One of the few valid reasons for going to Facebook was that Tinkerbell would frequently post this or that and the message would give the daily health check as there would be some type of liberal protest and, yep, looks like she's doing ok. All is good. But there has been no sign for weeks.
She may have bailed out of there also and I'm headed that way. I'm to the thinking that the destructive potential in the ones who are human junk mail is too high to make it worthwhile to see the relatively few people in there who are interesting for conversation. Much of it is just a large experiment to show what happens when you take girls from the steno pool and make them managers (i.e. SL music ... why it sucks and why it won't get any better).
The only thing more of a waste of time than using Facebook is writing about it.
Onward.
I don't want to do it but I need to re-record the intro / outro Sasquatch segments. The acting won't get any better but the content of what is said is huge in this one. For this it's not so important to be spontaneous as to get out precisely what I want to say. The reason I don't want to do it is that replacing them is difficult due to the positioning of other bits of the video.
Paris Obscur played earlier and he's very good with his mixes. Getting distortion guitar into anything is tough as a chainsaw guitar sound eats a lot of sound spectrum. If you have some tough guy synth voice going with it then they will stomp each other's faces ... unless you EQ to give these frequencies to one voice and those ones to the other. In this way both will now sound much more clear ... but not the same as original. The 'not the same' part is the trick to EQ. How far can you push it and still have the voice remain what you intended when you played it.
The way Paris does it is to identify whatever he considers the key track and that gets a light EQ just for taste. Any other tracks interfering with the frequencies the key track uses are therefore interlopers and they may be EQ'd heavily. He's very good at it as his sound is full and rich and all instruments are clearly identifiable. The other alternative is a grunge sound in which everything rolls together and it comes at you like the Attack of the Seventy-Foot Audiophonic Blobmonster.
She may have bailed out of there also and I'm headed that way. I'm to the thinking that the destructive potential in the ones who are human junk mail is too high to make it worthwhile to see the relatively few people in there who are interesting for conversation. Much of it is just a large experiment to show what happens when you take girls from the steno pool and make them managers (i.e. SL music ... why it sucks and why it won't get any better).
The only thing more of a waste of time than using Facebook is writing about it.
Onward.
I don't want to do it but I need to re-record the intro / outro Sasquatch segments. The acting won't get any better but the content of what is said is huge in this one. For this it's not so important to be spontaneous as to get out precisely what I want to say. The reason I don't want to do it is that replacing them is difficult due to the positioning of other bits of the video.
Paris Obscur played earlier and he's very good with his mixes. Getting distortion guitar into anything is tough as a chainsaw guitar sound eats a lot of sound spectrum. If you have some tough guy synth voice going with it then they will stomp each other's faces ... unless you EQ to give these frequencies to one voice and those ones to the other. In this way both will now sound much more clear ... but not the same as original. The 'not the same' part is the trick to EQ. How far can you push it and still have the voice remain what you intended when you played it.
The way Paris does it is to identify whatever he considers the key track and that gets a light EQ just for taste. Any other tracks interfering with the frequencies the key track uses are therefore interlopers and they may be EQ'd heavily. He's very good at it as his sound is full and rich and all instruments are clearly identifiable. The other alternative is a grunge sound in which everything rolls together and it comes at you like the Attack of the Seventy-Foot Audiophonic Blobmonster.
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