Forwarded from the LUG to Logic-OT From: Murray McDowall <murraymc@...> Date: Tue May 6, 2003 9:55am Subject: re: [GEN] Ardour stabilising Neil Johnson <nej22@h...> wrote: >"Good news for the open source audio recording world! Ardour creator Paul >Davis has announced a feature-freeze and has set a binary release date for >the now-famous GPL multitrack audio recording application. >http://ardour.sourceforge.net/ Thanks for drawing attention to this new Neil. The stuff on VST plugins and OS dependencies (in the FAQ) was interesting. It will be interesting to see whether developers will get behind this program and supply working plugins/sourcecode. The idea of a system that is independent of the vagaries and vicissitudes of proprietory operating systems -- with their never-ending stream of "upgrades" has a certain appeal. >I know it doesn't come within a mile of Logic (especially Platinum) Yep - no midi sequencing at this stage -- just audio recording and mixing. >... but >how long before someone ports it to OSX? The following is from the FAQ and may have some bearing on this question: >2.3. Does Ardour run on non-Linux systems? > >Ardour depends on the JACK system to access the sound hardware. I do >not believe that JACK has been ported to non-linux systems. If it >was, Ardour should be able to run on that platform. Also, Ardour has >abstracted the JACK dependency, so it can be ported to use another >sound library. But at the time, it only uses the JACK library, which >only runs on Linux. The JACK website is http://jackit.sf.net/. Regards, Murray

Hi Al. > I am going to be working with some guys on a live album recording To be honest, i think you have made every possible move to fail bigtime. And i mean *really* bigtime. From your description i take it that you have never recorded anything live. Heck it actually aseems that you have never recorded *anything*, for that matter. > We expect to be using 40-50 mics. I first thought this was sort of an ironic twist, only to find that you seem to be serious. >* How do you isolate the crowd? > Keep in mind that we will be hiring a lot of gear Perfect. So you're not only going to do things you've never done before, you're also going to do them with things you've never seen before, let alone used. > Particularly with mic types and mic placement. Well, basically mics usually go in places where sound emerges. > Anyone got any suggestions? Yes. Live up to your possibilities and get someone else who is up to the task here. I'd seriously suggest you get some home recording experience first, then you should try to record a band in a rehearsal room, with at most 4-5 mics (not 40-50...). You can expect to spend around a year to hone your skills with that. Then try to record that same band live at a gig with at most 10-15 mics. You will spend around half a year with refining your results, given that you have a band that is gigging frequently. Then slowly enhance the size of gigs you take. When you come back in two to five years with enough chops to actually pull this off, apply again for the job above. Christian

On a fine day, 07-05-2003, christianobermaier wrote: > > Particularly with mic types and mic placement. > >Well, basically mics usually go in places where sound emerges. Ah... (slaps forehead)... that's why my recordings always get screwed up... Woh... thanks for the hint Christian... :-)) HJ, who tries to imagine how high a pile of 50 mic-boxes is... -- Hendrik Jan Veenstra <h@...> Omega Art: http://www.omega-art.com/

On a fine day, 07-05-2003, christianobermaier wrote: >> > Particularly with mic types and mic placement. >> > Well, basically mics usually go in places where sound emerges. So, in effect you'd put a mic directly infront of the guitar hole then. Simply, (basically) the louder the better? I for one don't think that was such a good advice, Christian.

the result of another webpage's poor code - rather nice, i thought. and more informative than most infoweb content! http://www.vietnambla.com/img/emagic_is_hep.PNG -- yours, niall. .. . . . . . . . . . aleph null. a simple insinuation around silence. see: http://www.vietnambla.com hear: http://radio.vietnambla.com .. .radio.free.destruktobot. .. playing now: stereolab - olv 26 - emperor tomato ketchup

Thank you Smeet. Fully understand :-) . You are right i need to brush up on my music theory skills. of i go and find a good book and web site. Thank you very much xx debbie -------Original Message------- From: logic-ot@yahoogroups.com Date: 01 May 2003 21:58:56 To: logic-ot@yahoogroups.com Subject: [L-OT] Digest Number 828 ------------------------ Yahoo! Groups Sponsor ---------------------~--> Get A Free Psychic Reading! Your Online Answer To Life's Important Questions http://us.click.yahoo.com/O10svD/Me7FAA/uetFAA/mjFolB/TM ---------------------------------------------------------------------~-> There are 2 messages in this issue. Topics in this digest: 1. Music Theory From: "Music_Chick" <debbie@...> 2. RE: Music Theory From: Sumit Das <smeet@...> ________________________________________________________________________ ________________________________________________________________________ Message: 1 Date: Thu, 1 May 2003 17:47:58 +0100 (GMT Daylight Time) From: "Music_Chick" <debbie@...> Subject: Music Theory Thank you so much for your help. But confused You are in C major, (OK) and at the end of some passage you have an E chord (OK) in > order that you can continue in A ­ so you have moved from C to A, and used E > as your modulating chord I am more confused now sorry David, but can you try and explain with more examples please. Debbie xx ________________________________________________________________________ ________________________________________________________________________ Message: 2 Date: Thu, 1 May 2003 12:06:31 -0700 From: Sumit Das <smeet@...> Subject: RE: Music Theory > You are in C major, (OK) and at the end of some passage you > have an E chord > (OK) in > > > order that you can continue in A ­ so you have moved from C > to A, and used > E > > > as your modulating chord > > > > I am more confused now sorry David, but can you try and > explain with more > examples please. Hi Debbie, I will try to explain. If the terms confuse you even more, then you need to brush up on basic diatonic music theory, such as: -diatonic chords (chords built on each note of the key) -cycle of 5ths -tritone substitution (replace a chord with a chord a flat 5th away) -standard chord progressions like two-five-one (ii-V7-I), minor two-five-one, etc. -secondary dominant chords. (gross simplifications etc follow) The modulating (pivot?) chord is a chord that has a function in both keys. With regards to the previous example, we are talking C major and A minor I assume. That means that Emin7 (E G B D) is the chord built on the third scale degree of C major (since E is a third up from C). It also happens to be the chord built on the 5th scale degree of A, since E is a fifth up from A. So, if you start out in C major, then whenever you hit an Emin7 chord, you could follow that with an Amin7 chord, which would give you a weak but workable cadence in A minor, and you could then proceed in A minor. So this give us: Cmaj7 Emin7 Amin7 This example would be stronger if you had: Cmaj7 Bmin7b5 Emin7 Amin7 since the Bmin7b5 Emin7 functions as a two-five progression in A minor, as well as being the seven and three chords in C major. Even better would be: Cmaj7 Bmin7b5 E7b9 Amin7 which provides a very strong cue that we are moving to A minor through the ii7b5 V7b9 (two-minor-seven-flat-five, five-seven-flat-nine) progression. For further reference, an E7 is the V7 in A minor, and is the secondary dominant of the six chord in C major. So a way to use this is to set up the first key with a few bars (4 or 8 at least) and then move to the second key with a couple of chords that have a meaning in both keys, so although you move to another key, you have a smooth progression through the key change... To hear the effect, play a few bars of Cmaj7, then play the above examples and listen, you should hear the key change in each case. Hope this makes sense. There is a LOT more to learn on this subject, but maybe this can get you started. I am using terminology from jazz theory, but it's not too different in classical music. -smeet ________________________________________________________________________ ________________________________________________________________________ Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/ .

http://gizmodo.net/archives/001997.php Supposedly Steve Jobs is thinking about maybe splitting Apple up into separate software / hardware companies.

Thank you david. That was a lot eariesr to understand. Thank you all for your help. Love debbie xx -------Original Message------- From: logic-ot@yahoogroups.com Date: 03 May 2003 15:58:14 To: logic-ot@yahoogroups.com Subject: [L-OT] Digest Number 829 ------------------------ Yahoo! Groups Sponsor ---------------------~--> Rent DVDs from home. Over 14,500 titles. Free Shipping & No Late Fees. Try Netflix for FREE! http://us.click.yahoo.com/BVVfoB/hP.FAA/uetFAA/mjFolB/TM ---------------------------------------------------------------------~-> There is 1 message in this issue. Topics in this digest: 1. Re: Music Theory From: David Tobin <david@...> ________________________________________________________________________ ________________________________________________________________________ Message: 1 Date: Fri, 02 May 2003 16:05:15 +0100 From: David Tobin <david@...> Subject: Re: Music Theory > I think that maybe the help given has been a touch to complex as a starting > base... > > A modulating chord quite simply is like a car...it helps you to get from one > place to another. > > So say that you start in C ­ maybe in London and you want to get to E or > Paris, you need a ferry or modulating chord to take you from one to the other > - > > If you just tried to jump from one to the other you would get wet ­ or in > musical terms it would provide a very jerky sound, so what you do is find a > chord that sounds right in both the key you are in now and the key you want to > get to. > > There are often general rules about how you do this, but don¹t worry about > those for now - > > Try this > > I want to move from C major to D minor ­ it doesn¹t matter why I wantto ­ I > just have a piece of music in C and my next section will sound best in D minor > ­ how am I going to get there... well a very simple way is to find the fifth > chord of the new key ­ D minor and use a version of that chord. > > In this case that would be A or usually when using a fifth (also called > Dominant) chord, you use a 7th version, so you would have A7 which is A Csharp > E and G as your seventh. > This chord would lead quite naturally to D minor but doesn¹t sound crazy > coming from C major. > > This is one of those things that sounds complicated in its explanation, but > play it on a keyboard and you will hear it immediately. > > If you want more help please email me privately ­ I will do what I can!! > > Regards > > David Tobin > > Wow and flutter ltd > > > > > Thank you so much for your help. > > But confused > > You are in C major, (OK) and at the end of some passage you have an E chord > (OK) in >> > order that you can continue in A ­ so you have moved from C to A, and used > E >> > as your modulating chord > > I am more confused now sorry David, but can you try and explain with more > examples please. > > Debbie xx ________________________________________________________________________ ________________________________________________________________________ Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/ .

Does anyone know of a way to import e-mail from Eudora into Filemaker Pro or MS office to have as a database rather than e-mail? Preferably on PC. Or just some script/program that can parse through the e-mail as text and sort it into a database? Thanks Colin Miller

A tribute band to Kiss agitating on Kiss Online... http://www.kissonline.com/bbs/showflat.php?Cat=&Board=tributebands&N umberC5620&page=0&view=collapsed&sb=5&part But check out the bands homepage! http://www.dynastyrocks.com A little Spinal Tapish... Hehe! ;-)

Hello, Does any one know any thing about the 12 bar blues. what chords are used please? Thank you Debbie xx -------Original Message------- From: logic-ot@yahoogroups.com Date: 19 May 2003 18:28:40 To: logic-ot@yahoogroups.com Subject: [L-OT] Digest Number 836 ------------------------ Yahoo! Groups Sponsor ---------------------~--> Get A Free Psychic Reading! Your Online Answer To Life's Important Questions http://us.click.yahoo.com/Lj3uPC/Me7FAA/uetFAA/mjFolB/TM ---------------------------------------------------------------------~-> There is 1 message in this issue. Topics in this digest: 1. Spinal Tap? From: "Oblivian | Bacteria AS" <oblivian@...> ________________________________________________________________________ ________________________________________________________________________ Message: 1 Date: Mon, 19 May 2003 06:13:18 +0200 From: "Oblivian | Bacteria AS" <oblivian@...> Subject: Spinal Tap? A tribute band to Kiss agitating on Kiss Online... http://www.kissonline.com/bbs/showflat php?Cat=&Board=tributebands&NumberC5620&page=0&view=collapse d&sb=5&part But check out the bands homepage! http://www.dynastyrocks.com A little Spinal Tapish... Hehe! ;-) ________________________________________________________________________ ________________________________________________________________________ Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/ .

am 22.05.2003 16:30 Uhr schrieb Music_Chick: > > Hello, > > Does any one know any thing about the 12 bar blues. what chords are used > please? > C, F & G7 ;-)

Music Chick wrote: >Does any one know any thing about the 12 bar blues. what chords are used please? Hi Debbie, There are many versions -- the most basic would be (In key of C) C F C C F F C C G(7)F C G(7) These chords might be all simple major chords or all seventh chords (dominant, minor7 or even MA7) or a mixture of the two with the G chords most often being G7s. That is three four bar lines -- vocalists often repeat the same words on each of the first two lines of each chorus add a following line that differs. Often there is a turnaround of some kind at the end so that the last two bars might be (still in the key of C) C A7|D7 G7 C Ami7|Dmi7 G7 These two turnarounds have movement around the cycle of fifths to get back to the first bar C of the next chorus. C Ami7|Abmi7 G7 C Eb7 D7 Db7 These last two are using chord substitutes (this is called tritone substition) where a seventh chord three tones (6 semitones) away will function as a substitute for another seventh chord. This and other sorts of substition can be applied all the way through a blues so that you might get two or even four different chords to the bar in a slow jazz blues -- the V chord (G7) in the 9th bar is pretty essential to the blues though. Now you just gotta pay your dues ;-) Regards, M

Ok, next step: I7, IV7, V7 ;-) Peter --- http://www.merlinsound.de Tobias Seyb wrote: > am 22.05.2003 16:30 Uhr schrieb Music_Chick: > >> >> Hello, >> >> Does any one know any thing about the 12 bar blues. what chords are >> used please? >> > C, F & G7 > > ;-)

On a fine day, 22-05-2003, Music_Chick wrote: >Does any one know any thing about the 12 bar blues. what chords are used >please? Typing "12 bar blues" in Google's search engine yielded a.o. the following results: http://www.coast2coastmusic.com/diatonic/12_bar_blues.shtml http://www.wholenote.com/cgi-bin/page_view.pl?lF7 http://www.personal.psu.edu/users/f/p/fpm108/glw/lessons/lesson25.htm http://www.fenderplayersclub.com/pdfs/lessons/beginner_blues.pdf I suppose you could have used a search engine yourself, right? -- Hendrik Jan Veenstra <h@...> Omega Art: http://www.omega-art.com/

Hi, > Does any one know any thing about the 12 bar blues. what chords are used > please? this is really a great list! Please tell me how to write a symphony! Thanks, Tobias ;-)

> > Hello, > >Does any one know any thing about the 12 bar blues. what chords are used >please? bar chords. 12 of them.

On a fine day, 23-05-2003, Dennis Gunn wrote: > > Hello, >> >>Does any one know any thing about the 12 bar blues. what chords are used >>please? > >bar chords. 12 of them. You sure? 12? -- Hendrik Jan Veenstra <h@...> Omega Art: http://www.omega-art.com/

Three chords... barred or otherwise, played in 12 bars see: http://guitar.about.com/library/weekly/aa112100c.htm Dana ----- Original Message ----- From: Hendrik Jan Veenstra To: logic-ot@yahoogroups.com Sent: Friday, May 23, 2003 7:26 AM Subject: Re: [L-OT] mUSIC THEORY - THE BLUES On a fine day, 23-05-2003, Dennis Gunn wrote: > > Hello, >> >>Does any one know any thing about the 12 bar blues. what chords are used >>please? > >bar chords. 12 of them. You sure? 12? -- Hendrik Jan Veenstra <h@...> Omega Art: http://www.omega-art.com/

>On a fine day, 23-05-2003, Dennis Gunn wrote: > >> > Hello, >>> >>>Does any one know any thing about the 12 bar blues. what chords are used >>>please? >> >>bar chords. 12 of them. > >You sure? 12? Well if it's a big town and you can hold your booze can just play one chord of any variety but do it in 12 bars. By the twelfth one you will be blue if you are a sad drunk.

Hi! I'm thinking of buying a tibook 12" as a replacement for my Pismo G3 400, and would like to ask if anyone knows the differences concerning track count, number of virtual instruments and such. I'm familiar with the overall specs of both machines, i.e. only one firewire and no pcmcia port in the small tibook, and no bootin' in Os 9.xx, which is a pity. But I'm attracted by the size and sturdiness of the small 12", guessing that I'd rather walk this than my good old Pismo around. For home and for bigger tasks I still got my G4 800 DP. Intend to use Logic 6.xx, Mt4, emi 2/6, oxygen-keyboard, exs 24, every Logic (emagic) Instrument, Reason, Melodyne, Traktor DJ Studio 2.xx... Any hint/help would be appreciated regards from Hamburg, Germany, Frank Valet

Hi everyone, I was using the NI Kontakt sampler, but after moving over to 6.1 I am using the EXS24 until the OSX version of Kontakt is released, and maybe longer depending on how the EXS works out. I used to have some instruments for the EXS24 like EXS909 or something similar. I can't find the CD that these instruments came on, and I was wondering if someone could tell me if this was on the original EXS24 CD that I sent back when upgrading to version 5 or if it is on a different CD. If they were on a different CD, it would be very helpful for me to know what that CD looks like. I can't find it, but I may just not be looking for the right thing. If anyone knows of a website or another location to get these instruments, I would appreciate it. Thanks, pfokus

Hi guys 'n gals, I'm new here. I'm on the LUG too, but I have a tendency to be a bit OT sometimes, so I thought I might give this group a try. I just looked at the recent messages. Not really a busy list, is it? Cya, Gert www.waveworld.tv

Hi Gert, no, it's not a very busy list, but it's good for taking OT discussions off the"main" list :-) Cheers, Recky -----Ursprüngliche Nachricht----- Von: Gert van Santen [mailto:g.vansanten@...] Gesendet: Donnerstag, 29. Mai 2003 14:24 An: logic-ot@yahoogroups.com Betreff: [L-OT] Hi Hi guys 'n gals, I'm new here. I'm on the LUG too, but I have a tendency to be a bit OT sometimes, so I thought I might give this group a try. I just looked at the recent messages. Not really a busy list, is it? Cya, Gert www.waveworld.tv Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/

Recky Reck wrote: > Hi Gert, > > no, it's not a very busy list, but it's good for taking OT > discussions off the"main" list :-) Good idea. Well, let's see how that works ;-) Gert www.waveworld.tv