Donna

What I need is to convert the mixed 4-track audio casstte to MP3. I just found this free download, but it never explained how "it" can record from cassette (to then, I assume, a conversion to digital?) - it's the audio "extractor" I was looking at. Reckoned I'd need a stand-alone unit - it'd be great to have a download, tho. Thanks for any help!

I just needa drink and to trust my ears. - but don't stop replying, ok - The whole song has to be done again...that I've known, and not just for tech glitches. But sometimes, I just don't wanna know it, much less learn how to do it. How many times, done again, who knows? Gotta try to do right by the song. I do not NOT NOT recommend trying to play everything and do everything alone. Unless you're Hari!

Well, is there a general remedy for this, Bitstream? I assume the speaker info applies to not just monitors? I am monitoring once removed - of necessity currently - mixing via headphones, listening to the mix on several pairs of speakers (car, boombox, etc;).

OK...so less gain there, Prometheus? Or get the H outta that freq. range altogether (low mid)?

Hey Nick, Another powerhouse, I see My apologies....but that side note in a post up there, about the no accidentals song? That is not the song I am asking about. And I neglected to make that clear til now. Otherwise, yeah...phrygian or SOMETHING. Thanks for all the info, Nick, which I find very interesting - esp. the anyalysis of he metal stuff! Um...does your opinion still stand (pointing toward E) if the F#'s are intact (which they are, chord-wise)?

Mon Capitaine, I do not have permission to use that feature (and I am logged in )

Lazz, Your post knocks me out! Thank you so much. It deserves a better brain than I have at the moment...here's an instance also where the failure (mine) to have been imbued with, eg, the cycle of 5ths, makes for some heavier homework, when my answers should be cursory knowledge, easily given. So...you young drummers, don't thumb up the nose at learning piano when the 'rents urge you to. At least learn the xylophone! You'll be way ahead then when years later you wish to compose, or many other things. I'll come back on this when able. Donna (JB: yeah...d f# a - D major, got ya)

Yes...it may well be D. That vs. would then resolve on the vii...right logically straight up to...the II!? I wonder how that can SO not work on paper, but be so logical in the hearing of it. Although, something perhaps to revist and ponder...the secondary dominant thing. Thank God for wholesome things to wrap the mind around and you all to converse about it with. *thou dost more good than thou knowest*

I'm sure it will at some point. I do it the same way, but simply go from root to minor third. If there's a minor third, it's minor (that is the definition of a minor chord IIRC). But you're right...since we're trying to find the tonic, going bakwards makes sense. (pause for dong the math) I have made a judgement, then! The key is D Major. I think.

OK - then phase cancellation is def. happening w/ my project. So...the overlapping of frq means simply more than one instrument "competeing" in its frq range, for that frq range?

Steve, 3rd note of melody is...B. so chorus: IV - iii - ii - iii - IV hmmmm. End chord'd be IV (E) iii (D) or ii © Vs resolve on ii. Maybe we're into secondary dominant analysis..Hey! Maybe B "is" the secondary dominant...it would be for key of E. Key of D, the secondary dominant would be E, right back where we started wiff the I - vii - vi. Oh I give up, I got a barely passing grade in secondary dominants. ?? The chords are major, the progressions are minor...so the key follows what the chords, not progression is? Major?

PS...the vs resolves on: key of E: vi key of A: iii key of D: vii No help there!

hee hee Steve. Rudi, I actually wrote out what the chorus progressions were, but then decided not to post 'em. All 3 configurations looked DAFT to me, a dom and sub dominant in sight w/ one possibility...but a iii in there as well? Unless I'm totally off in figuring. The song fades out (of course) so no ending chord...if playing live, we'd fade! (j/k 1/2 way). I think either D or E...or C for the left-ambiguous ending. Anyway: E - D - C - D - E key of E: I - vii - vi - vii - I key of A: V - IV - iii - IV - V key of D: II - I - vii - I - II I guessed "D"...it looked the least weird of progressions, at least there's tonic, and something about the 7th made me think, "yeah 7 resolving... to tonic". That's the thing, it doesn't sound weird, resolves naturally and all, kinda hook-ish - only looks weird. Your suggestion on finding the closest thing to a chorus of I IV V, or II V I etc; was the method I decided upon, before I posted (as well as taking into account beginning chord). (Side note: That...little project I've been doing for months...it was through scoring that I seriously began to wonder if the key is C, tho C is certainly not the focal chord. I had to go back and naturalize all the #'s and stuff in key sig and throughout, because I realized thru playing that there were NO accidentals, and that sucker should have been riddled w/ F#'s...what are the modes...perhaps it's an alien - I mean aolean - mode. Right? Isn't that no accidentals...and something about the I [C] to the VI [A]...IIRC)

What's subtractive eq mean? "Less"? Drop out...meaning ____? OK, you're losing me on overlapping frqu being a problem. But first: did you mean this: "the bass range is really sub 400 Hz" but if someone "consider the range as 400Hz there's a good chance of overlap." As in, if the person recording/mixing is mistaken about the frq of any given range, more chance of overlapping?

For my own songs, I mean. I'm just kinda having bits and pieces of info from looong ago floating around, trying to recall anything pertinent. I didn't play anything melodic then, when I was in music theory (this is called a handicap!) t/y

What makes a lyrical hook effective? First, I like that Lazz' example was not a chorus. Usually simplicity, melody and repetition.

Lazz - thanks for the insight and examples. I am with you - "engage" and "pleasing me". I'm glad you honed in on John's list. That number 5 really might be a devistation for others, if not for John. "If I Were A Carpenter" - my opinion: probably the most intimate, haunting, beautiful love song ever made. Or specifically, Bobby Darin's recorded studio version. I will NEVER forget the words, melody and mood of that song.

I think I'll have to bow out, John. It's hard to know at this point...

Hey all~ If too many low frequencies can cancel each other out, is the reverse true? That too many high frequencies can cancel one another out, resulting in mud or boom? Also...does the gain - or can it - fit into the above somehow...if the gains are riding high on too many things, is there a predictable net effect? Any principles are helpful, thanks.

1) Tgrover way 2) Bitstream way Ying and the Yang

This is very good - talk about know thyself. You explain well how you do things. Using the Johnny/Bad Maid/Bar Fight example, as a parameter within a parameter, do you KNOW if your story is set in stone? Must it be for example, that Johnny did actions a-c which lead to d? Could someone else be doing some of those actions (or having some of his thoughts - maybe he remembers Mama telling him Daddy did the same thing) or ?? Endless possibilites there. I watched a George Lucas interview. Hearing him speak for ten minutes on himself as a storyteller, how he tried to fulfill that really helped open my mind. It's a bear, to come up against the same thing again (re: your first paragraph). I think I recall author Evelyn Waugh sounding off on being a craftsman...not the serene image one might have of a successful writer, *lounging w/ wine gobblet, lingering deftly, effortlessly creating, editing, refining*. But rather struggling, in doubt, in lack of perspective, unable to judge, unable to let go. Possibly hacking and burning here and there. This is a part of what we face at some point. But can get wearying and frustrating. Hey - happpy for you, that you're writing a lot. You have a whole audience here wanting to see your labor when it's finished.

John - it may not be the idea itself which you're too attached to, but the parameters set down (knowingly or not) in which you're willing to express it. It might be interesting to find out if you do have parameters and what those might be - just the kind of self exam I'd think you'd be suited for. I hope something may apply?

That's a good question! Yeah - hints on writing line w/ fixed lyrical rythym, PLUS FIXED VOWELS, and syllable location. Precisely, exchanging a new line for an existing fixed lyrical rythym, etc; Maybe someone knows a shortcut. It'd help to know simply if anyone else wrestles with this.

Yeah!

bump