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Didier

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Posts posted by Didier

    Thedemopage.com

    in Music Industry

    Posted

    Hi Didier,

    Sorry The Demo Page was down, it kinda got to the point where I couldn't be bothered maintaining the site. Then 2 months ago I checked the links and thought "oh" there was a lot of linking to the site and as a result I've brought the site back up.

    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

    Hammond Organ Sound

    in Performance

    Posted

    I'm looking for a really good hammond sound, that goes from the standard sounds through the overdriven leslie cabinet as used in the late 60s early 70s. I don't care if it's a set of samples, or if it's a soft synth, as long as it is convincing.

    I'm also looking for a set of samples or soft synth rendition of a 60s "stringmachine".

    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 Track

    in Music Production and Recording

    Posted

    Now I understand!

    Good.

    I just tried it in this way: rca out 2nd tape deck to rca in track 1 and 2 (on the back of the 4-track)...the signal to the 4-track is way low. But it's there!

    Thank you so much...will you help me figure the rest of this out? I mean, if after I try I can't get a good enough signal?

    Of course.

    I have no idea at the moment why the signal is too low.

    But I suppose eventually we'll figure this.

    Didier

    4 Track

    in Music Production and Recording

    Posted

    Hey big guy, what's happening in your musical world?

    Not much.

    Yeah...Finn mentioned this before, and someone else, I believe. I did not understand how to do it, tho, playing the mixed regular cassette back into the four track. Even tho it was explained to me, I don't understand.

    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.

    I like the way you're thinking, tho, with those holes.

    It took me a while to realize how much space was "wasted" on these tracks.

    The only rememdy for me learning this, is to really sit down and figure it out.

    Reading what I wrote above, is it that hard?

    Didier

    4 Track

    in Music Production and Recording

    Posted

    Yoo hoo, John!

    You gave a great map for last time I asked this sort of thing...now I am wondering what you think would be best: for simple bass/drums/guitar/voice song, or variation of that theme.

    I was thinking: drums on 2 tracks stereo, record bass next and mix those 3 tracks onto two. Then go on from there. Whaddaya think? I'm looking for general principles.

    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

    Earphones

    in Music Production and Recording

    Posted

    Bonjour Marc,

    So my question is, do earphones pose a threat to the ears?

    In the long run, perhaps yes.

    I've read some things about it, such as Pete Townsend's comments, but has anybody got something precise, a scientific article or something?

    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

    Independent Label-marketing strategies

    in Music Industry

    Posted

    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

    temperament

    in Performance

    Posted

    My attention was drawn to the subject of 'temperament' on the fiddle-forum. I never heard of this before. It is a way of making small adjustments in intonation (fractions or 100ths of a semitone) in order to play in different keys accurately.

    I think it sounds absolutely bizarre. The fiddlers say for example, that all pianos sound out of tune to them because the tuning is approximated to accomodate all keys.

    It's true. Not me, I'm tone deaf :)

    But people with an hear do hear it.

    Who knows about this weird stuff?

    Musicians? :P

    (or is it Mathematicians?)

    The Well Tempered Scale

    The fact that I studied (very lightly) with "Well-Tempered Klavier" helps knowing about it.

    Didier

    Copyright infringement

    in Music Industry

    Posted

    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

    % in a band?

    in Music Industry

    Posted

    Good point. So, cca. 10% of revenues gets distributed to all authors of songs. If 1 of 50 is from Bowie, he gets 1/50th of the revenues, via the site. Am I getting this right now?

    'Xactly 8)

    So even if they have an overall loss they have to pay? No wonder they don't like it.

    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."

    What do you mean, 'the likeness that you won't play again'?? OoOO How likely is that?

    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.

    If the band is good or you get a radio hit surely the tiny 10% won't matter-? :P But if the music is not very commercial or attracts few people to the venue initially it might be better to wait - ?

    (Is there a difference regarding this if you perform with the band or if they perform your songs alone? Probably not, for the organiser?)

    No, no difference.

    What if you are not sure? I love the idea of %, but preventing a band from concerts doesn't sound fun either. Is there another way to at least formally protect the copyright initially?

    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.).

    So it depends on the songs, not the people performing. Theoretically you could agree to play some songs that aren't 'on the list'.

    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%).

    By 'tour' you mean 'perform'-? (The word conjures up images of European capitols or America.)

    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.

    Do you mean admission into the organisation, or the time that passes before you receive the money?

    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

    % in a band?

    in Music Industry

    Posted

    Do you mean from net profit or from what the organiser pays to the band?

    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.

    Is that the case in a completely independent production too or just 'real' companies? (I suppose it depends if you fill in the form or not.)

    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.

    Does this make it much harder to get gigs? Is it still worth it for you, financially? (and with regard to all the hassle?) Probably depends to how many songs get radio play etc.

    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.

    Are you obliged to fill in forms for every gig?? (From what I read at our organisation's site, I'd say yes. Even charity concerts need a special form to be filled out.) Isn't that a bit, well, annoying?

    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.

    What would happen if you just, well, didn't report?

    Nothing for you. Just the fact that you will not earn anything.

    Do some people just do that and hope they're not found out? Could you - theoretically speaking - play other songs than those 'in safekeeping' with the organisation without mentioning it to them?

    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.

    Not sure what an OMD is - internet promotion site?

    Yes. Such as SoundLiftSoundLift (there are plenty of others). It means Online Music Distribution.

    I suppose you can terminate the agreement if you get a really big offer then-? Must read that section again.

    Not really simple to quit, but it can be done. But what offer can be more interesting than a lifetime of royalties?

    When would it become profitable to become a member? When a CD targeted at radio play is made?

    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).

    If the composer/arranger is in the organisation, and reports a song to it, will the organisation give money to the lyricist too? (Do you have to be a member or will they collect money for you otherwise too?)

    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

    % in a band?

    in Music Industry

    Posted

    I understand about the split. Just wasn't sure how it applied in this particular case. But I guess going indie is no different than going with a record company or something. Is that right?

    With regards to author's rights (if that's the question), it shouldn't make a difference.

    So, if I understand correctly, through the organisation cca. 10% of revenues of a gig/CD-sale go to *all* songwriters, this is divided by number of songs, and then further according to music:lyrics.

    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).

    (Is it 33:33:33 if there's also arrangement separately?)

    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.

    Maybe I'm a bit concerned with things like the number of CDs sold at concerts etc. This could be a muddy area if someone decided not to play fair, no?

    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.

    Can there be a negative side to being a member of such an organisation? (Some restrictions are imposed on members that I'm not sure about...)

    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.

    Are you all members?

    I am, but I guess most of amateur musicians and writers are not.

    Didier

    % in a band?

    in Music Industry

    Posted

    Hi andreya,

    So what's the deal if I just write the lyrics, or lyrics+music, or also sing the lead or a part of the song, or only do backups?

    One thing to (hopefully) clarify things a little:

    Do not confuse you as a writer (this includes lyrics and music), with you as musician (which includes performing, not writing).

    As a writer, the usual percentage is a 50% split between lyrics and music. If there's collaboration between different persons, for instance for the music, then the percentage of each is a negotiation.

    As a writer, each time your song is performed (whether it is by you or not is no relevant), unless for free , you're supposed to earn royalties, the usual amount being around 10% of revenues (in Europe, as far as I know) for public performances.

    Of course, for these royalties to exist, there must be an organisation collecting them on your behalf. That's the purpose of an Author's rights organisation.

    Didier

    Winamp

    in Music Production and Recording

    Posted

    Can't you totally uninstall WinAmp, then?.

    No.

    You were writing you didn't like Winamp, and that it was interfering with the operations of your other media player(s).

    Just uninstall it.

    If you miss some functions not provided by your other media player(s), I'm pretty sure there are other programs/solutions for this.

    Partly out of laziness, I guess, I never had Winamp on my machines.

    Didier

    Winamp

    in Music Production and Recording

    Posted

    Hi Lazz,

    My only effective solution if there is something I really wish to listen to from one of the people here, is to download the file onto my computer, and then listen using Windows Media Player.

    I take it this is the situation you mentionned about SongPlanet.

    It seems the issue is on your side.

    Like Steve, I dislike WinAmp because of the unnecessary problems.

    Can't you totally uninstall WinAmp, then?

    Didier

    Alexis Midiverb II

    in Music Production and Recording

    Posted

    Hello Donna,

    Well, I do have an alexis midiverb II here. WHERE the manual is, or that nice laminated card describing all its powers; or where the external plug went to so I could find out by hearing the dang thing, remains a mystery.

    Manual

    Program Chart

    Quick Seup

    Hosekeeping bummers aside, I've done some seraching, and have yet to find if this unit

    can be a compressor for me.

    In short: nope.

    Sorry.

    If it can do some kind of job compresion wise, I'll track down a way to get an ac adapter.

    Even if it is not a compressor, you should track down that adapter, it is worth it.

    Didier

    Recording Covers

    in Music Industry

    Posted

    Hi,

    I was wondering about doing some covers of my favorite tunes and upload them to my site for free download...

    is that possible or I'll get into deep shit? what is the legal thing about it?

    You'll have to check with SGAE about that, my Spanish is not that good.

    But I doubt the SGAE would have a very different opininion than SACEM (France) or GEMA (Germany).

    In short, the answer is no, you do not have the right to make available for free something that is not yours.

    I guess that if I'm not making any money with that I don't have to pay nobody... am I right? :<img src=" border="0" alt="rolleyes.gif" />

    Yes and no.

    Some might think that, albeit indirectly, you are using the work of others for your own promotion and/or promotion purposes.

    For instance, you have a link to Petrolmusic on your site, which in turn contains "ads by Google".

    I'm not saying your motives are bad. Just wanting to point what would be the general reasoning.

    Didier

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