X-53mph

I installed a new SSD the other day and I had to reactivate all my iZotope stuff. That was on the same PC after cloning the drive.

Starise, sorry for my flippancy. I hope you didn't take offense. The truth is I appreciate what you said and can understand where you are coming from. But there comes a time in every middle-aged musician's life when they ask themselves....why can't I seem to capitalize on my successes? To give you some context. I've been making music/gigging/recording etc since I was a teen (over 30 years ago) and have had highs and lows throughout. In my late 20s I had a chance at the big time, but I bottled it and missed that boat. Back then I was briefly A-listed to radio stations having my music played on rotation, but I never managed to capitalize on any of that. I was even courted by XL records and The Verve's management Even now, I have had my music used by Joseph Gordon Levitt's HitRecord in numerous projects (Zappos, TV series etc..) but I never seem able to capitalize on any of it. Do you know how much money I made from radio and TV plays back then....something in the hundreds in total. Then I see people on Bandcamp with 1,000s of subscribers or making $10,000s on Spotify, and I ask myself.....how the ***** did they do that? And why can't I? What I post to the forum here is a very small part of my output - introverted passion projects. Hope this clarifies a bit where I'm coming from.

Two subscribers?

Go on - Pep me. Pep me. I love a good pep talk.

I remember when that happened to a British comedian called Tommy Cooper on stage...in front of the Royal Family.... live on TV. He had a heart attack, slumped to the floor...and then audience continued laughing as if it was part of the act. ... Then the show had to go on.... With a very confused audience. ?

Absolutely! If you could just provide me with your home address.....

Thanks Lynn. My finger picking style is self taught (just like the rest of my skills ?) and from listening to lots of John Fahey. The flamenco was an odd choice back when I was in love with a Spanish ballet dancer and considering moving to Spain for her....I now live in Italy, so that tells you all you need to know. ? I've always loved eclectic combinations of sounds. And I always seem to gravitate back to 'real' instruments as opposed to VSTs. Something so much more 'human' to the sound of a string slide or a bum note than virtuals. What do you say?

Thanks for that. Really appreciate it.

I've been making music for years (since before digital) and I've been releasing music on platforms for years....but only yesterday I got my first subscriber on Bandcamp. Mixed in with the joy was the realisation.....I am such a low achiever. ?

I'm actually a beta tester for 6. Been doing it for a year or so. The beta versions have a short life though, hence my intention to upgrade to the full deal.

Good point. I saw a lot of live streaming videos by producers over the last year highlighting their hardware.

Do you think it wise to update to Kontakt 6 now? I'm still on 5 and was putting away some spare cash to go up to 6....but if NI is destined to go ***** up.....!!

All done! That was painless.

I must be a glutton for punishment. Trying to update now - 0%

Your situation was probably much larger scale than mine. For me, the sound was not passing 'though' a partition wall but 'up' the wall from below, so it was a case of trying to get the vibrational energy under control rather than the impact energy or airbourn energy. I did something unconventional by applying a layer of drywall with heavy vinyl backing directly onto the wall (no gap) and securely fixed it with raw plugs. In all conventional literature they will tell you to build an air pocket between the two walls and to have as little contact points as possible, but as I was dealing with vibrations (which come out as low frequencies) I decided to apply the idea of a car breaking system rather than an air gap system. Once that was in place I applied another layer of drywall with green glue backing with minimal drywall screws- the idea was that the energy passing up the wall would be slowed down by the first layer of vinyl, and anything passing through that would be reduced even more by the green glue. I had less problems with caulking the gaps. My corridor space is internal (no temperature changes, no windows) so I've had no cracking or structural movement. It's true though that older structures are very difficult to work with. The old wooden framed houses where I live were meant to 'breath' with the extreme changes in temperature, and many of the modifications made in later years (mainly the 70s) caused all kinds of problems to these structures (cracked walls, uneven floors etc..). In fact, it's hard to find an architect or builder who understands how these old houses work. Thanks for all the feedback though - I love hearing how people have dealt with sound issues around the world.

Thanks everyone for your advice and insight. I know it is a complicated issue and each case is different. @jackson white I had a similar problem to you in my last flat. The neighbours downstairs united two flats and knocked through some 'non weight supporting' divisions. The effect was that they turned our floor into one big suspended floor with no walls to carry away some of the sound vibrartions. This meant that all the sound energy hitting one part of the floor would vibrate across the entire skin, and amplify in 'our' apartment. It made my life so hellish that I sold the flat at a loss just to get out. Just like in your case, this was the result of people modifying structures that have been designed, planned, and built for one use. I detest architects who come in and start casually knocking walls down as if it won't affect the structure somehow.. @fitzroy I would love to be able to redo the ceiling downstairs, but I know what is waiting in store beneath the wood panelling, because I did it in my house - very old wooden beams in need of attention, as well as all the dust and detritus. It would be a major job involving more than just insulating - and I know the landlord would not cover any of the work, and the renters have nowhere else to go. So, it's not an option. @craigb I did that once in an apartment in London. It was a Friday night and the city boys living beneath our apartment came home from clubbing past midnight and decided to continue the party in their apartment - I had work the next day - so, I got my Marshall amp, lay it face down on the floor, got my 808, ramped up the volume bass and bpm and left it running for about half an hour. By the time I turned it off, they had turned their music right down. @Tezza I think you misunderstood me, we don't have vinyl on the floor - I used the weighted vinyl on a dividing wall that was causing problems. You can buy these rolls of heavy density vinyl, stick them to the back of sheets of plasterboard (this adds a lot of weight) fix that to the brick wall, then I added green glue between another layer of plasterboard - and before anyone says "why didn't you use rockwool or decouple etc.." it was a very narrow corridor space and a needed a solution that would not make the wall grow by about 20-30cm. My solution added less than 10 cm to the thickness of the wall, and it worked. So - I'm going to try some rugs over the next few days (I had an old dog, which was why all the rugs were up, but he died last year) and see if it helps. It's a shame no-one has any experience of using lead. The reason I mentioned this is because I once went to a recording studio in London built in an old MI5 building. They boasted about the great sound insolation because they built the studios in the old interogation rooms which were all lead lined....Just wondered if it was true or not. ... about the lead, not the interrogation rooms.

I got it that way. I've also used it a few times. It's not so stable, and it's not my first port of call, but it's not bad.

You can get it for free anyway. Just check the website and follow the instructions.

I'm not too sure with this recording because I think I recorded the guitar on an edirol digital recorder in a hotel room in France - I probably tweaked the sound later on and I'm sure I pulled up the bass frequencies post production. The guitar is a battered old flamenco that I bought a lifetime ago in London with battered strings that I rarely change. I use it as my travel guitar. It's a hard top so has a rich tone. It's definitely on the bassy side - indeed, I've used it as the bass on a number of tracks over the years.

Hi Jack, the guitar playing is me. The piano sound is SpitFire Audio - Oliver Patrice Weder's felt piano. I've taken to playing it through Nembrini Echobandit to make the tails build on release. I love the sound of his felt piano - so nice. The other instrument which sounds a bit like a lute is Performance Samples River Harp with a bit of Objeq Delay. And finally, the droning sound is LABS Lap Steel played through my own special FX Chain. Over the years I've built up some FX chains that are like the Kentucky Fried Chicken herbs and spices recipe.... Thanks for taking an interest.

I have considered that and the owner has offered. My day job situation is a bit too precarious at the moment though. I'm facing redundancy, but also been offered a new career opportunity. So swings and roundabouts.

I def have an issue with my bottom end. I think I need new phones....or ears.

Lovin' lead guitar work. Reminds me of Mister Bungle / Faith No More Patton for some reason. Love the production, but I agree the intro is far too long - get to the good stuff quicker.

Back at ya!

I've reworked the sound of my Julee, and renamed it Judee (after Sill). I've tried mixing up styles - British/American folk with Italian folk themes with additional wide drones (LABS steel is in there). I also got to mess around with the AAS EqDelay.