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Sean Michael Robinson

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About Sean Michael Robinson

  • Birthday 12/28/1979

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  1. Sean Michael Robinson

    Vocal Take (What Am I Doing Wrong)

    Very wise and generous advice, Tezza!
  2. Sean Michael Robinson

    Most effective time shrinking for phase coherence between clips

    Hello Noel! I'm trying and failing to get the slip stretching to work on multiple clips. Even with Ctrl-Shift held, and all clips selected, it'll just slip-stretch the one. Any guess what I might be doing wrong?
  3. Sean Michael Robinson

    Requests: Spectral Editor, FFT declicker/denoiser

    Hello CWBBL folks! First off, thank you for an amazing product. I've been a Sonar user since 8 and have been blown away by the new stability of the program. Quick feature request--are there any plans to incorporate some FFT-based goodies? How about a spectral editor, a la the good but awkwardly-implemented Spectro VST? I've found that tool to be invaluable in eliminating oddities from recordings-- coughing, a clipboard drop in an auditorium, etc. Similarly, there are various free de-noiser plugins (the Reaper suite) that also use FFT to eliminate noise. Once again, although there's a tool already available, the implementation is...lacking is a kind way to put it. I can only imagine what a BL-designed denoise tool, with the slickness and stability of the new version of CW, would look like. I realize these requests might not fit in with the direction BL is heading! Just thought I'd toss out the ideas as one happy user who is always greatful for more All the best, Sean
  4. Sean Michael Robinson

    Most effective time shrinking for phase coherence between clips

    Noel-- thank you SO much! I don't know if I ever would have found that shortcut. I've used the slip stretching on single clips but hadn't been able to tease out how to get it to fly with multiple selections. Seems very straightforward. Thanks for the help! I'm very interested in the maths behind these processes. Going to do some reading about the different types of algorithms now.
  5. Sean Michael Robinson

    dealing with electrical noise

    All these stories about the Fender Bassman are bringing back memories ... man, those things can kill ya. Got zapped recording at a really nice studio (RIP Chromasound) where the Bassman was next door so it could operate at the typical jet-engine levels. Problem was, it was on a separate power system from the main room, where all the rest of the gear was, including a SM58 for scratch vocals, were. Stepped up to that badboy with my guitar plugged in-- ZAP from about an inch or two away, that sent be back and to the floor. I feel very lucky it wasn't my bandmate/cosinger who was shocked (she was about a foot shorter than me, seventy pounds lighter, and had a metal lip ring at the time!)
  6. Sean Michael Robinson

    Most effective time shrinking for phase coherence between clips

    Update: Whatever was glitchy before when I was attempting to select and stretch or compress multiple clips is...no longer glitchy I selected a small segment of all three tracks, went to the Process -> Length menu, selected the desired duration and tried out the new Elastique Pro algorithm. Nice and duration shifted with no noticable phase difference, either to the ear or according to Span. So either the amount of bleed is negligible for this purpose, or the new algorithm is doing it's job. Either way, mission accomplished!
  7. Sean Michael Robinson

    dealing with electrical noise

    If you just moved into the house, you might not be accustomed to it's audio gremlins yet I lived and recorded in a series of older houses in Seattle, and they frequently had odd issues. Outlets that didn't have third grounding prongs (can cause all kinds of problems). Outlets that APPEARED to have proper three-pronged grounding but actually didn't! A house in the flight path of the airport, and certain pieces of gear acted up every time an airplane flew immediately overhead. And in one case, my bandmate found out (the hard way) that he was located right near the broadcast tower of the local NPR station. How did we know? His Fender Bassman (and several of his older ribbon mics, including two Beyer 16os) started picking up the station almost as loud as any audio coming into them! We had to rotate/reorient them (and the guitar cable) in the room to avoid the problem. Which is all to say-- you've got some good troubleshooting advice above. Especially about making sure connected items are on the same outlet, that the grounding works, and that cables passing audio aren't running parralel to any power cables. (I'm having a noise issue currently. Took forever to figure out that it only happens when my next door neighbor, who's on the same power as us, plugs in his space heater!! or something that he plugs in only on cold nights. This is no joke!)
  8. Hello CWBBLabers! Let's say you had an excellent multi-mic recording — in this case, close-miced acoustic guitar, upright bass, and accordion — that you were really happy with, save for one thing — the tempo of the performance is just a hair too slow. So you'd like to speed it up just a bit, without affecting the pitch, and you turn to your trusty CWWBL to make it happen. I have experience doing this with great results to individual isolated tracks-- but in this case all three tracks (again, acoustic guitar, upright bass, and accordion) have some bleed between each close mic. That is, there's a substantial amount of acoustic guitar in the upright bass mic, and a minimal amount of ac. g and bass in the accordion mic as well. Given that there are phase relationships to preserve between these three spot mics, what would be the very best method to shrink/alter the tempo of this audio and not create a newly-phasey mess? This of course is also applicable time you'd want to stretch or shrink stereo piano or drum mics as well, so I'm guessing whatever the solution is here is also the best method to that situation as well. Would appreciate any and all advice on the topic! All the best, Sean
  9. Sean Michael Robinson

    I'm Retired

    This is hilarious Bjorn! Really enjoyed the lyrics and perspective. It see ms OVEr de-essd to me. Don't fear the ESS so much you eliminate the high end from your consonants. If you're capturing too much sibiliance at the source, then try-- 1. a different mic 2. backing up from the capsule (could be causing over-emphasis of the sibilance) 3. eating a green apple/drinking some water before your singing some session! 4. all of the above 5. tell yourself, "Aaah, I'm retired!" I'd watch the phrasing. Especially with a spoken (as opposed to sung) delivery and such conversational lyrics, I'd pay careful attention to phrasing the words how they would appear in conversation. There are a few examples here, but the one at hand is -- "I STAY at home, I OBserve the scene" which, when spoken, would be "I obSERve the scene." Phrasing it how you'd speak it preserves the meaning even on casual listening. (The worst financially successful example of this IMHO is the Fleetwood Mac song "Go Your Own Way" the chorus of which has a second line where I can barely believe they're singing the words written down on the lyrics sheet. Makes for some odd listening, to me anyway!) A fun song. Do you ever play these ditties in public by any chance? I think this one would go over great.
  10. Sean Michael Robinson

    Causes of Vocal Distortion

    Also, as mentioned above, you could be clipping your preamp even if you're not clipping the digital input. Are you recording with a board or external pre?
  11. Sean Michael Robinson

    Causes of Vocal Distortion

    If you're a real belter, then the capsule itself could be the culprit. Even that truly unpleasant cheap condenser Sss sound is a type of high-frequency distortion from the capsule and mic circuit.
  12. Sean Michael Robinson

    melodyne disappeared

    This just happened to me. Melodyne doesn't always do a great job of keeping track of liscense approval when you change versions (in my case, it was switching from Melodyne Essentials to a demo of the full program and then back again). Try a clean uninstall of Melodyne, then a re-install and re-register.
  13. Sean Michael Robinson

    Sweet Angeline-- folk rock

    Aw shucks, thanks for the kind words everyone...
  14. Sean Michael Robinson

    Sweet Angeline-- folk rock

    Hello Serious_Noize! Thanks for the kind words Bjorn: thanks for the listen and the thorough look at the lyrics I smiled at your observation about the melody--the other song you made that comment on was also Rachels--"Comfort" I believe. And it's definitely a similar approach to this, in that the overall musical effect--texture, harmonization etc--is on equal footing with the melody, or possibly even more important. She generally works "backwards" like this--getting a feel or riff or chord sequence to start with, and building in the melody after, which I think has the tendency to de-emphasize the importance of the melody alone. (or some of her other songs, I'm thinking of "Acorn Armies" from our last album, has the most melodic instrument on a non-vocal instrument, in that case, the fiddle. Definitely a different approach). Very much appreciate the analysis! Hey John--thanks for the thoughts and the suggesion! I never know when to keep vocals centered and when to split them out, seems like there are compromises either way. I usually end up panning them for "duet" type harmonies/tradeoffs, or with three part harmony, and keep them mostly centered for single-harmony that follows the melody closely. Will definitely give it some more thought next time I'm mixing this type of harmony (which I'm actually doing this week! Another new song)>
  15. Sean Michael Robinson

    Sweet Angeline-- folk rock

    Thanks for your comments everyone! James G-- I don't know Clifford T Ward! Will have to check him out, thanks for the new music to listen to. Tom-- hah! That's the sustain pedal on our noisy piano. It's a 1920 Steinway, it was Rachel's great grandparent's wedding present, and although it plays great, it's in need of some maintenance. I'm of two minds about these type of "features" in a recording. On the other hand, it's clearly extramusical, not neccesary to the song. On the other hand, in an era where...what percentage of "piano" recorded these days is midi, or some keyboard piano synthesis or sample?-- it definitely distinguishes itself. I had this conversation with a friend before overdubbing some piano on his recording. I was complaining about the intonation being slightly out, which was audible on some big chords spreading several octaves. "No, it's fine," he said. "that way they can tell it's not a sample." Huh. Well, hard to argue with that I guess! Thanks for the comments Bill. Would you prefer a roomier mix, with some more verb delays etc? We recorded in a fairly boxy living room, with piano and drums simultaneously, so I was really struggling to get the drums as dry as possible, to the point where the "overheads" were literally in front of my face when I was playing! A little ridiculous but got us the intimate and comb-filter-free sound we were looking for.