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    Didier et les Ombres
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  1. Hi Craig, I didn't expect others posts in this thread! I have reactivated links to The demo page from my site. I have used the URL suggested on The demo page: Didier et les Ombres Didier
  2. Good. You now have (minus your tapedecks issues) a 6 track Didier
  3. In the past, Hollow Sun had very good samples of classical machines as free downloads. Unfortunately, free downloads are now very limited (why didn't I get it all when it was possible . In addition, they partnered for some time with Akai to create samples, and Akai has also removed the download page.) Anyway, here is the addess, just in case: Hollow Sun Didier
  4. Good. Of course. I have no idea at the moment why the signal is too low. But I suppose eventually we'll figure this. Didier
  5. Not much. Don't try to think something complicated. Think simple, and it will become obvious to you. You have two recorders: the 4-track, and what you use to do your final mix (let's assume a stereo cassette deck). You have *3* cassettes (to make it simple): A, B and C 1) You record your first 4 tracks on cassette A in the 4-track. 2) You do your mix as usual on stereo deck on cassette B. 3) You put cassette C in the 4-track. 4) You connect the stereo out of the stereo deck to input 1 and 2 of the 4-track 5) You put tracks 1 and 2 on record on the 4-track, and you press play on the stereo deck. Your new 4-track cassette ("C") now contains your mix on track 1 and 2, and you have two spare tracks. It took me a while to realize how much space was "wasted" on these tracks. Reading what I wrote above, is it that hard? Didier
  6. I am not John, but I used a slightly different method in the 4 track days. Record 4 tracks, and mix to two on a different machine/recorder (it could be your PC). Copy back those 2 tracks to the 4 tracks on a different cassette. You can now add 2 additional tracks. That gives you a total of 6 tracks. Contrary to the bounce on the same machine, what I like in this approach is that it is non destructive: you can always get back to the original takes if later you're not satisfied with your mix. For a simple song, tracks layout could be: First mix 1-2 Drums 3 Bass 4 Base guitar Second mix 1-2 Stereo tracks 3 Main guitar (in the sense of "most heard"). If it doesn't play on all parts, add Second voice on that same track. But be careful with punch ins/outs! 4 Main voice. It there's no voice in some parts, use it for Guitar solos, for instance. Same remarks as above concerning punch ins/outs. In some case, you can thus get a total 6 + 2 tracks (using “holes” in tracks 3 and 4) = 8 tracks. Didier
  7. Bonjour Marc, In the long run, perhaps yes. Most of what I found is related to "outdoor" uses. But there a few pointers in the link below, on why it could be more dangerous to listen through headphones. See the paragraph SOUND PERCEPTION IN HEADPHONES VS. LOUDSPEAKERS. Preventing Hearing Damage When Listening With Headphones Didier
  8. Hello Amanda, Cannot you just send it back to Dell under guaranty? Didier
  9. Hello, Have you tried your local press? Usually, local journalists have not so much interesting things to report. So, if you have an unusual angle, very often local journalists are delighted to cover it. An independent label might be unusual at your place, for instance, especially an international one, with a Spanish artist. You could, for instance, "sell": - half the article on the label, - half the article as an interview with Hari. And there are good points about the local press: - contrary to the Internet, people don't expect to find everything free in it, - contrary to the Internet, you have not much competition. Didier
  10. Dear All, DECEMBER 25, 2005 - Online Music Distributor (OMD) AMPCAST.com today announced on their website, how they were going to suspend their online services and probably go off-line by february of 2006. Ampcast Announces Shut Down (plus Dubroom comments) Didier
  11. Didier


    It's true. Not me, I'm tone deaf But people with an hear do hear it. Musicians? (or is it Mathematicians?) The Well Tempered Scale The fact that I studied (very lightly) with "Well-Tempered Klavier" helps knowing about it. Didier
  12. Hi John, I tend to agree mainly with Lazz. One thing I can add is that "fair use" has specific rules on the Internet. For instance you cannot, for instance copy and paste any picture from another website to your own web pages. In a quick search, I couldn't find a good reference on these specific rules (which are often subject to controversy, anyway), but I did find a short introduction: Copyright, plagiarism, security, netiquette (Look at the bottom of the page) You're not supposed to use somebody else's working without saying so (that is plagiarism). This quote (and the one above) are from the source I mention. Didier
  13. 'Xactly It is a recurrent discussion. One argument in favour of that: "Sorry, Mr. Electricity company. It's true you provided electricity during all evening, but I made a loss. As a consequence, I will not pay you." You'll have to find out in your local scene (asking other musicians, for instance). I'm afraid there's no general answer. Of course, the issue exists only (at least in Western Europe) for small "gigs". For national tours (see below), the organiser will always declare everything. No, no difference. Common confusion here. An author's rights organisation is not there to protect copyright, but to obtain compensation for usage. Copyright protection is just a side effect. There are a lot of means to protect your copyright without using an author’s rights organisation (e.g., lawyers, specific organisations, etc.). Yes, but if you perform at least one "protected" song, it's the same as playing 10 (or even 100). The amount of money to pay is exactly the same for the organiser. The difference will be for the authors of each song (100% is much better than 1%). Yes, but repetitively in different towns: Tour: [Middle English, a turn, from Old French (influenced by tourner, to turn about), from Latin tornus, lathe. To travel among various places while fulfilling engagements. I meant admission (from 6 month to a year). But time to receive money is usually longer: from one to two years for things happening in your country. From 3 years to never for things happening abroad. Being an author is a long time investment. Didier
  14. Confused again? What the organiser pays to the band has nothing to do with what the organiser pays to the author's rights organisation. Do you think a cover band would send the money back to Bowie? In fact, it's the one who benefits from the music who is paying the authors: the organiser. The band is only benefiting indirectly, not more than the electricity company or the drink provider. Although, note we are speaking of *revenues*, not *profit*. It means, even if there are no paying entries, but the organiser sold a lot of drink, he will have to pay something. In France, if the CD contains at least one song written by someone member of an author's rights organisation, it is illegal not to fill the form (and most companies will refuse to press the CD). So it does not depend whether you're a company or not. There's both sides to everything. Of course, if you do mostly covers (as a performing musician), you can think it isn't worth filling the form (but you are denying the author's their due). If you are playing your own songs, you have to balance 10% of the revenues with what is paid to the band (but much later, about a year after), and the likeness that you won't play again if you fill the form. The organiser is supposed to do it, more than you. The collecting organisation is not going to act against you, it's your organisation! I don't find it annoying to fill the form. A bit childish perhaps, but it's always a nice feeling to receive royalties. Not for the money (at least in my case, given the amounts!), but that makes you a *professional* writer. Nothing for you. Just the fact that you will not earn anything. Plenty of organisers try to not report. Some are caught, some not. The penalty (for SACEM) is 10%, as far as I know (which means a total of 20%). If none of the songs you play (as an organiser) belong to an organisation, either you can report that, claiming you have nothing to pay, or you can declare nothing, and contest the bill if it arrives. Yes. Such as SoundLiftSoundLift (there are plenty of others). It means Online Music Distribution. Not really simple to quit, but it can be done. But what offer can be more interesting than a lifetime of royalties? When you generate royalties. If you tour a lot, this can be quite profitable (sometimes more than what the organiser gives you as a band, because of the drinks, for instance). But you have to be careful about "admission" time (in some organisations, it can be up to one year). No, only members benefit (quite normal). In the case of SACEM, they will keep the money for some time (up to 3 years, I believe), just in case the lyricist becomes a member afterward. After that, the money goes to the "common pool", which in fact benefit the known artists. Didier
  15. With regards to author's rights (if that's the question), it shouldn't make a difference. For gigs, yes. I think it's 7% (for SACEM, French organisation) for CDs. And you're right about *all* songwriters. My songs are worth the same as Bowie's (as far as gig repartition is concerned). I can only give you the numbers for SACEM, but that should give you an idea. The numbers are different for gigs and CDs. For gigs, it's a statutory percentage: Lyrics = 11/24 Writer = 11/24 Arranger = 2/24 .... which means around 8 % For CDs, it is negotiated, which means it could be 99% for the arranger, and 1% for the composer. It is usually closer to "half of the half", i.e., lyrics 50%, music 25, arrangement 25. The good thing for the writer, with CDs (in France, but that should apply in a lot of countries), is that the writer's fee are paid in advance during manufacturing. Which means the writer's share is not depending on sales. There might be negative sides. For me, the biggest drawback is that, since I insist for filling a declaration when I do a gig, I am much disliked by organisers (because most of them try to *not* declare gigs). The other drawback is that, theoretically, my organisation can ask money for anyone using my music, including OMDs where my music is available for free. Another rule (which is not a big problem for me so far) is that *all* my songs are to be managed by my organisation. This means I cannot sell the rights to one of my songs. But, anyway, you should read the rules very carefully before signing anything. I am, but I guess most of amateur musicians and writers are not. Didier
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