Although I know this has likely been covered elsewhere on the internet, I felt I would like to ensure that I spread the word where possible, as after working through these calculations myself, I was quite shocked.
Despite Spotify’s claims that they are converting millions of ‘pirates’ into paying customers, and that they are reinvigorating the music industry and bringing it out of the piracy dark ages for me, the numbers simply don’t add up.
Not that an equivalent frequency response means anything, but this seems interesting. http://m.gizmodo.com/5990520/scientists-have-made-graphene-earphones-and-theyre-amazing
I’ve just had a quick play with Zynaptiq’s “Unveil” plugin for reducing ambience in recordings. See what you think of my completely unscientific “didn’t read the manual” test.
Have a listen and see what you think:
Very easy way to get Google Music working in the UK:
I’d read that Google Music only checked the geographical location of your IP when you accept the terms and conditions. I had tried with a free proxy service to accept the terms and enable Google Music for my account but to no avail.
I recently persevered using the free option on the paid service proXPN.
Firstly, I’d like to just cover some interesting things I’ve discovered about the medium, as I believe they play a major part in why there are supposed differences between modern high fidelity digital formats (of which I only consider their to be only one – CD quality WAV) and vinyl releases.
As I mentioned in the introductory post, what goes on on the surface of a record is largely black magic to me, and the process of converting 1s and 0s into an audible waveform makes much more sense. However, after doing a bit of reading, I may have shed some light onto the surface of those little discs.
Very interesting article touching on many aspects ranging from application / processing bit depth, through AAX Native vs. AAX DSP, to hints at track freezing on the horizon in Pro Tools. A programmer’s perspective, but informative nonetheless.
A Review Of The Continuing Saga Of The Transition To AAX Plug-ins:
On the recommendation of a colleague, I recently played the game “Journey” available from the PlayStation Network Store and made by “thatgamecompany“, so I thought I’d write a post about it.
The game was a new experience for me as, in my naiveté I was unaware that it was possible for relatively small companies to make and distribue games. As a result of the PSN Store it is financially viable it would seem, for “non-mainstream” games to be produced which allow drastically different gaming experiences than certainly I was used to.
A piece of my free software (Feedback Trainer) has been featured on the mac software library Mac.Informer. The feature / review can be found here, and I hope they will feature some of the other software I make (and sell), as that’s just always nice.
Of late I have begun my vinyl journey.
Having borrowed a turntable from my father-in-law, my record collection is growing. The acquisition of more and more records has taken place based solely on the experience of listening to the albums as until now, I had performed no direct comparison between vinyl and the digital counterpart of the same track. I have performed the recordings and will post a separate entry detailing my findings and opinions. I suppose the fact that I have continued to invest in vinyl undermines any ‘findings’, as I’ve already decided I like the medium, but a greater understanding of the medium is what I seek. Let’s face it, the concept of 1s and 0s becoming music makes more sense to me than the black magic going on on the surface of a record so I wanted to understand more about the medium; this is what the follow up post will attempt to achieve.
Fantastic, a new version of Pro Tools however I just thought I’d echo the thoughts and feelings of Avid Certified Instructors across the globe (as I largely agree). All Avid instructors are connected via a mailing list, which allows Pro Tools related issues to be discussed between professionals across the globe.
With the release of Pro Tools 10 came some new features (which is always good) but at an inevitable cost to upgrade. I share the concern that the now yearly scheduled upgrades so far contain relatively minor features such as RAM fades and realtime clip gain. Although also including numerous other features (a new plugin architecture), they have been described as “under the hood” upgrades; a label with which I agree – not necessarily customer focused new breakthrough features. Yes Pro Tools 9 was a shock – with the ability to choose your interface, but no matter how many videos Avid make showing people sat in the sunshine mixing this is NOT some kind of breakthrough feature – is is a built in feature of every major operating system used by every other major DAW from the year dot.