Saturday, August 30, 2008 (7:01PM)
+ Compose & arrange
* This began as a prophetic sequence I played on the 414 in a
worship service on Dec 8, 2004--nearly four years ago. I shared
it with the other musicians, but nobody remembered it. I don't
think anybody could hear me but me. It has come to symbolize
Rivendell for me, so I think the title shall be,
"Seeking Rivendell."
* I have only this sequence, and the rest of the song needs to
be written. Nothing comes to me when I play it on guitar, so
I thought I might try adding other instruments and see if
The Muse indicates a direction that way.
- Scratch track: 414
- Scratch track: electric. Not sure if I want the T5 or RG.
- Scratch track: Synth. I hear an arpeggiated synth line.
> Try lots of synths:
Pentagon I
ana seq (vel) BT
mks 80 seq (vel+mw) BT
velo reso seq BT
Analog Factory
(Bass->aggressive, bright, simple,
short...371 entries)
75BASS01
75BASS02
80SKREAM * *
JP-8_48_FACT
JP-8_38_FACT
LOSTINSPACE
NEPTUNEBASS
OCTAVER_BASS
p5unison
prophetbass3 *
R&J CLASSIC ROLANDBS
SAWBASIC
SF_BLUEMONDAYBS * *
SF_FMBASS1
SF_ROBOTBASS
SQRBASS02 * *
SYNCHRO_BASS
VELOPBASS (poly)
Brass:
BRASSY01 (poly)
MILD (poly) * *
SF_SYNBRASS5 *
WARMY (poly)
others:
JOURNY * *
PEARLS * *
RICH_WATARU * *
> The CS-80 and prophet synths seem to have velocity sens.
But if the synth lacks it, can I route the velocity
data to some parameter?
> Not sure if I want polyphony yet. The tone may be
more important.
Sunday, August 31, 2008 (1:52PM)
> I believe I have narrowed it down:
80SKREAM
SF_BLUEMONDAYBS
SQRBASS02
MILD
JOURNY
PEARLS
RICH_WATARU
I saved each as "* copy" in a close configuration.
To narrow further, I will need more instruments
present.
- Scratch drum track.
> Create a Battery 3 Pop Kit
: Copy love_and_truth_popkit_c.kt3 to
rivendell_popkit_c.kt3. Samples could not be found
because the kit was saved with relative sample
paths. Save the kit with absolute paths.
: Now, can I remember how to set up a drum map?
Piece of cake (see setup_drum_map_a.png). Sonar
remembered the drum map I created, so it was
already in the MIDI output drop-down list. I like
Sonar!
> Set up a 16-bar step-sequencer clip. I am shooting for
a sound similar to Hillsong's Highest. I have a long
way to go, but I love this Battery 3 Pop Kit!
- Scratch bass track.
> Fender thru Aphex 207D with MicLim via S/PDIF. Add a
little compression & EQ in the box.
Sunday, October 5, 2008 (12:58PM)
- twelve string. I have spent a lot of time playing this
song on the 555. Several ideas have come to me on it:
idea_08sep2008.mp3
idea_a_09sep2008.mp3
idea_b_09sep2008.mp3
idea_c_09sep2008.mp3
I don't think the entire song is defined on it, but much
direction can now be attained.
> Record what I have via the AKG C414B XLII through
the Aphex 207D via S/PDIF. Use the Reflexion Filter
on the mic.
> Oops, time to go sailing...very elvish!
Tuesday, October 7, 2008 (7:27PM)
> OK, I got the scratch track recorded. But, since it
does not follow the pattern of the rest of the
instruments, I recorded it with no reference. I was
surprised to find that my ideas on the 555--which I
had thought were incomplete--fill 7 minutes. I think
I can finish the road map with the 555. There are
changes in meter (4/4 to 6/8) and possibly tempo.
Sunday, October 12, 2008 (12:12PM)
> I've been practicing on the 555. The song shall be
mostly at a tempo of 175 BPM (faster than the 150
originally programmed) except for a short legato
phrase in the middle. I am having to work at being
able to play this fast with the metronome, so more
practice is in order. I think this track shall form
the foundation upon which the rest of the song is
built, even though it is rhythmic rather than lead
and harmonic rather than melodic.
> I got another scratch track recorded. During the
legato phrase I just tried to ignore the metronome
and play as felt. It is not a final track, but it
has some magic in it. I have a strong strumming hand
these days that has some skill and subtlety, so this
is a good day to take advantage of it. Yes, I think
I have found magic.
Sunday, October 19, 2008 (8:30AM)
- T5 scratch. I have made sufficient progress on a lead
guitar line to warrant recording a new scratch.
> T5, pos 4, bass & treb at nominal, volume full.
GSP1101 with patch Rivendell_T5_b.gsp1101p,
fortunately, the buzz is not present (an electronics
demon I have been chasing for a couple days).
> The song shall end with the T5 playing the melody
solo. I guess it expresses the loneliness I feel in
my search for Rivendell. This brings the song to
7:40--perhaps the longest in my repertoire. Yes,
with Join My Voice with Heaven at 6:31, this is
the first to break the 7-minute barrier.
> By the way, I am exceedingly excited about the
song--especially the second chorus. The part is
hard to play there, but the energy is overwhelming.
I have not felt like this since Rain & Wind.
Friday, October 31, 2008 (1:41PM)
- Bass scratch. I have been fiddling with the bass line for
a couple weeks now, but have not developed it to the
point of making it worth recording. Nevertheless, I want
to record something before I have to tear down the setup.
> Setup: Split the bass between two paths via the
direct box.
: The first path takes the parallel signal through
Mission Control (RP20) using the patch,
"Wills Killer Bass" with no effects switches
engaged. This is what I use to monitor.
: The second path is clean. The DI to the Aphex
207D with the MicLim engaged then to S/PDIF.
This is not monitored, but it may produce a
better sound using VST plug-ins. I would like
to try Craig Anderton's technique with the
multiband compressor.
: Funny. The two channels are out of phase, and
the effected one is delayed by about 160 samples,
or 3.6 ms (see bass__phase_a.png). Better watch out
if I try to combine them in mix-down!
Monday, November 3, 2008 (7:09PM)
> I am sort of stuck and don't know what to do next.
I don't like what I am hearing, and I am not sure
how to fix it. I could try a drum scratch, or, perhaps,
rerecord the T5 and bass and get them coordinated with
each other and, especially, with the 12-string. I
think that is the approach I shall take.
Wednesday, November 5, 2008 (8:07PM)
: Got another T5 scratch in--enough to lob the ball
back into the bass' court. This is the "ninety-five
percent perspiration" phase of arranging.
Friday, November 14, 2008 (8:17PM)
: Got another round on the bass. I like the way this
is working. Challenging riff from 2:03-2:50 since
I made a hole for the bass on the T5. I noticed
that Mission Control does something for the picking
technique that is not easily duplicated elsewhere.
It might be the tube and/or the compressor.
# I believe the dual-input was the way to go.
It results in a fuller low end with all the
high-end magic offered by Mission Control.
Saturday, November 15, 2008 (10:26AM)
- Drums scratch.
> I lost the P-120 with the labeled keys. Time to label
the Yamaha MM8. By the way, the labeler is the
Brother PT1400. I have gotten a lot of mileage out of
it and love it. Use 1-inch Flexible ID Tape (TZ-FX251)
for cables and 3/8-inch laminated (TZ-221) for the
piano keys.
: Of course, the last label to place is the most
important: Cow Bell! 2.5 hours labor.
: Got a quick groove slammed in. It rides the toms
during the first verses and is inspired by that in
HillSong's "Highest" (a fine expression of
Rivendell).
: The slow melody that inspires the song is lost
in the instrumentation after the first verse.
Introduce a quick organ to carry it. Use the
Yamaha MM8 patch "040 Rock Organ".
> 9:30PM. 6.5 hours of work on the drum scratch, and
I am half way through the song...95% perspiration...
Sunday, November 16, 2008 (1:31PM)
: I tried the Craig Anderton multiband compressor
on the bass scratch. I dropped the filter crossover
and the threshold on the lowest band a bit, and
I like it. The lower band keeps it tight and punchy
while leaving the nice transient tube-effected
frequencies alone. Hmmm...may have stumbled onto
something here.
> Timing issues with the scratch tracks are really
interfering with the arranging process. I intend to
retrack them (555, bass, vocal), but the first one I
track will be thrown off by the timing of the others.
In the best scenario, I can correct the timing so that
tracking has a good reference. Check out AudioSnap.
: Try the 555 on the groove in the Rock section.
Not bad. I had to section off the smallest
repeating groove since some got slaughtered.
Then a little fiddling with the threshold to
avoid some artifacts. It sounds rather nice when
soloed with the drums (the true timing reference
now that I have a part). See quantize_555_a.png.
Unfortunately, Sonar won't let me convert this
clip into a groove. Read help (last resort, as
always).
: Somehow I messed it up. Discard file, restore
backup, and start again. I got the impression that
I cannot convert an AudioSnap clip to a groove,
that I must convert the unaffected clip to a
groove with the groove tool. But its interface
was awful--it slaughtered the timing, and I could
not figure out how to fix it.
: Another failed attempt working with the loop
construction window. The first beat is late, and
I cannot seem to delete it from the groove. Also,
even though I detect transients, the audio is not
stretched--the timing errors remain. AudioSnap
did the job correctly, but I cannot enable
groove looping on the clip.
: See quantize_555_b.png. The purple marker has been
misinterpreted (it should fall on beat 3 but has
been quantized to 3-and). Right-click, disable the
marker, and the problem usually disappears.
Alternatively, hover the mouse over the stem until
it highlights, then move the marker to stretch the
audio. So the entire clip can be AudioSnapped,
quantized, and errors fixed fairly quickly. That is,
forget looping.
: The bass snapped in immediately with a threshold
of 91%. But I really should have been more careful
about timing when tracking the scratches.
: More tedious work on the 555 snap.
: The whole thing feels like a cacophony. Walk away
for a while.
Tuesday, November 18, 2008 (6:08PM)
: OK, let's come back to it now.
# Listen. I like everything up to 2:15 where
the timing issues show up (I have no AudioSnap
treatment until about 4:00). I like the tom
line on verse 5. Something falls apart in
the grand finale (chorus 2-4).
# Save rivendell.cwp.~2008-11-16-20-18-00-547
for easy retrieval since I am about to
slaughter the file.
: The first trouble is during the lyrics.
Tackle it! The 555 lags the beat by 15%--rather
glaring. How did that happen? Split the clip,
Grab it, and slide it over. That worked well.
Disable AudioSnap on the following clips and slide
them also. A small handful of edits like this,
and the 555 is lined up. Why did I get so
confused? It was a long, hard weekend with 12.5
hours invested in the drums (not to mention the
2.5 hours labeling keys). Clearly, this song is
going to a level I have never been at since a
drum part is typically done in 10 hours. I was
in uncharted territory and weary.
: Print the entire help topic on AudioSnap and read
it offline. 22 pages. No more swinging in the dark!
: The bass is no longer the problem in the grand
finale. It matches the metronome. The problem is
the drums. Clone the drum track, mute the copy,
and pare the part down to the essentials. Now
write the bass drum line alone, then add one
element at a time while looping to check for
cacophony.
: I like the song again! This is rock like I've
never done rock before. Better quit for the night
while I'm ahead.
Wednesday, November 19, 2008 (7:00PM)
+ Track
* Bass.
- Now that I have a serious drum scratch, the bass feels
much more defined. I feel what I am supposed to play,
and it feels and sounds invigorating. The blood, sweat,
and tears was worth it. I filed my fingernails (partly
because I broke one), and I have callouses, and I am
ready for business on the bass like I have not been in
years. Truly, this instrument is in the driver's seat!
- Well, I am all ready to track, and the metronome does not
work in recording mode! But it works during playback!
The problem disappears if I am not punching in. So I can
still make multiple takes and slip-edit the clips later.
Wrong, it happens without punch also. Stop-start Sonar.
Worked once & failed. Very frustrating!
> Clone the drum track and write a metronome part,
freeze it. Phooey! That requires a seperate drum kit.
> Route the metronome bus to output 3/4, to the mixer,
back to input 3/4, to an input, and record the audio.
For some reason, recording one stereo channel allows the
metronome to work. Now I can really measure the latency!
Hmmmm...about 20% of a beat...sound familiar? At 175 BPM
this is 70 ms...not the audio card. Wait...that was
while recording. The waveform suddenly lined up after it
stopped recording. OK, more questions than answers.
Somebody shut the engineer up and go get the bass
player!
- OK, I thought I was ready to track. But I need to relearn
some parts, unlearn others, and invent some more. Man,
I am working my TAIL off on this song! And, of course,
in the middle of it, I got hit with an explosion of
inspiration for The Eyes of a Child--notes came in a dream
Monday morning, and the dam burst. I can't keep up. Lord,
if you want me to develop what's in my heart, I need you
to help me find the time.
Thursday, November 20, 2008 (10:02AM)
> Export rivendell_practice_bass_d.mp3 to play along
with throughout the day.
: A couple run-through's and I am feeling the
thrill. Unfortunately, though, I am getting
close to blister territory on the picking
fingers.
> Well, I would like to track, but my fingers hurt too
badly. They aren't blistered, but perhaps bruised.
Play with a pick to at least solidify the part.
- 6PM. A couple ibuprophen, a little endorphine
(treadmill), and some ice on the finger tips...to
paraphrase Peter Jackson, "pain is temporary; music is
forever." I am going for it.
> 6:30PM Layer 3 is a SSSSMOKIN' take...and I have
fingertips left (at least not enough pain to quit).
Reload.
> Layer 4 is also great.
I believe we have a bass line.
Friday, November 21, 2008 (3:20PM)
> Render seeking_rivendell_scratch_a.mp3
Saturday, November 22, 2008 (2:50PM)
- Comp & process the bass line
from to
001 111 take 4
011 113 take 3
013 end take 4
> This presents a challenge: the bass resides on two
tracks, and they are out of phase. I could use
AudioSnap to fix the timing on take 3 at 111, but
how do I apply that to the other track?
> See bass_process_a.png. I set the DI channel to
provide the low frequencies with the multiband
compressor and the Mission Control channel to
provide everything above 500 Hz. The DI channel is
inverted, and the MC channel is delayed 3.5 ms.
It sounds good, but I don't know if it is worth the
extra work. I will have to check back. Actually,
I think I get very close to the same quality by
simply applying the multiband to the MC channel with
active compression only applied to the low band
(other bands are simply EQ).
> I am not happy with the solo (97-121). It is sloppy.
Truth be told, I really did not have it down and
assumed I could pull something worthwhile off in a
couple takes. Bugger! Well, fortunately, I left
everything set up without touching any knobs or faders,
and, beyond that, my fingers did not blister and can
stand another go at it. Got it--a half dozen
run-throughs and one take.
> OK, now I really believe we have a bass line. And I
am quite happy with the MC channel with the multiband.
Mission Control was set on the patch
"Wills Killer Bass" with volume full, balanced line to
mixer, no other modifications. The bass had the mid
boost in with bass & treble both at 7:00 (slight boost)
and pickup pan at 4:00 (mostly bridge with some
neck pickup mixed in), volume full. And, as can be
heard, I played with fingers for most of the song
but switch to the pick for the middle jam.
See bass_process_b.png (notice DI channel is muted,
and EQ is not active).
Render seeking_rivendell_scratch_b.mp3
Archive and hide the DI bass track.
Sunday, November 23, 2008 (3:00PM)
* T5
- Half-dozen run throughs. New ideas after drums & bass.
Fingers work, but magic not there yet.
Thursday, November 27, 2008 (11:05AM)
- Add some drum and bass edits.
> The first three layers of the bass tracks are not used.
Discard them. They can be recovered from
seeking_rivendell_scratch_b.cwp if needed.
> Try tightening up the bass' timing in B1 (97-113).
I have now read the AudioSnap help and know enough to
really ruin the thing.
: Revert to rivendell.cwp.~2008-11-27-11-11-29-406
if trouble happens.
: Split the bass clip to isolate the section.
: Freeze drums, and enable AudioSnap on the bass clip.
: Set sensitivity to half note. Visually inspect
all marker. Had to move one to the true transient.
Ensure they are all close to beat 1 or 3 (half-note
quantizing).
: Quantize to half-note resolution.
See quantize_bass_a.png. Very nice! No more hassle.
However, A-B listening with drums only shows that
the bass was not really that far off. AudioSnap
helped, but the main problem is the 555.
> The 555 is ahead of the beat in this section. No
AudioSnap. Isolate the section with clip splits,
and nudge in loop until visual and aural timing is
right.
> Continue checking bass against drums.
: First half of song is now flawless.
: Some significant timing issues show up in the last
chorus. Out of time, have to go.
Friday, November 28, 2008 (7:19AM)
Actually, when I turn the metronome on, they no
longer seem significant. The drum part does not
keep a steady beat here, and that gave the illusion
of timing errors.
# Wait! I found one within chorus 3; this one
sounds pretty sloppy. Isolate with clip splits.
The sensitivity slider does a poor job at
enabling markers--too many disappear. It seems
the idea is to use the sensitivity and threshold
sliders to get as close as possible to the
markers I want to use, and then enable and
disable manually. Threshold = 91% is a start.
See quantize_bass_b.png. The markers with the
square heads have been manually "promoted."
Quantize to eighth notes. Sounds excellent!
I am finally functional with AudioSnap!
# The third beat of chorus 4 was missed, and it
is important. Steal a copy from chorus 3.
See quantize_bass_c.png. Note that automatic
crossfades is enables (button on track window
toolbar).
# The fourth chorus sounds moderately sloppy
(see quantize_bass_d.png). Quantize to eighths.
One of the markers went the wrong way, so I
had to drag it to the proper location. But,
other than that, it was a snap, and it sounds
definitely better. That completes the bass
line, and the boys are awake.
Time for WAFFLES!
Saturday, November 29, 2008 (3:58PM)
- Just spent an hour and a half creating the T5 part
for the B1 section. The challenge was complementing the
bass solo without upstaging it. I even managed to reinforce
what the 555 was doing there. Very happy with it.
> I think I am having trouble progressing with the T5
because something is missing: a keyboard. I feel it
most acutely in the grand finale.
: Here is a handy setup. See route_keyboard_a.png.
I am using the sound of the Yamaha MM8
(040 Rock Organ). With the routing shown, I can
work in the roll window just like a soft synth,
even auditioning the part with the scrub tool.
MIDI notes are sent out the port to the synth,
and the sound returns at the audio input.
: The one thing I dislike about this patch is its
ignorance of velocity, which I would like to use
to add a little dimension to the part. Try some
other sounds in the MM8's "keyboard/organ"
category:
024 Clean
041 1967 Keys
043 Compact
For now, I think "024 Clean" offers the best
combination of sound and flexibility. Hard
velocities on low notes accentuate the fundamental.
On high notes they bring a shrill that cuts through
the mix. By the way, the number is that within the
category. The absolute voice number is the category
number plus 16 (so prime path is voice #39).
Sunday, November 30, 2008 (9:29AM)
: In the cold light of morning, I am having second
thoughts about the organ. I begin to wonder if
I want strings of some sort. Also, the T5 line
has some fast riffs that are challenging my
fingers. These issues bring tension to the project
as I am tempted to move faster than I probably
should. And yet I think this song is progressing
slower or, should I say, taking more work than
anything I have done to date. Curious...check
the log. Sure enough:
Production Hours to Date: 56
I think my record is 50 hours. Am I getting more
discriminating as a producer? Or is this song
particularly demanding? Am I thinking too hard
about it? Not sure. But I just listened to the
second half with chills all over my body, so I
think I am still on the right path.
: OK, how do I move forward? I now have enough
keyboard to provide the proper ambience on the T5
in the grand finale, but I do not have enough T5
to write the entire keyboard line. Phooey about
that wimpy strings stuff--this is a ROCK song!
Move the keyboard over, plug both in at the same
time, and get notes on both. See
dual_scratching.jpg. Besides, it is a perfect
day to dive into this stuff. See
backyardinwinter.jpg. Route the MM8 thru a DI box
and the Aphex to separate from the T5. Go with
patch "024 Clean".
: 3:29 PM. I now have a decent scratch T5 with a
decent printed organ track. Project folder is 1.9Gb.
Render seeking_rivendell_scratch_c.mp3.
Long day...95%
Saturday, December 13, 2008 (3:27PM)
- I need some variation between the two similar sections
A1 (bar 57-73) and A2 (bar 295-316). I just spent an hour
loooping A1 over and over finding a simpler yet expressive
sequence. Unfortunately, I simply have not had much time
lately to devote to it, but I could feel the writing
and arranging happening in my head while I went and did
other things. Also, my left index finger hurt and needed
2-3 days to rest. But it is strong now!
> Capture ideas in track 27, "T5 scratch E".
> Another sequence for the great climax at 234-240.
> Nail down the super-sequence, A2, at the end.
> At this point, every note has been defined. Now I
just need to practice. It is a very challenging part.
Sunday, December 14, 2008 (11:45AM)
- Track the T5?
> After a couple run-throughs I think I am ready to
track, but I am not sure. Do I have the mastery of
the part to add the nuances I want? Should I practice
more? Will I compromise the inspiration if I work
it too hard? Reboot, go eat lunch, pay the bills,
and...hmmmm...GO FOR IT!!!
> Setup:
: T5. Switch position 4 (both PU's parallel, if
I recall).
: The Starship Bridge (Digitech GSP1101).
Patch RivendellT5d.gsp1101p (added delay and
reverb to foot switches so I can record dry).
Turn delay and reverb off, set volume to full.
: Through mixer main left (mono).
: Sonar: set up a track with input-echo on but no
output buss (I don't want the dry sound going
through the audio engine). Insert and aux send
to create enough delay to maintain inspiration.
Route a little of the channel and the delay into
the existing reverb for now.
: Annoyance: the buzz showed up after lunch. It
disappears when I touch the jack or the pickup
but not the strings. After some internet research I
learned the T5 later received a string ground in the
design to fight it. Taylor sent me one, and I need
to install it now. Remove back: It already has one.
Huh? The string ground leads to a fuse that
measures an open circuit across it; I think this
is the low-current fuse that protects the player
from shock (mic to lips to hand to strings to
jack to shield to ground). It is soldered in, and I
don't have a replacement and don't want to mess with
it.
# Plan B: a static bracelet connected to the
jack. Radio Shack, $12.
# 5PM. The bracelet has a 1-M resistor in line
and does not work. Bypass the resistor.
IT WORKS!!! See anti_buzz_bracelet.jpg.
The bottome end of the lead is connected to
the jack.
> Got a take in, but I am relying on more takes to
polish up the hard parts.
> The setup leaves something to be desired! If I want
to hear a previous take while punching in, I have
to route the track to the master bus. But then I
have two versions of the dry sound if I leave input
echo on, and the balance is out of whack. If I turn
it off, then I don't hear myself.
: Idea: set up a dummy track just to route my
input to the effects. This track will not record
but will leave echo on. The recording track will
have it off. See t5_dummy_track_a.png.
: Another problem: I cannot get Sonar to overwrite
or mute only the last layer--it mutes or overwrites
all previous layers. I guess I should decide what
section to record, and forget about hearing the
previous take. See mult_layer_punch_a.png.
> Well, I thought I defined every note, but there was
a hole at 203-210 (the eerie bends coming off the
hyperspeed triplets in the superjam). Work it to death.
Iron a shirt to rest. 7:30 My playing feels completely
uninspired and full of mistakes.
> 8PM I managed to squeeze a second layer together. But
I now find myself battling a loss of confidence--the
notion that I just can't play guitar worth beans.
I don't seriously believe it, but it is affecting
the way I play. There is something about the
crucible of tracking that exposes every little gap
or flaw that rehearsal simply glosses over. And yet
some of these flaws did not show up until now.
Perhaps I have overworked, having erred when I failed
to define that one sequence.
> 8:35 See t5_takes_a.png. I have three basic takes
with a couple extra layers for good measure. The
last had the inspiration--I don't where it came from,
but I can guess (thanks!). OK, I am satisfied that
I can comp a good part out of these layers. What
a day! Time for bed.
Tuesday, December 16, 2008 (3:54PM)
- Build composite track.
> Method: Split clips and copy them into a blank layer
that holds the final piece. Enable automatic crossfades
with "slow out/fast in".
> Select the comped layer, bounce to clip, clone the
track, archive the original track, delete the raw
clips out of the new track. Now Sonar will read the
T5 part from one continuous wav file and will ignore
the dozen others.
> Add and build a track volume envelope.
> Render seeking_rivendell_scratch_d.mp3
> Oops. It just occurred to me that when I bounced
the comp layer to clip I overwrote the individual
clips. They were only copies, but now I cannot go
back and see which clips were used for which sections.
If I decide to do an edit, I will have to rebuild
the comp layer. And I have some edit ideas already.
Fortunately, the split points have been saved, so
it should not be too hard. Or, I wonder...can I get
the clips from a backup? Yes, the sequence
is...phooey, open the backup, copy the clips, paste
them into the track, etc...
Wednesday, December 17, 2008 (7:41PM)
- A couple more edits on the T5; a little more automation
on the 555 and bass; a little more general mixing.
> Render seeking_rivendell_scratch_e.mp3. Also, I love
playing this song. Make a practice track for playing
the T5.
> At this point, I have some decisions to make: how
hard do I want to work on other tracks? Drums?
Organ? Vocal? 555? The song seems to be really
coming together...or am I just sick & tired of
working on it? The effort is now at 74 hours.
* I don't think I need to bother tracking the 555 or the vocal.
The scratch tracks are working quite well. On the contrary,
move on to fine-tuning.
+ Fine-tune the arrangement.
* Drums.
- Well, I pulled the keyboard over, unfreezed the synth,
opened everything up, and now I can't find any holes
to fill. Wait...there is some motion the drums can add
around 219. That's about it.
- Freeze synth, listen in dim-solo mode for any anomolies.
- Adjust levels. I am driving the bus compressor and
limiter too hard. Oops, not so easy: I have automated
faders. Now, how do I shift an envelope again? Ah,
envelope offset mode (automation tool bar).
Phooey! Forget all that. Reverse the order: set the
limiter before the compressor. No, then I can get
digital overload since the compressor can actually add
level (saw one peak at +0.9 db). Raise the compressor's
threshold a bit so it is running at about 3-db reduction.
The +3-db peaks are OK since they cannot clip (64-bit math).
I think the objectionable sound came from driving the
limiter too hard. Back off on the "boost." Better.
See buss_compression_a.png.
- The 555 has a fingerstyle part in V4 that needs a 5-db
boost, but it overlaps with the last strummed note
before it. The "proper" technique would be to create
a separate track since it really is a separate part.
Instead, I found a nice trick: use a clip envelope to
give the boost. That way, the strummed note (from the
preceding clip) is unaffected. See clip_envelope.png.
Friday, December 19, 2008 (10:06AM)
+ Mix.
* Mix A.
- Very happy with mix on the Behringer Truth 2031A's with
subwoofer included.
- M-Audio DX4's. Very nice. Toms in V5 are a little sharp
but not worth editing at this point.
- Cheap PC speakers with subwoofer. Good. The sharp toms
are not evident here. The soaring high note of the T5
fails to resonate in these as it does elsewhere; these
are basically high tweeters with a low woofer, and
nothing to cover the mids. But the mix works.
- PA system in mono.
> Calibrate with Phil Keaggy's "Beyond This Day". Drop
upper mids (3k) slightly.
> 555 a bit brittle. Toms not sharp. Do I have enough
effects on vocal and T5? Mono might do that; yes, it
has that effect on the 2031A'a. Don't change.
- Render seeking_rivendell_mix_a.wav & burn to CD.
> Trim ends in Audacity.
Export seeking_rivendell_mix_a.wav
Export seeking_rivendell_mix_a.mp3 at 192kbps
> Mute T5 & vocal, and
render seeking_rivendell_backtrack_a.mp3
Saturday, December 20, 2008 (11:56AM)
- It sounds good in the car and the living room.
* Mix B.
- Tweaks.
> Wait. I had an idea yesterday: tweak the delay on the
T5 so that the dry sound is panned right, a
quarter-note delay appears in the center, and the
half-note delay appears to the left, and the average
energy is centered. Not as easy as I thought. I had
to study the Sonitus Delay help files--especially
the listen mode and mix controls. Then I needed to
set up two of these in series. See t5_delays.png.
> More reverb on the dry T5 signal.
> I don't want the bass coming in so early. Boost the
555 in V1 by 2.0 db.
> Wasn't that too easy? After so much toil on arranging
and tracking, could I really just get the mix right
in a couple hours? Perhaps I do more "mixing" than
I realize while I am "arranging" and "tracking".
After all, I recall being unable to do either without
a suitable ambience on which to build.
> Automate the T5 delay send to drop 8db it at the end.
It sounds a bit tacky without the rest of the band.
- Capture seeking_rivendell_mix_b_console.png
and seeking_rivendell_mix_b_tracks.png
- Process as before:
seeking_rivendell_mix_b.wav
seeking_rivendell_mix_b.mp3 at 192kbps
seeking_rivendell_backtrack_b.mp3 at 160kbps
production hours to date: 78.0
Tuesday, December 23, 2008 (1:59PM)
+ Almost forgot: I have had it in mind to place a background vocal
part toward the end singing one of the elvish hymns.
* Sources:
http://folk.uib.no/hnohf/elbereth.htm
http://www.booberfish.com/compendium/tolkien/
http://en.wikipedia.org/wiki/A_Elbereth_Gilthoniel
* I struggle with this a bit, though. The hymns are generally
sung to Elbereth (Varda, one of the Valar, basically an
"archangel"), and I wish to avoid, as much as possible,
the worship of angels since "there is one God and one mediator
between God and men, the man Christ Jesus" (1 Tim 2:5). I don't
mind Tolkein's theology of middle earth, since it is
fantasy, but I sing here of things very real to my heart and
life and must therefore choose my "points of applicability"
carefully. Varda's stars are a special metaphor for me, for
they represent the things I see when given eternal eyes, as
Sam got when, from Mordor, he saw a star:
"There, peeping among the cloud-wrack above a dark tor high
up in the mountains, Sam saw a white star twinkle for a
while. The beauty of it smote his heart, as he looked up out
of the forsaken land, and hope returned to him. For like a
shaft, clear and cold, the thought pierced him that in the
end the Shadow was only a small and passing thing: there was
light and high beauty for ever beyond its reach."
LOTR, The Land of Shadow
Indeed, having gazed on some through a telescope that I built
with my own hands, I too have been "smote" by their beauty.
* Next is the issue of pronunciation. I have read the guide in
Lord of the Rings: Appendix E twice, but I don't have it
mastered.
* It is a shame that one the hymns (or a portion of one, that is)
is not given in elvish, for it appeals to me:
"We still remember, we who dwell
In this far land beneath the trees
The starlight on the western seas."
LOTR, The Grey Havens
* Another thought is, just sing Ah's. After all, I have no
idea what the harmonies are or even whether I can make anything
actually enhance the song.
Thursday, December 25, 2008 (9:05AM)
* Take another quick stab at it.
- The passages under consideration are,
[The version Frodo hears in Rivendell]
A Elbereth Gilthoniel,
(O Elbereth Starkindler,)
silivren penna míriel,
(white-glittering, slanting down
sparkling like a jewel,)
o menel aglar elenath!
(the glory of the starry host!)
Na-chaered palan-díriel
(Having gazed far away)
o galadhremmin ennorath,
(from the tree-woven lands of Middle-earth,)
Fanuilos, le linnathon,
(to thee, Everwhite, I will sing,)
nef aear, sí nef aearon!
(on this side of the Sea,
here on this side of the Ocean!)
[The version Sam "sings in tongues"
in Cirith Ungol]
A Elbereth Gilthoniel
(O Elbereth Star-kindler,)
o menel palan-díriel,
(from heaven gazing afar,)
le nallon sí di'-nguruthos!
(to thee I cry now beneath the shadow of death!)
A tíro nin, Fanuilos!
(O look towards me, Everwhite!)
[The version sung by the elves on the way
to the Grey Havens]
A! Elbereth Gilthoniel!
(O! Elbereth Starkindler,)
silivren penna míriel
(white-glittering, slanting down
sparkling like a jewel,)
o menel aglar elenath,
(the glory of the starry host)
Gilthoniel, A! Elbereth!
(Starkindler, O! Elbereth!)
We still remember, we who dwell
In this far land beneath the trees
The starlight on the western seas.
- I sang two harmonies, the second centered around A-440.
But the third, a third higher, is beyond my reach. Even
with falsetto, I don't have enough breath or tone. Is
that just a function of the day? Furthermore, even on the
lower parts, my breath will not last through a full chorus,
and I don't like the effect of the breaths. Perhaps here
I shall make the elves, instead of deathless, breathless!
No, double the track, and stagger the breaths.
> OK, I have four parts: A solo melody sings the hymn
until the chorus where three other parts join for
the Ah's. One part joints in the first chorus (C2),
a third joins in unison with the second for the
second (C3), and the highest only sings the last (C3).
They are rough scratch tracks, but I am satisfied that I
have written the part. My voice was quite clear when I
started, and that was good because it captured something
I liked and guided the part. Now to reproduce it
under proper recording conditions (I currently just
hold the Beta 87 at the desk and accept whatever I
get).
> The portion of hymn I selected is,
silivren penna míriel,
o menel aglar elenath!
Na-chaered palan-díriel
o galadhremmin ennorath,
Friday, December 26, 2008 (5:21PM)
* Get 'er dun.
- I have studied the pronunciation key in depth and believe
I know how to do it now. But the key for "ch" is ambiguous;
it uses "bach" as an example. The dictionary pronounces it
as "batch," but the key says "ch" does not use the
pronunciation as in "church," and "c" is used for "k"
sounds. However, I did a google on "how to pronounce
na-chaered" and found a great resource:
http://www.lotrplaza.com/elves/sindarin/tolkien-elbereth.wav
This is J.R.R. Tolkien, himself, reading the hymn.
- I believe I have the parts recorded, but the ah's are,
well, suboptimal. My falsetto just plain stinks.
Time to try V-Vocal to maintain pitch. Not bad; this
technique works well for ah's.
- Process as before:
seeking_rivendell_mix_c.wav
seeking_rivendell_mix_c.mp3 at 192kbps
seeking_rivendell_backtrack_c.mp3 at 160kbps
- Screen shots:
seeking_rivendell_mix_c_console.png
seeking_rivendell_mix_c_tracks.png
production hours to date: 84.0
Thursday, January 1, 2009 (1:36PM)
+ Summary
* lyrics:
there's a city
where none can tell
when I find her
I will find myself
by the water
where wisdom dwells
and I'll be singing
in Rivendell
silivren penna míriel
o menel aglar elenath
Na-chaered palan-díriel
o galadhremmin ennorath
* Clean-up.
- The project folder is 2.6Gb--far too big to leave as it.
But I don't really have an archiving system. OK, here
is an idea: create a directory "archive" on the CD drive
and the external drive (music resides on the S: drive),
and always have one copy on each. That way the S: drive
is maintained, and I can purchase another drive later.
- Delete all clips and tracks not used in the present
mix (Mix C).
> Leave the composite T5 clips, but delete originals.
No, leave the rendered composite only.
> Delete the metronome audio, but leave the track;
I can rebuild it.
- Close, reopen Sonar. Delete all audio not listed under
File|Project Audio Files... Close, reopen the project
to verify that nothing is missing. Listen. OK.
- At this point, only the archived folders can open the
previous mix versions (e.g., seeking_rivendell_mix_c.cwp)
if any old data is needed.
- The project folder is now 631 Mb. Much better.
Sunday, January 18, 2009 (11:42AM)
+ Mix D.
Rob rightly suggested a deeper reverb for the Sindarin lead
line, and I have thought the delay was usually too low for
the T5.
* Sindarin Lead.
- It is submixed with the background vocals, and I think
it may be time to separate it. Naaahhh. Just add its
own send to a new reverb. I want to replicate Elrond's
Hall of Fire.
> Try PerfectSpace convolution reverb. I had to search
manuals to find out where the impulse responses were:
C:\Program Files\Cakewalk\Vstplugins\Perfect Space\
Here is a great one:
...\Real Spaces\Large Sanctuary
\Sanctuary - XY Far Rear Center.wav
> But I would like to see what's out there. Google
"impulse response stone cathedral". No luck. Tried
others. Altiverb offers their authorized users some
great-looking files, but that is it. But the
sanctuary that came with PerfectSpace sounds great
anyway.
Monday, January 19, 2009 (11:10AM)
- Move the convolution reverb to the Sindarin bus so that
all Sindarin vocals are in it. Remove the sends to the
delay and other reverb. See hall_of_fire_reverb.png.
* T5 delay.
- Now that there are no other sources to the delay,
I can increase it at the bus fader, since the channel
send is automated.
- Delay fader is currently at -3.7db. Increased to +0.2.
- Add low-pass and high-pass filter to T5. Compensate for
the volume loss with trim control +2.0db.
* I recently bought Native Instruments' B4-II (an emulator of
the Hammond B3), and I am tempted to fiddle with it, though
I know an organ sound and the line played are heavily
interdependent.
- I read the manual. Again, I am really impressed with
a Native Instruments product (the former being Battery 3).
I am sure I want to switch to this now, but it will take
some time.
- Presets of interest:
10 Captain Phlanger
18 Woodstock (Variation)
41 A Whiter Shade...
I think #18 comes closest to what I want and responds
best to the existing data, though I tweaked the rotor
speeds, accelerations, and spreads, decreased the mic
distance, turned velocity fully on, increased key click,
and who knows what else. Saved preset to
woodstock_variation_a.b4p.
See hammond_b3_a.png and hammond_b3_b.png.
Still, I will have to edit some velocities and possibly
some notes. The audio engine is having trouble staying
on when editing. I can increase its reliability by
turning off plug-in effects (reverbs, compressors,
limiter, etc...), but that is mild hassle.
- Edit a bit.
- Automate the rotor speed and brake.
Saturday, January 24, 2009 (4:34PM)
- Spend an hour tweaking the organ setup, patch, and EQ.
> Save the preset as woodstock_variation_c.b4p.
See hammond_b3_c.png and hammond_b3_d.png.
> The organ is shrill in the HD280s. Add a 3-db
dip at 1800Hz at the synth audio channel.
* Mix.
- Process as before:
seeking_rivendell_mix_d.wav
seeking_rivendell_mix_d.mp3 at 192kbps
seeking_rivendell_backtrack_d.mp3 at 160kbps
seeking_rivendell_mix_d_128kbps.mp3 at 128kbps
- Screen shots:
seeking_rivendell_mix_d_tracks.png
seeking_rivendell_mix_d_console.png
Sunday, May 30, 2010 (08:26 AM)
+ "I've put this off for too long." The time has come. Certain elements
of the song are SCREAMING at me for revision.
* Load the project. Not trivial. After the last PC crashed and got
rebuilt, the song would not polay properly (the bass line was
corrupted). But now I have the i7Win7 PC (an intel i7-920 processor with
Windows 7, 64-bit OS, 12Gb of RAM) and Sonar 8.5. No more excuses. For
some reason it loads and plays fine, but it gives a message that it is
calculating transients. The bass track, which includes some AudioSnap
editing, may need some tweaking.
* Start with the most major structural change: add eight bars
at verse 4 to give it more time to develop. Use the 414 fingerstyle
at this point, and crossfade to the 555. Play the 414 in
first position (no capo, in D), though the 555 plays in 3rd
(capo 5th fret in A).
- Use insert | Time/Measures. Then slip-edit the clips.
See insert_time_a.png. The song gains 11 seconds.
- Track the 414.
> Setup:
: I am trying different strings: D'Addario EXP16
Coated phosphor bronze .012-.053
These strings are coated BEFORE winding. This seems
to make them warmer, but they may deaden quicker
than Elixir Nanoweb's because the gunk can work itself
between the windings. But, for now, I like them.
: Use the Shure SM81 (which has been begging for the
opportunity since I bought it). Run through the
Aphex 207D straight to S/PDIF with MicLim on (but
never actually triggered). Gain at 3:00 (75%).
Position 7 inches from 14th fret.
See track_414_a.jpg.
: Bass roll-off: On the mic, I prefer the gentler
roll-off, but the one on the Aphex 207D sounds slightly
better yet.
: Solo fingerstyle! Shut down or mask everything that
makes any noise. If I remember correctly, the studio
gets down to 30 dBA. Oops, chair squeaks.
> This is a surprisingly challenging part to play. The
right-hand fingerwork is hard, but it is also hard to
nail the timing and track going into a meter change.
As the guitars fade, it is hard to hear the ride cymbal
that gives the tempo reference.
> After eight tries, I think the last two can be blended
into what I am after. Yep, got it.
: Oops, recorded at 16-bit depth. Not serious enough
to retrack over.
: Odd, Sonar stored two takes in the same WAV file.
Interesting. I used a slightly different technique:
Place in loop mode and record takes back to back.
What I don't like about this is, The file contains a
take I am not using--not the most efficient use of
space.
- Tweak the 414.
> Recreate the patch used for Eyes of a Child. Load the
VC-64 Vintage Channel.
: Load patch "Press The Guitar."
: Treble is WAY harsh! Drop 7.6k gain down to 4.0 db.
: Compression too severe. Raise threshold to get
about 2 db gain reduction. Still need to tweak
attack and/or decay time. Yep. increase release time
to 153 ms.
: Save setup as 414_vintage_channel.fxb.
See 414_vintage_channel.png
I LIKE this sound!
- Render seeking_rivendell_scratch_f.mp3.
* Retrack the T5. There are only a small handful of critical spots,
but I think I can improve on the whole performance with subtle
additions.
- Reproduce sound.
> Need to calibrate the pedals on the FCB1010.
Hold SW 1 & 5 while powering up. Oops, this resets all MIDI
channels transmitting to 1. Reset (CC, expression, and note
set to channel 2). Much better. Now I can get down to zero
volume during the swells.
> Not real happy with the delay. Tweak.
See t5_delays_b.png.
Rather complex. The output of one feeds into the other.
Basically, the right tap needed to be louder and the left
dropped a bit. Remember, I am only monitoring the delay
as I play and recording dry, but this is more inspiring
and better reflects where it is headed.
> I just discovered: I have only played this song live once:
On March 7, 2009, for the Peoria Rescue Mission.
That needs to change.
- Begin practicing.
> I am in better shape than I hoped. Gamin With The Boys
really got my fingers moving.
Monday, May 31, 2010 (02:36 PM)
> I am having the time of my life working up the T5 part, but
my fingers can only take so much. Certainly, the decision to
expand verse 4 was a good one. The T5 line just needed more
time to develop something that intimate. And it feels
poignantly intimate. I want to play it over and over, but
my left index finger is going to bleed! This song works it
really hard.
: Oops, couldn't stop. Now my finger IS bleeding!
Nail separated from finger tip. Bummer! Or, perhaps I
should admit, I live for these moments!
: New patch, Rivendell T5f.gsp1101p, routes through the
external effects (dbx266xl compressor) and patches the
volume swells to "Volume Pre FX" so that they do not
reduce the send to the compressor. This is an important
parameter for verse 4.
See Rivendell_T5f_fx.png and Rivendell_T5f_midi.png
Thursday, June 3, 2010 (03:52 PM)
: The fingers have healed, and rehearsal is a blast again.
My first run-through was the best.
Sunday, June 13, 2010 (10:35 AM)
- Yesterday was the day--I thought.
> Mike brought his camera and helped with all aspects of video.
: Upon Mike and Kim's advice I wore a dark-red shirt and
faded blue jeans.
: I faced the computer monitor standing as far back as I
could get comfortably.
: The medusa lamp served as a "Galadriel Light" to the
right of the right speaker with the lights spread out as
much as possible. This made the T5 look better than I have
ever seen it.
: Another tall lamp with no shade stood next to the left
speaker.
: The primary camera was near the left speaker about 5-1/2
feet high. Mike operated the secondary camera near the
right speaker alternating different angles.
> We spent six hours recording four tracks with two video
cameras. But, for some reason, I never felt 100%. I got
8.5 hours sleep, but my eyes felt puffy and irritated, and
I never felt completely awake and could not fully engage
in the song. I was always struggling to play what I thought
was needed, but there was no flow.
> I just auditioned the four audio tracks. It will require
13 cuts, and three critical sections are thoroughly
unsatisfactory performances. I know the final result will
not be what I am after. I am going to have to can it and
do it again.
> What did I learn?
: A second camera is critical. It allows cuts between
different takes. Having Mike operate is very helpful as
he can find great angles, and the operator motion is a
nice compliment to the static primary camera.
: If Mike is not available, I need a camera that sends its
image to the PC screen dynamically so I can see what it is
seeing.
: Mike's choice of lighting and colors was much better than
anything I could have done on my own. I am beginning to
rely on others' input for my art.
: A little internet search reveals, I need a Canon PowerShot
that supports RemoteCapture. These range from $500
to $1000 on amazon.com. Ouch.
> 4PM. I just played two run-throughs that were both better
than anything I did last night. Yet this morning I felt
out of it also. It comes and goes? 8PM Another two great
run-throughs.
Tuesday, June 15, 2010 (02:22 PM)
- Let's try this again. I am feeling great. I set everything up and
did a run-through with the lights and all, and it felt smooth and
strong. Mike will be here in a bit.
> Got some pics of the setup.
track_t5_setup_a.jpg
track_t5_setup_b.jpg
track_t5_setup_c.jpg
Friday, June 25, 2010 (06:52 PM)
- I hardly touched any guitars for a week while the boys were here.
But they are gone, and the journey now continues. The first
question is, can I comp a good audio mix from the two-and-a-half
takes and two patches I have from the video tracking? If not,
then I need to track just audio until I have the song done,
then build a mix for video. After a careful inspection, the
answer is yes.
- Comp the T5 part for audio--that is, the best aural presentation
available without regard to video editing.
beg end take
1 23 1
23 89 2
89 132 1
132 190 2
190 244 2
244 252 3
252 257 1
257 282 3
281 289 2
289 294 1
294 303 2
303 317 1
317 320 3
320 end 1
> Automatic crossfades (fast-fast) fixes a hiccup.
> See comp_t5_ver3_a.
Saturday, June 26, 2010 (01:19 PM)
> Wait. I missed a feature I really want: strong quarter-note
modulation (bow-wow-wow-wow-wow) in the first verse. Insert two
bars from take 1 into the comp at bar 35-36.
: Sonar crashed before saving. Can't kill process, have to
reboot. Ouch. Recover from the autosave file. Some work
retained. Move on.
+ Mix
* Audio version.
- Another crash. Post to forum:
How do I kill the sonar process (sonarpdr.exe) after a crash? It
won't let me do so through the task manager (Win7, 64-bit). I
have to reboot every time, and that is a REAL workflow KILLER!
- Tweak while monitoring on M-Audio DX-4's. Caught a segment where
the 555 had to be dropped a db.
- Tears. Must be doing something right.
> I did not think I could take a project of this complexity
across changes in computer, operating system, and Sonar version
and pick up where I left off. See:
- Screen shots:
seeking_rivendell_mix_e_tracks.png
seeking_rivendell_mix_e_console.png
- Oops, the guitar delay lacks something...the half-note tap
should appear in the left speaker and doesn't. Oops, the mix
settings changed. Reset to match those in t5_delays.png.
- Bump the main vocal a bit.
- Process as before:
seeking_rivendell_mix_e.wav
seeking_rivendell_mix_e.mp3 at 192kbps
seeking_rivendell_mix_e_128kbps.mp3 at 128kbps
> Rendering to WAV takes 1.4 minutes. Nice! This PC rocks.
> I can hear the degradation at 128kbps. Audiophiles will
just have to buy the (real) MP3.
- Create a backtrack. Simply mute T5 and main vocal.
> Use the scratch MP3 preset (see documentation elsewhere).
seeking_rivendell_backtrack_e.mp3 at 160kbps
> That one is stereo. I also need one with a mono mix in the
right channel (nothing in the left which is reserved for
metronome-type information when I use it). Do it quick
and dirty in Audacity.
seeking_rivendell_backtrack_e_mono_r.mp3
Sunday, June 27, 2010 (10:11 AM)
* Video version.
- How do I go about this? If I use all three takes from the audio
version, I have six video takes to integrate. A primary task is
syncing each video with audio.
> I am using Sony Vegas Movie Studio Platinum 9.0. It only
allows up to four video tracks. So I need to plan the approach
carefully.
> Do I really need track 3?
: Can't concentrate. Every time I start the song, I start
rockin' out to it and forget what I am doing! Another sign
that something is working as it should. There is only one
thing on this earth I would trade time like this for, but
I will not write here what I mean.
: Here is something I don't understand: When I manually sync,
the mix audio is delayed about two frames (67 ms) relative
to the camera audio. See sync_video_a.png.
: Uh-oh. "Vegas Movie Studio Platinum projects support up to
four audio tracks." I have to use one audio track for the
mix. Perhaps I can import video, sync, then delete the audio
track? It does not look like it. Wait! It seemed to work
when I popped up on the track controls area and selected
"delete track". Save for later.
: Convert bars to times in compnotes.xls.
: I may be able to get all video in at once using "takes".
No, I don't think so.
: Problem: It won't let me add a fourth video track.
Oops, the "text" track is a video track. OK, it worked.
See edit_video_a.png. I now have an interface with which
I can see all camera angles between takes 1 and 2
simultaneously.
: Back to the original question: do I need track 3 video?
There are two aspects to the question: (A) can I use
video from takes 1 or 2 over the master mix without
mixing over again? (B) is the audio performance for
takes 1 and 2 so bad that I must use take-3 audio?
If the answer to (A) is yes, I don't have to investigate
(B). Here are the segments that use take 3 in the
master mix with answers to these questions:
segment (A) (B)
5:15 - 5:26 Yes. T1 Cam B N/A
5:33 - 6:07 No! Yes!
6:55 - 6:59 Yes. T2 Cam B N/A
Blast! The second segment has a downward slide in take 3
that caught my attention as a critical expression, and it
simply isn't present in takes 1 and 2. Lunch time.
> Here is the approach: Edit all segments involving takes 1 and 2,
group them into one or two tracks. This will clear a couple
tracks to import take 3 for its segment.
> Synching is actually pretty easy. Use a transient to line
it up roughly, then nudge a couple frames at a time until
it looks right (tracks can be shifted in integer multiples
of one frame, about 33 ms).
> Place markers indicating the mix take to help select.
> Now, it is a matter of splitting and slip-editing. Done.
See edit_video_b.png. Back this up as
"rivendellvideo - edit takes 1-2.vf" before collapsing into
one track.
- Proceed to integrate take 3 in segment 5:33 - 6:07.
- Done. After a marthon 7-hour session, no mixing was needed,
and all video has been integrated and edited. I think I like
Vegas!
* Effects.
- Here is what I want:
> Beginning Swells: B&W, very faint. Fade to black before
verse one starts.
> Verse one begins with a dark mask, like a spotlight, and
brightens to full, in color.
> The end gradually applies a darkening mask that fades to
black at the end.
- I have some studying to do.
Monday, June 28, 2010 (02:57 AM)
- Can't sleep. I think I know what I want.
> Add track effects to the video track. Include the
"Black and White" followed by "Film Effects". Both use keyframe
animation. See video_fx_a.png and video_fx_b.png.
> Use the "circa 1908" preset for the "Film Effects" during
the introductory swells. Cut to black.
> Add a video track for the mask, which is the aperture
(the "elliptical transparent to black" version of the
"color gradient" media generator.
> After the swells, Fade in from a small, dark aperture to
a full frame while fading from black & white to full color.
> Reverse the aperture effect at the end, fade to black, and
cut to the outro frame.
> Amazing how productive I can be at 3AM!
* Rendering.
- Now to fight with formats, aspect ratios, and all the &^@% that
goes with video.
> stick with NTSC DV (720x480, 29.97fps). The output gets
truncated to 655x480 (just like with Gamin With The Boys),
but that is OK since the original video is only 640x480.
> Had to fight with title frame. It kept getting cropped so
the video bleeds around the top and bottom. Use pan & crop
tool to make it bigger than the output size, and tell it not
to match size or aspect ratio of output.
- Versions:
> YouTube: NTSC DV (720x480, 29.97fps), MPEG-2.
This should work for DVD also.
rivendellvideo_720x480.mpg (344Mb)
> A sample for my PDA: 480x320, MPEG-1.
rivendellvideo_480x320.mpg (107Mb)
* Try burning to DVD.
- Create s:\will\songs\willsongs_burn_dvd.msdvd
for all willsongs videos. Copy from the Gamin DVD file.
Add rivendellvideo_720x480.mpg to the set, and burn.
- The DVD works, but the video leads the audio by approximately
2 frames. I will have to create a new project file and shift
the audio forward.
> 2 frames did not cut it. Try 4 more (+6 frames, or 0.2 sec,
relative to YouTube version).
> Oops, I forgot: the renderer will NOT overwrite an MPG
file; I have to delete it first. This means the 2-frame
advance may have not been tested.
> The 6-frame advance looks perfect.
rivendellvideo_dvd_plus_6.mpg
> The project currently occupies 8.0Gb, 6Gb resides in the
video project folder.
* Upload seeking_rivendell_mix_e.mp3 to soundclick.
songid = 9333225
Total Production Hours: 119