noynekker

Hi Douglas . . . had another listen or two on a Friday night to this one, and it really is something special. It has a great old analog warmth in the recording. The guitar playing is simply masterful. The vocal is no slouch either. I hope you know how good this is . . . so, I'll tell you. It's good. Hope you get the recognition you deserve.

Great movie music . . . and ! . . . you're a comedian. Now, I found this quite hilarious . . . THANK YOU ! . . . and ! Some hilarious is what we all needed right now.

Great work Douglas ! Nicely mixed, very relaxed vocal, and yes, those guitars are stars.

Allan . . . some great country fun here, and it shines throughout the whole production, beginning to end ! I hear a very clear and balanced mix . . . and yes the vocals are superbly performed and recorded. Now, just don't delete it like you usually do here . . . I want to come by again in a bit and have another listen:)

Mark, glad to see you brought that cello out of the case again ! Really a great listen, as always. Mix wise . . . the drums, you start with a sidestick, but when that snare drum starts up, it's nice . . . but as it goes along, later in the piece I find it's too loud, too prevalent, taking attention away from those guitar and cello tasty licks. I especially like the way you played your cello near the end, kind of dragging the bow across, really nice.

Nicely done Bjorn . . . tumbleweeds and fence posts, a very strong American western piece. I like the instruments you've used here, thanks for listing them, it helps to understand how it was created. I've always been a fan of the Indiginus sample library, and especially like how you've used it here. Reminiscences of my many long road trips from Vancouver to Moose Jaw, Saskatchewan.

bjorn . . . thanks for listening, and your input ! . . . ha!, and best of luck in your next relaxing cat life . . . wouldn't it be appropriate for cats to come back as people ?

The newest version of Nectar (3) is brilliant because of the reverb and delay frequency roll off controls. The compressor and de-esser visual displays are also great and intuitive to use. Though, I must agree with others here . . . it seems the AI wants to always boost the speech recognition ranges far too much. Sure, it stands out in the mix . . . but unless you have a really high quality mic, it's over the top, too much . . . especially if you are the mix engineer of your own recorded voice, and have a budget mic . . . ouch ! AI machines are programmed to seek out and eliminate mud . . . they are not yet sensitive enough to appreciate or recognize warmth.

Jerry . . . both are great vocal takes . . . but for me #2 is a more punctuated performance , and has slightly better pronunciation. Some moments of the song are performed in a more commanding way with #2. Best of luck with this piece ! Hope it gets the recognition it deserves.

Hi Strantrickt . . . WHY DID CAKEWALK GET FREE ? . . . here's the story Father acquired wealth through palm oils . . . Son decides to invest some wealth in online music endeavors. Some music store chains in Asia, an online collaboration software. He also astutely noticed a major established Digital Audio Workstation software was floating adrift due to the Gibson Corp's need for downsizing, and thought it would make a great compliment to his online music collaboration effort, for those who needed something more. The idea to make it free was a modern online technology business model decision to attract attention to the brand, making it stand out from the competitors. The actual cost to develop and improve this DAW software further was minimal compared to the notable benefits of making the overall brand more omnipresent on the current online music technology scene., especially with the inevitable changes in how music is now delivered and created, and then passed along to the consumer / listener, with consideration to the demise of the established music industry practices of the past 5 decades, due to shifting music economics as the result of technology advancement, and the shift to a social media dominance, and global widespread use of the personal computer, and mobility advancements.

David . . . now that you mentioned it . . . I do hear a bit of cackling around 1'10" emanating from the lower orchestra left, 3rd row . . . oops, sorry, you said crackling . . . nope didn't hear any of that. Well, just my crude attempt to throw some humor your way, despite it all. But seriously, as always David, an insightful piece of composition. I was trying to picture how you come up with this type of thing. It's not like "jamming" like many here might do. Whatever you do to develop it, it certainly sounds out well by the end product. The violin sampling is very realistic (assuming you don't actually play violin he says to himself). Myself, I'm always in search of that realistic cello sound, any tips ? (other than learning to play one myself)

Very nicely done Lum Than ! . . . I wrote a song years ago called "Let it Go" . . . so, I just had to click on this, and was pleasantly surprised. The only thing I can compare it to in pop music that I've heard is Dua Lipa, though, I think your lyrics are deeper. I particularly liked the way you ended the vocal, so smooth. If that's you singing ? . . . you have a great voice, best of luck out there.

Nicely done daryl1968 ! A great listen. For me, at least lyrically, it suggested "ain't misbehavin' . . . savin' my love for you" (Fats Waller) . . . guess it's the neo isolation modern instrumentation version. You've certainly been very productive this last while, now we know the source of your inspiration.

Thank you very much Lynn . . . "unpredictability" is always hard to predict when you're the writer of a song, so that's great to hear !

David, the "broadway voice" compliment . . . so good, thank you, I do love musical theatre, but I always ended up in the orchestra pit, instead of in the spotlight:)

Thanks Allan . . . clear as a bell is always reassuring to hear, and appreciated.

Thanks for the listen John . . . yes I'm in the Vancouver area . . . glad to hear it works on your speakers ! Hey, aren't you in the Kootenays ? I used to live there.

Hey everybody, a new original dedicated to Bonzai the cat . . . my amazing feline companion for 11 years. He was a rescue project, but quickly took over the household. In fact there became a debate about who was the master and who was the pet ? I mixed this a few different ways, but this was the version I went with . . . as always, if you hear anything amiss, let me know . . .

Barry it's a beauty ! . . . a rockabilly with overtones of Springsteen (I listened to it before I read the comments, and saw that Bapu also heard some Bruceness here) The mix is a wall of sound, a thick mix, which I prefer, and also which I've personally always found harder to accomplish and finish, but you've done it well to my ears. Lots of rich guitar sounds, well recorded and mixed i think . . . the chord changes are very clear. Also, lyrically "Starting Out Again. Alone" . . . is something a lot of folks can relate to . . . hope you do well with this one !

Hey Wookiee . . . it's a great piece you've done here. I like how when it gets going it starts with that pulsating Bass, instead of the usual kit thing. The poetry sets the tone for what is to follow nicely. For a furry alien you've traveled far from your DJ disco days. Great vibe on the guitar parts, but for me the Bass guitar part stands out, as it changes tempos and feels throughout this piece . . . it's the driving force, well done there. garybrun made me laugh, Adam and Eve's bellybuttons . . . you mentioned a CS-80 . . . I know a guy who still has one of those (and a Polymoog in his closet)

Thanks tonemangler . . . seems there are many ways to accomplish this . . .

OK . . . I actually finally discovered the solution to it . . . turns out there is a separate function to do this . . . Project - Insert Time/Measures Even though "Automation" is not included in the checkboxes for this window . . . it does work . . . all Clips slide forward as well as the Automation.

Hello . . . using Process - Slide function, I select all tracks, and try to insert 2 (blank) measures at the beginning of my project . . . the clips all move, but the automation nodes do not move with them, and there appears to be no way to move / slide just the automation nodes afterwards ? I also tried it using Ripple Edit function, but same result. Am I missing something basic, or can this very simple thing not be done ?

Hi Jerry . . . this is indeed a great piece you've produced here, there are no wolf tones, I enjoyed it thoroughly ! Thanks for sharing it here.

Yikes ! Hidden Symmetry, this is so brilliant . . . the song, the recording, the creativity. As it moves along, so many great moments . . . I'm at a loss for words, and find this an amazing and positive musical journey ! THANK YOU !