created using the Yamaha DX7. You can check out how it sounds in this video here: https://www.youtube.com/watch?v=wSs1-020nNY&feature=youtu.be . If you liked what you heard, click here to download the Dexed FM plugin today! . 4Front Piano . The 4Front Piano VST is a useful plug-in for musicians who are in need of a lightweight, low-CPU upright-style, acoustic piano sound. This instrument is small on memory and the CPU usage was found to be useful by many users and software developers as a plug & play piano module, which does not require any configuration or adjustment. If you're trying to get a free VST piano that doesn't sound like the stock piano then this one's for you... . Click here for the link to the download website and if you want to give it a listen to first, you can hear it's sound here in this video below: . https://youtu.be/wi_zySsnPXI . T-Force Alpha Plus . The T-Force Alpha Plus by Mastrcode Music is the advanced version of the T-Force Alpha TS and is a really intuitive free VST instrument. It has all the features of the Alpha TS with some updated functions. It's easy to make uplifting trance sounds with it and you can also do a lot more, you just have to get creative! Check the video for sound examples: . https://www.youtube.com/watch?v=Z1C64Ky5rso . You can find out more information including specs on the download page here: https://www.kvraudio.com/product/t-force-alpha-plus-by-mastrcode-music . U-he Tyrell Nexus 6 . The Tyrell Nexus 6 is a free Analog / subtractive synth plug-in developed by u-he. It is a great sounding synth backed by the u-he sound engine and possesses an intuitive interface. This synth is a must-have if you love creating sounds like those possible with the Juno series from Roland. Its features are what we might expect from a vintage synthesizer like the classic Roland Juno, such as: Smooth overdrive in the oscillator mixer.Filter output can be fed back into the mixer.Unison mode, with voice index modulation source.Envelopes can be looped or triggered via LFO.Envelopes retrigger just like classic hardware. . Check out this demo video below and click here to download this free VST instrument from the website: . https://youtu.be/1aSTko-BYeE . Helm . Helm is a free, cross-platform, polyphonic synthesizer with lots of modulation and it was developed by a guy called Matt Tytel. It runs on GNU/Linux, Mac, and Windows as a standalone program and as a VST/AU plugin. Features include: 32 voice polyphony, a powerful modulation system with live visual feedback, dual oscillators with cross-modulation and up to 15 oscillators each, unison and harmony mode for oscillators, oscillator feedback and saturation for waveshaping, 12 different waveforms, 7 filter types with keytracking, 2 monophonic and 1 polyphonic LFO, a step sequencer, a simple arpeggiator and lots of modulation sources including polyphonic aftertouch. You can hear every preset featured in Helm in this video below: . https://youtu.be/vN7zsJ-eIpY . Go ahead, get downloading today and test it out for yourself, by clicking here the download should happen automatically . It's hard to imagine that so many quality tools are available for you to use at no cost but free VST instrument plugins are one of the most exciting things about mixing and we hope that you'll enjoy all of the free VST instruments included in this blog and that they will help you on your music production journey towards making great music! . At Indiy, we believe artists should have complete ownership of their content.  . We are an online marketplace for musicians, the place to buy and sell your music services, check us out by visiting our home page, or just click here to be taken straight to it...if you have something to offer be sure to sign up or search for whatever it is you need for your music today! . Good Luck on your music journey ✌️ Read the full article

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Home Recording Studio Fundamentals

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Home Recording Studio Fundamentals

Home Recording 

Studio

Basics for the Beginners

Building a Starter Home Studio on a Budget

  There has never been a better point in time to build your home recording studio.

Today’s digital technology provides incredible quality at unheard of prices—a far cry from the equipment I started on as a teenager.

I remember my first “studio,” a Tascam Porta 02 4 track cassette recorder and a cheap microphone.

There was no eq or onboard effects, and the primitive noise reduction circuitry excelled in reducing high-frequency clarity while doing little to reduce tape hiss—not a lot of features considering this deck was several hundred dollars in early 90’s money.

Although I loved that deck and still have it to this day, no amount of skill would have produced professional results. You would always be able to tell it came from a cassette.

  Get the Basics

  Today, however, with the help of a computer you probably already own, you can create excellent sounded recordings—which with practice and skill—can truly yield professional results.

So if you’re new to recording and don’t know what to you need to get started; please read on.

We will go through the basics you need to get started, and once you are recording and having fun, you can always add to your collection of gear.

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Table Of Content [Show/Hide]

The First Studio Equipment for Starting Out

1. Computer

2. Interface & DAW

3. Microphones

4. Headphones

5. Monitors

6. Accessories

7. Room Treatment

8. Education

1. A Computer

  First Things First:  The Computer for your Digital Audio Workstation

    You don’t need the most powerful computer out there.

Chances are the computer you already own is more than adequate.

Perhaps needing only small RAM upgrade.

    Just have the following:

a relatively fast processor

at least 8 gigs of RAM

and either a solid state hard drive

or a 7200 rpm drive.

This is the way to go if you intend on using  a lot of plugins or tracks.

If you need to do a Computer upgrade check out what Amazon offers.

2.  A DAW Audio Interface

  An Audio Interface is the hardware that connects your microphones and line-level inputs to the computer for recording.

It is also what allows you to hear the playback of the music you record.

Most starter interfaces are USB, meaning you just plug them in and they are basically ready to go.

I recommend:

at least a two channel interface with mic and line inputs,

phantom power,

at least one headphone output,

and a pair of monitor outs in case you want to use external monitors.

I suggest two channels because they aren’t much more expensive than single-channel interfaces, and they allow you to record in stereo when needed or record two sources such as guitar and vocals at the same time.

Most every manufacturer makes one of these in the $99 to $199 range.

The majority of interfaces also come with some form of DAW software.

A Digital Audio Workstation (DAW) is a software program which allows you to record, overdub, and mix your music.

The DAW which comes with your interface should be more than enough to get you started.

I have two recommendation starting with the Focusrite Scarlett 2i2 which is an excellent value.

It features

two mic/line inputs,

phantom power for powering condenser microphones,

plus monitor

and headphone outs.

It also comes with a free 16 track version of the Pro Tools DAW software and plenty of free plugins to get you going.

If you’re not familiar with plugins, they are software programs that work within your DAW that provide additional features such as EQ, compression, reverb, limiting, delay, and other effects.

The package also comes with several virtual instrument plugins, allowing you to record drums, bass, and keyboard sounds within your DAW.

Another good option is the PreSonus AudioBox USB 96 which sells foraround $100.

It comes bundled with Presonus’s Studio One DAW software, a lesser-known but excellent DAW format.

Like the Focusrite mentioned above, the PreSonus features everything you need to get you going including a quality audio interface, DAW software, plugins, and soft synths.

3. Microphones

  The Microphone or Microphones you choose depends on what you will be recording.

  If you’re recording acoustic guitar, acoustic piano, other acoustic instruments, or vocals, then I would recommend a condenser microphone.

However, if you are recording a guitar amplifier, you can’t go wrong with a Shure SM57 dynamic microphone.

Also consider the environment you will be recording in, as condenser mics are sensitive.

If you are recording near loud traffic or have noisy neighbors, a condenser mic may not be the best choice.

I know I have often lived in noisy areas and recorded vocals with a nice dynamic mic, such as a Shure SM7 or SM58, while the much more expensive condenser microphone stayed in its case—and I was never unhappy with the results.

  For dynamic microphones, you can’t go wrong with the

Shure SM57

This “Swiss Army” mic is at home in front of guitar amps, snare drums, toms, and is also a great vocal mic.

  Another tremendous affordable dynamic mic for vocals is the

Shure SM58

Like the SM57, it is affordable, practically indestructible, and can be used on almost any source in a pinch.

  Usually under $100 a pop, they are the ultimate in bang for the buck.

  Condenser microphones can range from $99 or less, to up into the thousands.

Still, you can get good results from cheaper mics if you use your ears and are patient with mic placement.

I recommend a good cardioid condenser mic—a mic which picks up sound from the front and rejects sound, at least to some degree, from the back and sides.

Since they don’t pick up the reflections of the room sound, they are perfect for recording in less than ideal environments.

I would also look for a condenser mic that does a lot of things well.

For example, I was pleasantly surprised by the

Aspen Pittman Designs DT-1 Dual Top Condenser microphone

It features a small diaphragm condenser mic that is excellent for acoustic instruments and drum overheads but can also be converted into a vocal microphone when the foam top is placed on top of the mic.

I had a quick vocal recording session one day, and the only microphone we had was this mic (a friend of mine had received one to review for a publication).

Considering the  price of the mic, I was quite pleased with the results.

A few good choices in affordable large diagram condenser microphones include the

AKG P220

and the

Audio Technical AT2035

all of which are reasonably priced.

  Recognize that affordable condenser mics often have a bump in the high frequencies that can result in a brittle or harsh sound on some sources.

This, however, can be avoided if you use your ears and play with mic placement.

Mic placement is such an overlooked component of recording technique.

If you get sibilance on a vocal track, move the mic higher or lower.

Trust me, when micking a guitar amplifier, for example, a movement of a couple of inches will make a massive difference in tone while yielding a much more natural sound than excessive eq.

Make sure to use your ears.

Record a little bit of a track, then go back and listen.

If it doesn’t sound right, adjust the mic first before grabbing an eq or another type of plugin.

4. Headphones

  I prefer closed or semi-closed back headphones because they prevent leakage to your mics while recording.

When recording vocals, for example, you don’t want the drums or click track bleeding into your mics.

I also recommend finding a pair that is comfortable to wear as you will be wearing them for hours on end.

A few of my favorites in the inexpensive range are the

AKG K72 Closed-Back Stereo Headphones

Audio-Technica ATH-M20X Closed Back Monitoring Headphones

Shure SRH240A Headphones, and

AKG  K240 Studio Semi-Open Pro Studio Headphones

I’ve found the AKGs to be especially good for mixing.

  Monitors

  While headphones are essential for recording, they are not the best solution for mixing.

You can definitely get away with not having monitors for a while; I did so for years.

  But at some juncture, you will want to get a pair of studio monitors.

They’re not only great for mixing but also for letting others listen to your work and recording anything where there is no risk of microphone leakage.

A few affordable monitors, ranging from $99 to $129 each include

Alesis M1 Active MK3 5″ Powered Studio Monitors

PreSonus Eris E5 5″ Powered Studio Monitors

JBL LSR305 5″ Powered Studio Monitors, and

KRK Rokit 5” Powered Studio Monitors

  Accessories

  A few accessories you will need include

a pop filter for reducing vocal pops,

You will also need quality ¼” and XLR microphone cables.

and a boom stand for easy microphone positioning.

If you play guitar or any other type of tunable instrument, I strongly recommend buying a quality tuner.

There is nothing worse or frustrating than having a great take ruined because it’s out of tune.

Check out Amazon for studio accessories.

  Room Treatment

  Professional room treatment is expensive and probably not something you want to do if you are starting a home studio on a budget.

There are still, however, many things you can do to optimize the quality and sound of your recording space.

While the particulars of this are beyond the scope of this article I recommend Acoustic Treatment for Your Home Studio

While I don’t recommend completely deadening your room and sucking all of the life out of it, there are a variety of practical things you can do to reduce unwanted frequencies and resonances.

Education

  We live in an incredible time.

You can find more information on recording technique in a ten-minute online search than I found in the first ten years of home recording.

There are so many recording books, websites, and YouTube videos out there which explain in detail all of the things I learned through years of trial and error.

  Use them to your advantage. Just make sure the information you listen to comes from a reputable source.  Here are some of the best in Music Recording & Sound.

Wrapping it Up

In the time since I began recording I have gone from 4 track cassette to 8 track reel to reel, to 16 track reel to reel, to ADAT, to DA-88, and finally to a Pro Tools DAW recording system.

When I think of the leaps technology has made in such a short time, I’m truly amazed.

Not only can people today record on a budget, but they can also create recordings which hold their own against works created in professional studios.

This is something I never dreamed of in my youth.

So if you’re interested in a starting a home studio, there’s no reason not to.

The equipment is affordable, answers and tutorials are easy to find, and the sound of your music played back through a DAW is just as exciting as it was back in the good ole’ four-track cassette days, perhaps even more so.

Good luck and happy recording. 

Best Home Studio Recording Starter List

Computer Interface & DAW Microphones Headphones Monitors Accessories Room Treatment Education