Robot Cousin Soundworks

Just when I start thinking to myself “As much as I love the M-Tron (G-Force Software), I definitely have little-to-no-use for the M-Tron Pro”, they go and make a new soundbank for the Pro. It now samples the “Optigan”

I have wanted an Optigan ever since I first heard about it. Then again, I’ve also always wanted a Mellotron, and now have the next best thing in the M-Tron. Why must they tempt me? I shouldn’t complain. I’d rather the Optigan be available digitally than not. That means someday, somehow… it will be mine.

I love KVR.

Since I first started using Logic in 2006, I’ve used KVR to get a hold of both free and demo-versions of commercial audio plug-ins and software. For the past year or so, I haven’t really been around there much, but a few weeks ago, I signed up again, as I couldn’t remember my old username (on there now as robot_cousin). Now I’m watching my favourite plugins/developers and am notified if there are any updates or news.

There’s an entire community on the site’s forums that discuss all things from music theory to technical support, music listening to product reviews. For anyone dealing with audio in any capacity this day and age, you’d be doing yourself a service by checking the site out. I would say that it’s the ‘New York’ of audio plugin sites, but I’d be hard-pressed to find another site out there quite like it. However, if anyone reading this knows of a similar site, I’d love to hear about it.

The reason this post is coming to you now is because, as I stated, I recently got back into checking it out regularly, reading the forums, stuff like that. When I had first visited the site, it was at the dawn of Apple’s Intel processor, and plug-ins with a universal-binary (the ability to run on Intel and PPC processors) download option were few and far between.

Fast-forward to 2010, and we’ve got an OS that is ‘Intel-only’ on the mac side of things. Doing a quick search for ‘Universal-binary’ only AU plugins, even just the freeware ones, I’ve stumbled across 192 results, most of which are looking pretty snazzy. Not the least is this one.

The TT Dynamic Range Meter from Pleasurize Music Foundation. Before describing the plug-in, a little write-up of the company, directly from their site…

Our aim is to improve the sound quality of music in its various recorded formats – including data compression methods such as MP3 – as well as music destined for radio broadcast.
Only music that provides a positive musical listening experience has real market value. The Foundation’s aim is to increase the value of music within the creative production process for the entire music industry.
The objective is to revive the willingness to pay for music and therefore to create a healthier basis for all creative participants within the music industry.

While I might argue that dynamic range doesn’t necessarily have anything to do with sound quality (a crappy recording could be extremely dynamic, for instance), nevertheless, their aim is a good one. So, they’ve offered the free plug-in listed above, which I will definitely be using on every recording I make, going forward.

PMF on the TT Dynamic Range Meter:

TT Dynamic Range Meter makes it possible to provide releases with a whole-number dynamic value to be printed on the recording medium as a logo, giving consumers an immediate means of knowing the dynamic quality of a recording.

An online database is planned for furnishing information on music already released with the standard. In this way, conditions have been met for the creation of a single standard for audio recorded media – a step which was taken by the film industry over thirty years ago. Music with small dynamic range has a low value, for example DR4 (Dynamic Range = 4dB). Music with a large dynamic range has a higher DR value, for example DR14 or more. In this case, music can breathe and loud events are actually louder.

Note that this plug-in isn’t meant to give you more dynamic range. It is simply a metering plug-in that will be able to notify you of just how much dynamic range it’s sensing. In order to make dynamic material, well, you just have to have your ears on straight.

Before I go, I would be remiss not to mention another good website about the fight against the Loudness War, TurnMeUp.org. Some educational stuff on there for those who don’t know why music sucks so much now. Check it out.

Now to start using K-Metering…

A long time ago, in a mindframe so far from the one I currently reside in, I did video game covers/remixes.

Here’s the one I was proudest of. Originally from Dr. Mario, I give you:

Dr. Fever

Everyone remember Zed?

For anyone who might not, here’s a quick blurb, from the link I just posted.

ZeD was a Canadian variety television program and website. The series premiered on CBC Television in March 2002 and ran to 2006. Hosted primarily by Sharon Lewis and Ziya Tong, ZeD publicized creative works from Canada and other countries, including a substantial portion of material created by viewers and new artists. ZeD thus considered itself to be “open-source television.”^[1]

It was a pretty neat show, I must admit. I really liked it. Liked it so much, I submitted quite a few tracks for it. This was during my Halifax months, from 2002-2003. So you’d have a profile on there, and you’d upload whatever you wanted to, and then the show would then, at no charge, but also with no payment to you (who cares!) choose from a bunch of the content online to showcase each week. Well, imagine my intense excitement when a track of mine was actually featured! Yes, my music was going to be on national tv!!

The track was called ‘Crimson Head’, and, at the time, I was very proud of it. Thought it sounded good, and had a good flow. I listen to it now, and can still sort of pull some of those feelings up from the grave of the past, but mostly, I cringe. I cringe when listening to a lot of my older stuff. Hell, some of my newer stuff as well. But you know what? I kept writing, I kept going.

“You have to get all of the bad songs out of you, so you can start writing the good ones.”

I’m not sure who first said that, but it certainly fits. Anyway, this track was, at the time, my pride and joy, my finest accomplishment, my little electronic opus (don’t worry, it’s only like 4 minutes long). It ended up getting the attention of certain people. I tried to write more like it, but apparently, that failed.

And today, I’m going to let you all hear it.

Crimson Head

http://www.codeorgan.com/

The jist of it the site, from the site itself…

The Codeorgan analyes the ‘body’ content of any web page and translates that content into music. The Codeorgan uses a complex algorithm to define the key, synth style and drum pattern most appropriate to the page content.

Firstly, the Code Organ scans the page contents and removes all characters not found in the musical scale (A to G), and then analyses the remaining characters to find the most commonly used “note”. If this is an even number the page is translated to the major pentatonic scale of that particular note, it becomes minor if there is an uneven number.

It’s sad and nerdy, but I think it’s neat that www.robotcousin.com is in the key of Cm.

From the moment I touched it, I wanted it. The settings, the controls, the feel, the name behind it. A long time ago, when getting paid for music was a concept MUCH farther away than it is nowadays, I saw it at a Musicstop in Halifax.

The Roland V-Synth.

The D-Beam, the Time Trip Pad, and everything else it offers is like some sort of insane ’synth-fiction’ creation, designed to conjure up the craziest sound imagineable. One of the last bastions of hardware synths.

And therein lies my problem. If, and that’s a big ‘if’, I get funding for building my studio, then that would be my chance! My chance to finally have a V-synth of my very own. You see, outside of a silly little Yamaha basic, non-MIDI keyboard, I’ve never owned a hardware synth. I’ve been totally software-based since I began. I want to change, I want to plunge in and own it, both physically, and musically. I want the tactile advantage of a hardware synth.

But at what cost? What would I replace in my studio? It’s a give and take, because I’ve only budgeted for a certain amount, and right now, that includes what I think I need so far. Do I cut something else out? Pianoteq? Heavyocity Evolve? The Mac Pro? The sound treatment? The extra monitors? Some of these are a definite ‘no’.

Choices, choices. But hey, I would much rather be in a position of trying to decide what gear to get and what to pass on, than to not be purchasing any at all.

No complaints, just thoughts.

I’m going to take a little break from audio-talk to discuss something very important.

Google Documents.

I have now converted to ‘the cloud’, as it were. Cloud computing is definitely a very excellent thing. After years of dealing with Open/Neo Office, and the inconsistencies and weird quirks, I am finished with them. The Google Spreadsheet app alone is worth the cost… if there was one. But, as with pretty much all things Google (save for the Android), it’s completely free.

And the fact that I can access it from anywhere that has access to the internet (and doesn’t have the site blocked) and I’m golden. Add to that the fact that I was able to share a document to another GMail user (could’ve shared with multiple users too!) in the blink of an eye, and now, I’m just left really trying to find a downside to all of it. Is there one? Internet connection required? That’s almost a given for anyone, anyway.

If you haven’t checked out Google Docs yet, I highly suggest you give it a while. And hey, if you want to share a document with me, send it along to slaptheolsentwins (at) gmail (dot) com.

Wow.

http://forum.studiotips.com/

This site is PRECISELY what I might end up needing quite soon. Just thought I’d throw that out there. So glad I found it.

Project R/’Recession: The Rock Opera’ is still being hammered out, note by note, instrument by instrument. I’m having a bit of difficulty with one of the pieces, as there’ll be a lot of orchestration from things like horns and strings, and those are some of the hardest to fake through virtual instruments. Also, my computer is choking. Yay for the ‘Track Freeze’ option (think “Flatten Layers”, if coming from the Photoshop side of things), but even then, you can only freeze so much and get away with it.

On the RPM side of things, I’m actually coming up with a lot of good stuff… which is a problem (for RPM at least). I actually want to turn these into real tracks. And I know that just because they’re for RPM doesn’t mean they didn’t happen, but I don’t think I could bring myself to put a song into two groups. If I actually had a record deal, and was making songs, b-sides would be b-sides, and the track list of an album would be that and only that, not songs from another place or anything like that. Billy Corgan has the same sort of hangup, so I guess I have him to thank for that way of thinking. I can’t help it! It’s a rule, but one I haven’t had to enforce just yet.

So I’m left with about 3 tracks worth of stuff I really, really like, and refuse to put towards RPM, even though I’ve come up with them, and recorded them within February. Will I finish my RPM album? Looks like no. Does this bother me? Not in the least.

RPM is doing what it was meant to do, and for that, I am thankful.

An ode to my favourite plugin of all-time, Modartt’s Pianoteq.

I don’t have room for
All of those huge sample sets
15 Megs is great.

The sound is awesome
Procedurally Perfect
Mic Placement as well

Modartt Hit it big
Pianoteq is quite “Grand”
Diff’rent tunings rock

Generate at once
A totally brand new sound
Not the same next time

Second track completed.

Before you listen, while I hate making excuses, I really must stress that I plugged in my guitar, loaded up Addictive Drums and the ImpOscar, and said “screw it”. This is what happened. Barely mixed, barely edited, I do enjoy how it feels like a celebration of sound, as if you were to put a soundtrack to a flashy, abstract painting.

Just keep that in mind.

Sleeper

Just finished my first track (which will actually be track 3) of my RPM Challenge 2010 album. I have a name for the album, but I’m not putting that out until the artwork is all done. Yeah, I’m going all the way.

Anyway, I’ve already gotten farther than I did last year, and I don’t plan on stopping. I have a few other half-finished tracks on the go, hopefully will be uploading them within the week. Also, this track, along with any other RPM tracks, will not appear in the flash player below until they’re all done, or when February ends. So for now, here you go;

Element Zero

Working at a webhosting company (like I am currently doing) you get to talk to a lot of interesting people. Not the least of which is Mr Charles Martinet.

Not sure who he is?

Mr Martinet is a voice actor, perhaps one of the most famous ones. This is because he is the voice of Mario. Yes, THAT Mario. And I just talked to him. Helped him with gaining access to his FTP. And then a transferred him to billing.

Before I did that, however, I told him how much of a fan I am of his work. He said, and I’ll try to quote it directly…

Oh, thank you! That’s so sweet! I appreciate that. (Now in Mario voice): Thank you very much!!

Site update 50% done. Actually, all I really did was change the background image (still not happy with it, but perhaps I’ll change it yet) and the header image. Anyway, at least it’s all blue now. Might work out the grey on the page as well.

In music-news, work began on my RPM album last night. I put down the basics of the first track. I know it’s going to be the first track because it’s precisely how I want to open the whole thing. A sonic kick in the face to let you know “You’re Here Now.” Hmm.. maybe I’ll call it that.

Work continues on the musical. Getting a really good, gradiose chord progression, but I won’t say yet what it is. It’s got to be something that sounds grand, something that causes people to immediately take notice. It also has to kick you in the face, sonically.

So much violence, next to no silence.

With the RPM album (that’s already got a title!), I’m finding it a bit tought to make music for myself. Does it sound good to me? Does it really, really matter this time? Sort of yes to both. All I know is, good or bad, I’m going to release this by March 1st. Well, I’ll be putting it online for my site probably the same time it goes up on rpmchallenge.com, so you can decide where you want to listen to it (or if you want to listen to it at all).

I wish I had more to add, but I don’t.

February is going to be a busy month. People reading this can look forward to the following:

• New Site Layout – Not too radically different than what’s already here, but as mentioned previously, you’ll have to update your bookmarks (unless subscribing via RSS, which you should be) to go to www.robotcousin.com/blog. Also, a colour change is happening. Apparently, orange is the colour of unpredictability and being unstable. As much as I would like to say that I’m going to model it after the music I want to make, for visitors, it doesn’t seem that welcoming.
• More music – RPM Challenge 2010 is soon underway (and if you’re not making music for it, at least check out the page to see what’s what. Root for me or something), and I’ll be posting a bit of music on here at first, I think. A little way to keep myself motivated. When it’s all said and done, I’ll take whatever half-finished idea I posted and exchange it for the ‘real-deal’, so there won’t be two versions of tracks floating around.
• Some Third Thing I Can’t Remember.
• Updated clips for the demo reel – I did music and sound for Manic Chiropractic, why not put a clip up? Why am I asking you?

Out.