8769
Eight Ways to Use Shimmer Shake Strike - YouTube
Some tips:

- Pan one perc L, another type of perc R

- Use *different* perc in one verse than another (different instrument or rhythm - e.g. I do this with bongos in "Chain Gang")

(This is a promo for software, but can apply to real perc)
percussion  recording  music 
8 days ago
Amount of your reduced Roth IRA contribution — Amount of Roth IRA Contributions That You Can Make for 2018 | Internal Revenue Service
Amount of your reduced Roth IRA contribution

If the amount you can contribute must be reduced, figure your reduced contribution limit as follows.

1. Start with your modified AGI.
2. Subtract from the amount in (1):
$189,000 if filing a joint return or qualifying widow(er),
$-0- if married filing a separate return, and you lived with your spouse at any time during the year, or
$120,000 for all other individuals.
3. Divide the result in (2) by $15,000 ($10,000 if filing a joint return, qualifying widow(er), or married filing a separate return and you lived with your spouse at any time during the year).
4. Multiply the maximum contribution limit (before reduction by this adjustment and before reduction for any contributions to traditional IRAs) by the result in (3).
5. Subtract the result in (4) from the maximum contribution limit before this reduction. The result is your reduced contribution limit.

See Publication 590-A, Contributions to Individual Retirement Accounts (IRAs), for a worksheet to figure your reduced contribution.
tax  roth  IRA  limit  savings  money 
16 days ago
Publication 590-A (2017), Contributions to Individual Retirement Arrangements (IRAs) | Internal Revenue Service
How to figure out what I can contribute to a Roth IRA — calculate my "modified AGI" (adjusted gross income)
roth  IRA  IRS  tax  money  retirement 
17 days ago
Logic Pro X Compressor Circuit Types : Studio VCA, Studio FET, and more! - YouTube
Try this kind of thing — especially try "Studio FET" and "Vintage FET" — supposedly goes back to the '60s. Turn things down to more like no actual "compression" to get more of a neutral "tape saturation" effect. Start by applying this to a "master" (though not ready to actually master yet), maybe with "Grapevine." Then you can get a feel for if you want to do this routinely when mastering, or just use it for individual instruments or what.
compression  logic  mixing  tape  saturation 
20 days ago
Analog Tape Saturation Secrets - Logic Pro X - YouTube
This covers (1) bitcrusher, (2) tape delay, (3) compression, but might want to ignore bitcrusher.

Tape Delay: notice how he uses a bit of feedback (16%). Probably don't use "spread." Not sure about "flutter" - he uses it in an intensely synth-y way, but might be good at a more subtle level.

SEE OTHER LINKS for more info on how to use tape delay this way.
tape  saturation  logic  mixing  video 
22 days ago
Mix Mistakes |
Lots of useful advice (skip over the obvious things like good timing, good arrangements, and look at the more obscure/technical things). Examples:

DON'T OVERDO REVERB: "Natural‑sounding reverbs will tend to be better for blending sounds together and giving them a sense of space. Unnatural‑sounding reverbs (such as plates, springs and quirky algorithmic digital devices), on the other hand, will tend to offer more scope for creative enhancement of instrument timbres.Bright effects usually sound more obvious at a lower level, so be prepared to roll off the high frequencies of effect returns if you want your reverbs to keep a lower profile.The length and level settings of a reverb are interdependent. If you misjudge one of them, you'll struggle to find a satisfactory setting for the other.When you're close to completing your mix, bypass each return for a few seconds during playback. This can really help you to gauge whether each effect is set up right, especially in terms of overall tone, level and decay time.If you're looking for a more up-front sound, using heavier compression or adding in things like synth pads can both reduce the need for reverbs in a mix. Tempo‑sync'ed delay effects can also provide a more transparent substitute for reverb in a lot of cases.

EQ: "Try to avoid boosting in the 2‑5kHz region [often done with vocals, guitar, cymbals, etc.] ... If a given instrument isn't coming through well in that spectral area, apply some cuts to competing channels instead."

EQ: "Avoid EQ'ing in solo, because most people instinctively try to give every track a 'forward' sound if they work like that. It's what your tracks sound like in the context of the mix that really counts."

VERY HELPFUL about levels of vocals, etc.:

• Whether the main part in your mix is a lead vocal, instrumental solo, or some other hook, it's not unusual for it to have the odd lull — a comparatively featureless sustained note, say, or a gap between phrases. Whenever you hear one of these, have a quick hunt amongst the rest of the backing tracks to see if there's anything else that might briefly poke out of the texture to provide some welcome diversion.

• Turning down a couple of backing parts underneath a lead vocal line can help reveal more of the singer's subtle vocal inflections without recourse to nuclear‑grade vocal compression.

• It's standard practice on a professional level to carefully automate lead vocals in order to maximise the intelligibility of the lyrics, so don't forget to give that process the time it needs. While you're at it, try fading up the ends of some of the note tails — you'd be surprised how often they contain characterful little bits of hidden phrasing that can really make a performance seem more emotional.

When someone's using detailed automation carefully, it's usually tricky to hear what's going on in absolute terms — in other words, you shouldn't get an active sense of faders being waggled about if the engineer knows what they're doing! What you should get, though, is a sense of the music being easier to follow and more engaging from moment to moment...
logic  mixing  mistakes 
22 days ago
How to Correct Clipping in Logic Pro | Techwalla.com
Add a limiter plugin to a track or bus to prevent it from clipping. A limiter is like a wall beyond which volume cannot go. Placing a limiter plugin on a track and setting it at -1db, for example, ensures that the volume of the track can't exceed -1db. Click an empty audio effect slot on the track or bus and select a limiter plugin.
clipping  volume  audio  logic  mixing 
22 days ago
(1) Why Mixing In Mono Is The Secret - RecordingRevolution.com - YouTube
Graham Nash argues that should "mix in mono," even if you want to *end up* with lots of panning. "If you can't hear it well when it's all in mono, that means you don't have good EQ" or some other problem.
nash  mixing  mono  logic  panning 
22 days ago
Logic Pro X: Secret Tape Saturation Plugin - YouTube
Very useful about "Tape Delay." Not so informative about Compressor, but still a good demo of how it can change the music.

Tape Delay: you can limit "low cut" and "high cut" to the middle (like 500-6,000 Hz), then make it 100% and 50% wet. So only some of the middle will be affected.

Compressor: he says to use "Platinum Analog Tape" mode, but try the 3 "Vintage" ones (Vintage VCA, Vintage FET, Vintage Opto).
logic  tape  saturation  mixing 
22 days ago
Using Saturation to Glue Your Logic Mixes Together
How to use several Logic features to get a "tape saturation" effect, so you don't need to use a 3rd-party plugin like SSD.

New to Logic 10.4: "vintage EQ" (3 types, including "vintage tube EQ and" "vintage console EQ"). Focus on the "DRIVE" knob in each one. IMPORTANT: that's effective even if you don't use any of the other knobs!

Compression: set distortion to "soft." Keep the actual compression off by using ratio 1:1, and threshold zero. That's supposed to be effective on its own, and then you can tweak it by adjusting the "Make-Up Gain" (but then offset the volume change by moving "Output Gain" in an equal amount in the *opposite* direction).

Tape Delay (this seems to be the best-known): make it all "wet" (wet 100%, dry 0%), then turn everything else off: tempo sync off, feedback zero, delay time zero. That alone should have an effect, and then you can tweak it by moving "Clip Threshold" into the negatives.

Also try "Phat FX," which might be newer to me and more complex…
tape  saturation  logic  mixing 
22 days ago
Logic Pro | Phat FX - My New Favorite Secret Saturation Tool
How to use several Logic features to get a "tape saturation" effect, so you don't need to use a 3rd-party plugin like SSD
tape  saturation  logic  mixing 
22 days ago
Harry Fox Agency - Statutory Reports
Statutory Royalty Rates


The Harry Fox Agency, Inc. offers publishers and licensees a single source for licensing and for the collection and distribution of royalties.

The statutory mechanical royalty rate for physical recordings (such as CDs) and permanent digital downloads is:

9.10 Cents per copy for songs 5 minutes or less
or
1.75 Cents per minute or fraction thereof, per copy for songs over 5 minutes.

*For example:
5:01 to 6:00 = $.105 (6 x $.0175 = $.105)
6:01 to 7:00 = $.1225 (7 x $.0175 = $.1225)
7:01 to 8:00 = $.14 (8 x $.0175 = $.14)

The statutory mechanical royalty rate for ringtones is 24¢ per copy.

The rates for interactive streams and limited downloads are determined by a number of factors. These include service offering type, licensee type, service revenue, recorded content expense, and applicable performance royalty expense. To view a table of rates, click here. To review the basic criteria for statutory licensing of these formats, click here.

Licenses issued after March 1, 2009 are subject to interest for late payments of 1.5% a month, or 18% a year.

These rates will remain in effect until the next schedule of mechanical licensing rates is determined.
royalties  songs  downloads  streaming  distro 
5 weeks ago
(1) Logic Pro X Digital Distortion Issue SOLVED - YouTube
Go to preferences (?) > Multithreading > change "Playback & Live Tracks" to just "Playback Tracks"
logic  distortion  recording  mix  volume  clipping  gain 
5 weeks ago
❝ When we complain about too much work, we’re... - John Althouse Cohen
❝ When we complain about too much work, we’re expected to offer regrets about sleep lost, family events missed, television shows not caught up on. Nobody wants to seem like a remorseless lunatic who’s thrilled to miss the school play.

But amid the complaining about being overworked, there’s often a decipherable bit of pride, even a hint of a brag—a workbrag.

Why do we brag about overwork? Because we’re conditioned to think that working all the time is a good thing, a signal of diligence, virtue and our own value.…

What if all of that is upside down? What if working all the time is a symptom of dysfunction, not excellence? What if it turns out to be dreadfully inefficient, a recipe for burnout and turnover and eventual collapse? …

That’s the premise of a new book, “It Doesn’t Have to Be Crazy at Work,” by Jason Fried and David Heinemeier Hansson. Last week, I hosted a talk with the authors for a Wall Street Journal event in New York City. The co-founders of the workplace software company Basecamp, Fried and Hansson are successful entrepreneurs who rail against the win-at-all-costs mentality of American business. They preach calm over conquest. They pay their employees to take vacation—not vacation time but the actual vacation.…

Fried and Hansson’s company used to have one of those “limitless vacation” policies, until they realized that it made employees nervous about taking vacation. Now they insist on three weeks. …

The tide may be starting to turn. Recently, a video game developer, Dan Houser, gave an interview to New York magazine in which he talked about the 100-hour weeks some employees worked to finish a new game. That provoked a backlash, with Houser later clarifying to the website Kotaku and others that such workweeks were unusual, and not required, and that the average workweek at his company was closer to 45 hours. ❞
work  stress  wsj 
5 weeks ago
Why Paget Brewster Thought She Was Being Fired From Friends
I had a black bob, and when I got Friends, I started rehearsing that week, and the hair people cut all my hair off and dyed it red – it took six hours of lightening to dye it red – and then when [creators] Kevin Bright, Marta Kauffman and David Crane came down to watch the first day, Kevin Bright starts screaming, ‘I hired her because she had a black bob! You can’t do this!’ And as he’s screaming at the hair guy, I just went upstairs, I put my magazines in my bag, and I just sat and waited, like, ‘I lost my best job I’ve ever gotten.’

And then Kevin Bright came in the room and he went, ‘I didn’t hire you because of your hair! I just can’t have them making changes without them telling me!’ It turned out that the next girl that Chandler was going to fall for was Monica, and the hair guy had said, ‘I needed her to not look so much like Courtney [Cox].’ So that’s why he dyed my hair.
TV  brewster  friends  casting 
5 weeks ago
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