There are many things about recording which Cat does not want to hear (i.e. practically everything) as most of it is about turning knobs and watching dials. These things do not bring joy to Cat's life and I suspect they will not bring much to yours ... but ... there is significance for live.
There's no need for a pic of each one or to know its name but there are many knobs on the audio paths for the instruments and multiple affect the volume and gain for it. The end result of changing the volume is the same as the instrument gets loud but where you do it has enormous importance for where it will get loud.
(Ed: maybe try this before you smoke the joint??)
Roll with it. This makes sense. There is the subjective sound of whatever I play and that's what comes from standing here in the Rockhouse. It is the objective reality if you're in the Rockhouse but a subjective reality for anyone who is not because you can't hear it.
The knobs come into it in making your subjective reality the same as the one here and this is where it's crucially important to turn the right ones. The objective reality here does not change as it gets loud and it stays loud but how it gets that way can change substantially and where that came into play this morning was with "There Will Come a Time."
Recording is all about capturing an objective reality and, for now, we can skip the philosopher on a rock part as he wonders how objective is it really. The problem was the recording levels looked good but the track I recorded was so low I had to bump it twenty decibels just to hear it next to the other instruments. By turning different knobs, the recording level came up but the objective level didn't change (i.e. what I was hearing didn't change but what the computer was hearing changed a lot).
The knob twisting is also a part of live as the constant neurosis with live is whether the audience hears what I hear. It's the same for anyone performing online and it's all about subjective / objective reality. For a real world concert, you can be reasonably sure the audience hears the same thing you hear but that's not even close to true when you perform online. All of this about different realities may sound like stoner crap but it's an in-yer-face problem for anyone starting out in online performance.
Note: if you're starting out now, the problem is solved by setting some time with a good venue owner who has the patience and love of music to work with you as the levels are set to what you need for live. In this way you can shake out problems with clipping, which instrument causes it, etc, etc.
(Ed: does this actually deliver anything or is it just yap?)
Partial delivery. The guitar lead line was recorded at an almost good recording level. It's taken a day or so of twiddling knobs to get that way so it's a real, if somewhat invisible, success. This is also a partial delivery for live as it gives greater accuracy to knowing what goes outbound to the net when I play.
The biggest part for me is rolling out the song as it's not quite five minutes so it won't eat up much of a set but it's got some power. It's one of the few in which the level of my voice is raised rather than lowered as it's right for this one for sure. There is no pitch shifting on it although I might like to add a harmony track with the Vocalist.
Note: the Angeline in the song did not exist. I like the poetic twist of who she is but instead maybe she's a mutant Freudian Oedipal symbol of my mother. So, the Freuds can have a ball with that and I'll get back to twiddling knobs.
As to who she is now ... well ...
Angeline ...
would you like to go sailing?
There's no need for a pic of each one or to know its name but there are many knobs on the audio paths for the instruments and multiple affect the volume and gain for it. The end result of changing the volume is the same as the instrument gets loud but where you do it has enormous importance for where it will get loud.
(Ed: maybe try this before you smoke the joint??)
Roll with it. This makes sense. There is the subjective sound of whatever I play and that's what comes from standing here in the Rockhouse. It is the objective reality if you're in the Rockhouse but a subjective reality for anyone who is not because you can't hear it.
The knobs come into it in making your subjective reality the same as the one here and this is where it's crucially important to turn the right ones. The objective reality here does not change as it gets loud and it stays loud but how it gets that way can change substantially and where that came into play this morning was with "There Will Come a Time."
Recording is all about capturing an objective reality and, for now, we can skip the philosopher on a rock part as he wonders how objective is it really. The problem was the recording levels looked good but the track I recorded was so low I had to bump it twenty decibels just to hear it next to the other instruments. By turning different knobs, the recording level came up but the objective level didn't change (i.e. what I was hearing didn't change but what the computer was hearing changed a lot).
The knob twisting is also a part of live as the constant neurosis with live is whether the audience hears what I hear. It's the same for anyone performing online and it's all about subjective / objective reality. For a real world concert, you can be reasonably sure the audience hears the same thing you hear but that's not even close to true when you perform online. All of this about different realities may sound like stoner crap but it's an in-yer-face problem for anyone starting out in online performance.
Note: if you're starting out now, the problem is solved by setting some time with a good venue owner who has the patience and love of music to work with you as the levels are set to what you need for live. In this way you can shake out problems with clipping, which instrument causes it, etc, etc.
(Ed: does this actually deliver anything or is it just yap?)
Partial delivery. The guitar lead line was recorded at an almost good recording level. It's taken a day or so of twiddling knobs to get that way so it's a real, if somewhat invisible, success. This is also a partial delivery for live as it gives greater accuracy to knowing what goes outbound to the net when I play.
The biggest part for me is rolling out the song as it's not quite five minutes so it won't eat up much of a set but it's got some power. It's one of the few in which the level of my voice is raised rather than lowered as it's right for this one for sure. There is no pitch shifting on it although I might like to add a harmony track with the Vocalist.
Note: the Angeline in the song did not exist. I like the poetic twist of who she is but instead maybe she's a mutant Freudian Oedipal symbol of my mother. So, the Freuds can have a ball with that and I'll get back to twiddling knobs.
As to who she is now ... well ...
Angeline ...
would you like to go sailing?
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