At 16:36 Uhr +1000 24.06.2005, Paul Najar wrote: >Open Logic. >Open an EXS instrument >Select the "Convert Akai CD" item in the EXS options menu >A window will open with various empty menus and the words written >across the top - "Waiting For Akai CD". >Now insert the Akai CD and you should be right from there.... Make sure you have something else to do, cause it takes bloody ages (unless that has changed recently) You could use other solutions like CDXtract or Translator. I think they're faster. Cheers Hans

you mean a fanfare marco? paul -- my premature website:http://www.paulastles.com/ > From: "UnFraGile" <unfragile@...> > Reply-To: exs-users@yahoogroups.com > Date: Thu, 23 Jun 2005 23:20:26 +0100 > To: <exs-users@yahoogroups.com> > Subject: [EXS] searching for a free sample > > Hi everyone, > > I'm looking for a sound to a entry on a piece of Shakespeare, I can't > remember the sound?! > My head is not what it was years ago!!! :| > > Anyone could help me?! > > Thanks and best regards > > Marco Bernardo > > > > > > ____________________________________________________________________ > EXS* Users Group > - To UNSUBSCRIBE: email exs-users-unsubscribe@yahoogroups.com > - EXS/Logic FAQ: http://logicfaq.omega-art.com/ > - Free legal samples: http://groups.yahoo.com/group/exs-users/links/ > - To contact list admins, email exs-users-owner@yahoogroups.com > Yahoo! Groups Links > > > > > >

-----Oorspronkelijk bericht----- [mailto:exs-users@yahoogroups.com] Namens Fernstudio >Anyway, it is only illegal if you don't get permission. >If you request permission and are granted it, then >there is nothing illegal in doing it. In the case you get permission but they charge you (a large sum) for it, it can be of interest to rebuild a sample from scratch. There are studios specialising in recreating pieces of few seconds of specific recordings that are used in songs or commercials. I read about it in Sound on sound some time ago, an interview with a couple of UK based producers. It is very tedious and labour-intensive, but if done right, people can't tell the difference. It was interesting to read how they do it. Herbert Boland www.herbertboland.nl .:. Composer and Sound Designer .:. www.zepmusic.com .:. Open Songwriters Network .:.

Herbert Boland wrote: > In the case you get permission but they charge you (a large sum) for it, > it can be of interest to rebuild a sample from scratch. There are > studios specialising in recreating pieces of few seconds of specific > recordings that are used in songs or commercials. I read about it in > Sound on sound some time ago, an interview with a couple of UK based > producers. It is very tedious and labour-intensive, but if done right, > people can't tell the difference. It was interesting to read how they do > it. Yeah, that's happening a lot. Two friends of mine are a bit into that sort of thing. A while ago they were asked to redo the backing track of Boney M's "Sunny" for some DJs to remix it with access to individual tracks and parts, and it's been that good that they were running into legal problems. They were indeed accused of having stolen the original material, so someone came over to see the individual tracks they have recorded. On a side note: I found it interestingly enough that most of the material has been recorded and produced in a bedroom studio, using a completely outdated Celeron 466 based Windows machine. Just the polishing (and partial premixing) has been done in a real studio. Regards, Sascha

>You mean a fanfare Marco? >Paul -- >my premature website:http://www.paulastles.com/ Maybe Paul, I really can't remember!? But it could be a fanfare... Thanks Marco Bernardo

Hi Fernstudio, Yes, I remember reading about the Bittersweet Symphony case as well as Biz Markie, 2 Live Crew, NWA, and others. I am aware that if you ask permission, you often share a cowriting credit with the author(s) of the song you sampled. Some artists won't allow sampling of their work no matter how much they could make in royalties since they disapprove of rap or dance music or just the concept of appropriation of an original composition. But are you saying that Sinead O'Connor had to clear her use of James Brown's "Funky Drummer" (a 1 bar drum break)? What of all the hundreds of top 40 tunes over the last 15 or so years that have drum breaks, horn hits, scratched accapella raps, etc? Do they all go through the sample clearance process before releasing their song? Does every snare or kick drum I sample from a record need to be cleared? What if the drum sound is altered into a totally new sound that doesn't resemble the original? That's what I mean about being confused about the current status of the law. I can't imagine a jury or FBI agent would come to my studio and make me undo all of the processing to reveal the source of my new sound. I have heard some of those replayed loops on radio spots. Some are very weak, but some have nailed the original right down to the Neumann mics, Neve consoles, EMT plate reverbs, and soulful performances. Pretty crafty. It would be an excellent exersize for musicians and engineers to try to recreate the sounds of yore just to learn to listen critically and really know what the gear does. I bet you can learn a lot. Which issue of Sound On Sound had that article? Peace, j Problems cannot be solved at the same level of awareness that created them - Albert Einstein

>> Anyway, it is only illegal if you don't get permission. >> If you request permission and are granted it, then >> there is nothing illegal in doing it. > > In the case you get permission but they charge you (a large sum) for it, > it can be of interest to rebuild a sample from scratch. There are > studios specialising in recreating pieces of few seconds of specific > recordings that are used in songs or commercials. I read about it in > Sound on sound some time ago, an interview with a couple of UK based > producers. It is very tedious and labour-intensive, but if done right, > people can't tell the difference. It was interesting to read how they do > it. Hi I, for one, used to do 'sound as close as you can' versions of tracks for guitarists and singers to jam along with. Yes... It is tedious and labour-intensive! Regards John

[mailto:exs-users@yahoogroups.com] Jeff W : >Which issue of Sound On Sound had that article? SOS September 2003, p. 194. Interview with two guys from Rinse Productions. Good read. Herbert Boland www.herbertboland.nl .:. Composer and Sound Designer .:. www.zepmusic.com .:. Open Songwriters Network .:.

[mailto:exs-users@yahoogroups.com] Namens John Moores >I, for one, used to do 'sound as close as you can' >versions of tracks for guitarists and singers to jam along with. >Yes... It is tedious and labour-intensive! Some time ago I tried to recreate the title music of the Italian film trilogy Kaos, inclusing jittering violins, out of tune piano drowning in reverb a screaming bell and what have you. I am very eager to understand what gives soul to a particular score or track, even when it doesn't come close to todays music technology standards. Herbert Boland www.herbertboland.nl .:. Composer and Sound Designer .:. www.zepmusic.com .:. Open Songwriters Network .:.

--- In exs-users@yahoogroups.com, "Jeff Weinberger" <natural_one87@y...> wrote: > I think Sascha makes some interesting points about sample piracy. I > know a guy who has so many ripped off sample cds and software > programs, he couldn't possibly use them all in his lifetime Correct, it's a drug problem, I call it bedroom metal... As an example, under german copyright law, 4 bars are not considered piracy. Should become, or is it already, maybe, international standard. But, you may agree or not, "Songs In The Key Of Life" is a masterpeace, like Mona Lisa, if you might not know it, it is highly recommended for studys, especially for Stevie's use of the Linn drum, yeah, his grooves obviously, but I instantly fall asleep when someone comes up with a (even authorized) so-called new version of one of the scores, hi Will, dig u man. Anyway, don't fool yourself, men, women also, are HUNTERS, it's called "Human Nature", midi file's available on the web, so if there's bait, someone will take it. Sampling James Brown? You must be kidding, learn how to write them brass/reed sections by studiing midi files of E,W&F, Chicago, Osibisa, Supersax, even Max Greger... Yes, lawyer's... Try not to become a bait for these guys, they are different... Hi moderators, am I allowed to promote myself here, as I do see a need for more information? O.K.? (By the way I'd like to receive a comment, when and why my post's are moderated, as a human beeing here in the free world or I'll ask have to ask the question: " Who moderates the moderators", quis custodiat custodes? Here you go, Take a look and listen (be sure to wear headphones for the sheer fun of it) : http://www.tbs-bluesign.com/ What Shakespeare piece are you acually working on? Themes need referrence Enjoy life

--- haraldschneller <haraldschneller@...> wrote: > Sampling James Brown? > You must be kidding, > learn how to write them brass/reed sections by > studiing midi files of E,W&F, Chicago, > Osibisa, Supersax, even Max Greger... No, Harald, I don't sample James Brown anymore. I have in the past, but that was then. I wasn't referring to horn parts, just single hits(blats), you know like the intro to "Get Up Off of That Thing". I hear what you're saying about learning to writ and arrange for horns. Been there, done that(Berklee taught me well). I love Stevie Wonder too and hear his influence all over modern R&B. The message is good and I dig ya. Don't steal, create. Peace, j Problems cannot be solved at the same level of awareness that created them - Albert Einstein

Thanks Herbert. I'll see if I can get a hold of it. Jeff W : > >Which issue of Sound On Sound had that > article? > --- Herbert Boland <yahoo@...> wrote: > SOS September 2003, p. 194. Interview with two > guys from Rinse > Productions. Good read. Peace, j Problems cannot be solved at the same level of awareness that created them - Albert Einstein

hi, the article is online: http://www.soundonsound.com/sos/sep03/articles/rinse.htm rgds, .björn Jeff W wrote: > Thanks Herbert. I'll see if I can get a hold of > it. > > > Jeff W : > >>>Which issue of Sound On Sound had that >> >>article? > > >>--- Herbert Boland <yahoo@...> > > wrote: > > >>SOS September 2003, p. 194. Interview with two >>guys from Rinse >>Productions. Good read. > > > > Peace, > > j

--- In exs-users@yahoogroups.com, Jeff W <natural_one87@y...> wrote: > > > --- haraldschneller <haraldschneller@w...> > wrote: > > > Sampling James Brown? > > You must be kidding, > > learn how to write them brass/reed sections by > > studying midi files of E,W&F, Chicago, > > Osibisa, Supersax, even Max Greger... > > > No, Harald, I don't sample James Brown anymore. > I have in the past, but that was then. I wasn't > referring to horn parts, just single hits(blats), > you know like the intro to "Get Up Off of That > Thing". I hear what you're saying about learning > to writ and arrange for horns. Been there, done > that(Berklee taught me well). I love Stevie > Wonder too and hear his influence all over modern > R&B. The message is good and I dig ya. Don't > steal, create. That's the kind of response I was looking forward to,. You are qualified, so post the numerical rhythm to that song I do'nt know here. Don't understand you anyway, but, as far as information is concerned, it's not enough to absorb it, it takes some time for it to sink in, aka become a natural part of yourself. Greedy 'bout Berklee, could'nt afford it, learned it on stage, who cares anyway. Richard Dawkins is convinced the human body is a conglomerate of selfish cells, working together, imo, we musicians already do. Let's get back to the topic of this group, balsaming the moderators too, there has to be someone doing this job... I'm in this group because exs is THE instrument (besides Sculpture). There is no os war, you can find sounds for free everywhere, everybody's friendly responding mails, helpfull, harmony enjoy life

Very interesting. Thanks for finding that! - Lenny Bjorn Elfstrom wrote: >hi, > >the article is online: > > http://www.soundonsound.com/sos/sep03/articles/rinse.htm > >rgds, > >.björn > >Jeff W wrote: > > >>Thanks Herbert. I'll see if I can get a hold of >>it. >> >> >>Jeff W : >> >> >> >>>>Which issue of Sound On Sound had that >>>> >>>> >>>article? >>> >>> >> >> >>>--- Herbert Boland <yahoo@...> >>> >>> >>wrote: >> >> >> >> >>>SOS September 2003, p. 194. Interview with two >>>guys from Rinse >>>Productions. Good read. >>> >>> >> >>Peace, >> >> j >> >> > > > >____________________________________________________________________ > EXS* Users Group >- To UNSUBSCRIBE: email exs-users-unsubscribe@yahoogroups.com >- EXS/Logic FAQ: http://logicfaq.omega-art.com/ >- Free legal samples: http://groups.yahoo.com/group/exs-users/links/ >- To contact list admins, email exs-users-owner@yahoogroups.com >Yahoo! Groups Links > > > > > > > > > > > > > -- ========================================================================Lenn y Stearns lens@... Alexandria, Virginia ========================================================================

Bjorn, Thanks so much for the URL. Cheers. Peace, j Problems cannot be solved at the same level of awareness that created them - Albert Einstein

I am working on some instrument (sampling my wife's boxes) and going deeper in Instrument Editor, and I don't understand the use of the option "Groupe" of "Select by" parameter (no problem fot the other options) ? Some examples of it ? Thanks Powerbook G4 1GHz, 728 Meg RAM, Mac OS 10.3.8, Logic 6.4.3 and 7.0.1 -- G.Ryckeboer

Gérald RYCKEBOER wrote: > I am working on some instrument (sampling my wife's boxes) and going > deeper in Instrument Editor, and I don't understand the use of the > option "Groupe" of "Select by" parameter (no problem fot the other > options) ? Some examples of it ? The "easiest" thing coming to my mind would be to utilize "key switches". You could for example route some legato samples to a group "selected by > note > C1" and route some staccato samples to a group "selected by > note > D#1". That way, whenever you'd press C1, you'd have a legato sound and whenever you'd press D#1 it'd become staccato. Regards, Sascha

Sascha Franck wrote: > Gérald RYCKEBOER wrote: > >>I am working on some instrument (sampling my wife's boxes) and going >>deeper in Instrument Editor, and I don't understand the use of the >>option "Groupe" of "Select by" parameter (no problem fot the other >>options) ? Some examples of it ? > > > The "easiest" thing coming to my mind would be to utilize "key switches". > You could for example route some legato samples to a group "selected by > note > C1" and route some staccato samples to a group > "selected by > note > D#1". > That way, whenever you'd press C1, you'd have a legato sound and whenever you'd press D#1 it'd become staccato. Also It's quite common to use the modwheel for selecting different groups, provided you don't need it for it's default LFO control - you need to desect it from that on the main EXS GUI. -- Pete Thomas www.petethomas.co.uk - Free Logic Icons, Environments and EXS Instruments

> I know a guy who has so many ripped off sample cds and software > programs, he couldn't possibly use them all in his lifetime, yet every > day it seems, he is downloading more and more. I know others who do > the same with movies or cds. It quite resembles a drug addiction Indeed. This is a curious new trend... people just 'collecting' sound after sound to amass the largest library imaginable .... But never using them - I know *loads* of people like this. > is also like a squirrel gathering nuts, except not even stopping to > eat any of them! Not so much like squirrels - I liken them more to magpies... collecting things they have no use for. And these people don't seem to care about quality either... they'll just download or acquire *anything*! And sadly, they don't seem concerned about the source or its copyright either :-( I know people who come home from work, have something to eat, crack open a beer and spend every evening scouring the net for freebie downloads! Why don't they spend the same time actually making music? Ah yes... that'll be because they don't have enough sounds... best get some more. And so it goes on. I find it very peculiar. Best regards, Steve http://www.hollowsun.com

Just a quick note to say that there are 2 new DVDROM at http://www.nikkoid.com with new online downloads at http://www.gigfiles.com Sampled with 8 levels of velocity this synths is a rare item doing unique and wild things! Best Nikko

>>> I am working on some instrument (sampling my wife's boxes) and going >>> deeper in Instrument Editor, and I don't understand the use of the >>> option "Groupe" of "Select by" parameter (no problem fot the other >>> options) ? Some examples of it ? >> >> >> The "easiest" thing coming to my mind would be to utilize "key switches". >> You could for example route some legato samples to a group "selected >> by > note > C1" and route some staccato samples to a group >> "selected by > note > D#1". >> That way, whenever you'd press C1, you'd have a legato sound and >> whenever you'd press D#1 it'd become staccato. > > Also > > It's quite common to use the modwheel for selecting different groups, > provided you don't need it for it's default LFO control - you need to > desect it from that on the main EXS GUI. Sorry, It seems I have been confusing in my question (I do have some knowledge holes in the english langage ! :-D Actually, I still use successfully the "Select by" parameter with "Control" option to switch between groups (different sound sets of the accordion). I also understand the "Note", "Bend" and "Midi Channel" options and how to use them, but cannot imagine about the specific "Groupe" option, which was the subject my question. Thanks -- Gérald RYCKEBOER ryckeboerg@...

Gérald RYCKEBOER wrote: > I also understand the "Note", "Bend" and "Midi Channel" options and > how to use them, but cannot imagine about the specific "Groupe" option, > which was the subject my question. I think (haven't tried yet) that this could be used for something like a "round robin" function. So, whenever you trigger a certain group (a zone pointing to the group that is) it'll automatically switch to the group that has the "selected by" box checked. Let's assume you have a group for all "upbow" samples, and another one for "downbow" ones. Now, when you play a zone belonging to "upbow" it'll automatically switch to "downbow" for the next played note, which will then again switch things back - and so on. As said, haven't tried yet, but this would make sense to me. Cheers, Sascha

Hey... Newbie here All I want in life is to map my PCR-30 to the various features of EXS24. I've tried using the template supplied by EDIROL with little success... I tried using the midi controller values from the manual, and that didn't seem to work... And I've just gone through trying to cable a monitor to the audio instrument of an EXS as per some advice from here, but that didn't seem to work either; no values were displayed! I'm sure I'm missing something really basic and simple. And yes, everything is turned on! ;) I'm running Logic 6.4.3 on a G4... Thank for any help, Chris

chrs_public wrote: > All I want in life is to map my PCR-30 to the various features of EXS24. I've tried using the > template supplied by EDIROL with little success... I tried using the midi controller values > from the manual, and that didn't seem to work... And I've just gone through trying to cable > a monitor to the audio instrument of an EXS as per some advice from here, but that didn't > seem to work either; no values were displayed! Which "various" features are you talking about? The parameters listed in the modulation matrix? That should be an easy to set up thing... In case you wanted to use the Edirol as some sort of hardware "programmer" (so the knobs of the EXS move along with your fader movements) it'll become more tricky. Guess, before we continue, we should clear this. The Edirol comes with a nice setup program, allowing you to patch any fader to any MIDI parameter. The EXS allows a lot of MIDI parameters to work as modulators. So, you can for example set one fader to send out CC 16 data and then set one of the EXS's modulation slots to use this as a source CC to control, say, the amount of cutoff. Note: In that case you won't see the cutoff knob move! But, for anything playing-based this would be irrelevant anyways. "True" moving knobs would only be of interest if you planned to do new EXS patches (as the altered knob positions could be saved with a patch, whereas the modulator settings will be sort of reset, each time you load a patch). So, in the end I think it's more of an EXS but an Edirol issue... Regards, Sascha