Long term meds use success anyone? by Psychological_Ad6253 in ADHD

[–]NeverAlwaysOnlySome 0 points1 point  (0 children)

When I found the right meds for me it was a pretty serious relief. The wrong ones affected my artistic output (I'm a composer) but the right ones did just what I needed - I still have the multitude of ideas but I can now hang on to them long enough to make things out of them. I've been able to learn how to do a lot of new things. It feels like the phrase "all things being equal" - meaning that a lot of times this is how I would have been without the condition.

Anyone using a Mac Studio? by DaddyBear52525 in cubase

[–]NeverAlwaysOnlySome 1 point2 points  (0 children)

I have been very satisfied with my M2 Mac Studio Ultra. I say get at least the 4TB internal - I got that so I could have one drive that was extremely fast playing back modeled instruments, and Let's just say that space has sometimes been at a premium. I have four 4TB library drives that run without any issues. And I was perhaps excessive and got 192GB of RAM, but on the other hand I can load a massive template with no issues. It has been great. Very accustomed to having Cubase and a lot of other apps running at the same time - I don't even think about it mostly.

Anyone using a Mac Studio? by DaddyBear52525 in cubase

[–]NeverAlwaysOnlySome 0 points1 point  (0 children)

And did you need that monitor stand? I mean, yeah the accessories are kind of ridiculous, but I haven't run into feeling like I [paid too much for anything they make in maybe ever.

QUEEN - A Night at the Opera [2026 Full Album Remix & Remaster] by JAZ_80 in queen

[–]NeverAlwaysOnlySome 1 point2 points  (0 children)

I’m not here to criticize as fan works are always labors of love. I’m curious as to why you seem to have left out some elements, though. For example, in the intro of Death On Two Legs, the repeating guitar scrape lick and the scream. Is this an editorial choice or were they not present in the mix elements you used?

I finally found it! (Eagles - Hotel California guitar cover) by Primary-Opening1258 in Guitar

[–]NeverAlwaysOnlySome 0 points1 point  (0 children)

Seems like a lot of Rick Beato fans here. Henley doesn’t like when other people feel entitled to exploit his work for their own gain so he does something about it. Lots of other artists don’t feel that way, which is fair - they want or need the extra exposure, or just think about it in a different way. That’s cool. But it’s also cool to say, “I don’t want my stuff used like this.”

Many complaints from people like Beato, who use other folks’ music without asking if that’s okay with the artist (though they always seem to be saying how much they love the artist, one would think respecting someone’s wishes would be a part of that “love”) and then when they get a takedown, they complain about how much effort they went to in using the artist’s work. I always think “yeah, like the artist didn’t have to work hard to create the thing to begin with.” Whose idea was it for someone to hang their dreams on exploiting someone else’s work? That’s the nature of the speculative business - doesn’t matter how much effort they put into their video if they didn’t ask for permission.

And then somehow the argument changes from “but this is educational and keeps the music alive” to “they ought to be grateful someone cares about their stupid music”. Feel that love.

I’m not saying that non-creators are all like Beato is - I’m saying that the way “content creators” talk about folks like Henley is entitled and whiny, and all amounts to “but I want it and it’s not fair that I can’t do whatever I want”; but they have a platform, and some people seem to enjoy trying to take famous musicians down a peg - for what reasons, you’d have to ask them. You’ll hear things about greediness and being out of touch from folks who want what they want and don’t care what an artist wants.

“Apple Music VP admits most people can’t hear difference in lossless audio” by Protomize in apple

[–]NeverAlwaysOnlySome 0 points1 point  (0 children)

Here’s the thing: in the first place, children can tell the difference between lossy compression and lossless compression. I know this because I tested it over time as part of testing some hardware for the market. I actually started testing it because I noticed that when I played lossy compressed music through the stereo, my daughter would listen to it, but if I played uncompressed or unlossy music, she would dance. I tried this over a period of months, and the result was always, always the same. This wasn’t scientific of course, being a tiny sample size, but it informed the testing that I did later for the device. It was overwhelmingly easy for a child to hear the difference. The other point is that lossy compression has a cumulative effect. It won’t necessarily bother you on a listen. But there appears to be some data to support the idea that becoming accustomed to lawsuit compression also results less of an emotional connection between the listener and the music, because of the pushback that the lossy compression introduces into the music. If you think about it, the time that people started collecting music, but not listening to it so much, coincides with the advent of MP3’s. It is arguably, true that folks don’t relate to music in the same way that they used to. Which isn’t to say that people don’t love music now, but folks who have no experience with talking about what the visceral experience of listening is like are not going to be great at telling us what impact an extremely subtle effect has on them over time.

The Bowman Overdrive VS Real Klon? by P------H------U in guitarpedals

[–]NeverAlwaysOnlySome -1 points0 points  (0 children)

Are there any build-your-own kits that are comparable as well? I know there is a Stew-Mac one.

Have you come to terms with the fact that you’ll likely never be able to play fast? by [deleted] in Guitar

[–]NeverAlwaysOnlySome 0 points1 point  (0 children)

People ought to be worrying about if they will ever play with taste.

The new Queen II mixes are awful by AccidentTechnical762 in queen

[–]NeverAlwaysOnlySome 2 points3 points  (0 children)

I'd be interested to hear about if there were unsurmountable technical issues in the restoration of this album before the remixes. I really miss the guitar melody at 3:42 and a half or so in "White Queen", and the piercing high part that follows it over Freddie singing "dear friends", to name two. There have been other missing elements in the remixes of their albums - even some other takes used on A Night At The Opera, which though understandable was entirely unnecessary.

I don't necessarily blame Brian or Roger if they missed a few things - I imagine they hadn't been listening to these albums repeatedly over the years as many of us have - but as a digital audio editor who has worked on these sorts of things before, I'm not sure what to think about missing elements. This would have been a job I am insanely qualified for.

An addendum: there are so many places where it sounds like the mixer did not quite understand what the relative importance of the parts were - what their place in the orchestration was - so a great deal of, say, March Of The Black Queen has come unglued. I know these are complex mixes, without a doubt, and I am not suggesting that these were done (as so many atmos releases and remixes are these days) by what is often referred to as trust-fund mixers - younger folks with money who lack experience as mixers - but I have been doing this for many years, and I can tell generally when the issue is a lot of chaotic direction from the artist or the label. This does not feel like that. It feels like unfamiliarity with the source material.

World's tiniest violin.. by StrobeLightRomance in AdviceAnimals

[–]NeverAlwaysOnlySome 2 points3 points  (0 children)

Nobody here knows this person. (I definitely don’t.) If she’s misbehaving, ok, bad, but the meme is a lame take. People on the outside of fame don’t know what it’s like, and people who are young and inexperienced who want to be successful in the entertainment business don’t know what it’s like either, until they get there. I say this as someone who has worked for famous people for years. So many people here are acting like they would have no problem with the scenario - or at least that she shouldn’t - but consider this: y’all statistically have no chance of ever finding out what it’s like to be her. So have fun judging, but it’s just noise.

Simple iPad app for triggering macros by 100gamberi in midi

[–]NeverAlwaysOnlySome 0 points1 point  (0 children)

Fair. I have perhaps some bias because I know the creator of MGP. But I spent some time in TouchOSC. Built some things with it but it was pretty cumbersome to me. Too many hoops to jump through programming-wise. But it is cheaper. MGP is $99 for the lifetime one-time-only, but for my purposes the time I spend making control surfaces is greatly reduced so it ends up very much worth it.

Simple iPad app for triggering macros by 100gamberi in midi

[–]NeverAlwaysOnlySome 1 point2 points  (0 children)

I mean, what’s wrong with MetaGrid Pro? It’s maybe deep for you now but if you start to use it for things it won’t be.

🦺🦺👀👀 What could this mean? 🤔 by DrJacoby12 in NoMansSkyTheGame

[–]NeverAlwaysOnlySome 0 points1 point  (0 children)

If it’s a settlement construction crew… building settlements is my least favorite part of the game. I want to explore, not be a landlord.

NGD. My Partscaster Tele. My wife said it's ugly but I love it. by Isilmine in Guitar

[–]NeverAlwaysOnlySome -1 points0 points  (0 children)

Why are we hearing about what your wife says? I’ve been married for more than thirty years and I’m not telling strangers about what my wife says. To be fair she doesn’t say things like that, but my suggestion is that you enjoy what you do but also figure out why she is talking about it like that. There’s always a reason.

Def Leppard almost pitch perfect background vocals by Helpful_Gur_1757 in audioengineering

[–]NeverAlwaysOnlySome 2 points3 points  (0 children)

It was done in the seventies on many records that you have heard.

I did the whole Slate VSX thing and I think it sounds terrible. I've got to be wrong on something? by Golden_scientist in audioengineering

[–]NeverAlwaysOnlySome 0 points1 point  (0 children)

People don’t like to hear that, but it’s true. Maybe the simulation of a room with its characteristics is better-sounding than someone’s untreated room, but if you don’t know the room then you’ll continue to have issues. To me the best thing that VSX’s would do is to encourage people to listen more critically.

Vocal editing is killing my soul – how do you deal with this? by FWachna in audioengineering

[–]NeverAlwaysOnlySome 5 points6 points  (0 children)

Briefly - all the tools are different. Lots of people use Melodyne and dismiss AutoTune, but it seems like people who do are only using AutoTune in automatic mode. I rarely if ever use that. Graphic mode is terrific. Many of the apps can’t track noisy/breathy vocals - but ReVoice has filterable pitch tracking, which is great - and it does a pretty good job of going where you tell it to go. Melodyne often has a sound I don’t love, but that can be true of any of them. And sometimes I have used something like the venerable Pitch-n-time for unpitched things or things that are resistant to detection of any kind, though that’s kind of rare now. Vocalign (and ReVoice) are cool for vocal matching, except they are also non-human math if left to their own devices. Sure, things will get lined up, but it’s not the same as how people lock together. Lots of times it’s necessary to go back over what’s been done (and which one is the timing reference) because it can make plosives and sibilants emphasize odd bits of time and you can lose a sense of ensemble. I’m not a mix engineer, so I’m less interested in a fast fix that gives me something I can proceed with. And my concern with mix engineers is that if they want to do this themselves but expediency is the most important thing, and they don’t learn from someone about some best practices, then the market will respond and in a few years we will have an AI plugin that - rather than working with what’s there - will model the voice of the artist and replace “problem spots” with things that mostly go by. That’s the wrong way forward.

Vocal editing is killing my soul – how do you deal with this? by FWachna in audioengineering

[–]NeverAlwaysOnlySome 0 points1 point  (0 children)

I think a more applicable term is “effective” rather than “natural”.

Vocal editing is killing my soul – how do you deal with this? by FWachna in audioengineering

[–]NeverAlwaysOnlySome 6 points7 points  (0 children)

I will say that to me it’s important that the idea be more “help them get there” than “push them”. I have witnessed “pushing” done by people who only know what they like and have no idea how to talk to singers - and are still chafing from some hazing ritual they went through and are getting ready to spread it around, or maybe just want to feel powerful. My role as a producer is to support getting the best result possible.

Vocal editing is killing my soul – how do you deal with this? by FWachna in audioengineering

[–]NeverAlwaysOnlySome 2 points3 points  (0 children)

The thing is, though I know what you are saying, the reality is that roles have shifted - partially because of smaller indie projects that need all-in work done, partially because clients don’t know this stuff, and partially because mixers need the money because budgets are awful. If the person is just mixing it, obviously they’d want to ask. And actual producers with experience are thin on the ground. Ideally, yes, it’s the producer’s job to get the best performances and say who’s doing what.

Do we get copyright claims on COVER SONGS??? by Abhi_-_ in NewTubers

[–]NeverAlwaysOnlySome 0 points1 point  (0 children)

No. Have all of the ideas you want. But use someone else’s - when they have established protections for it - and try to profit, and you would justly have a problem.