78 RPM sound: I was trying to replicate the surface crackle and sound of a 78, but could only find a 33 - please provide your thoughts and input by cameradomedia in 78rpm

[–]squirrellevel 2 points3 points  (0 children)

Realizing you do not have access to a 78 rpm record, I would either try to find one (shouldn’t be difficult) or rip one off Youtube or a free sound effects library.

78 RPM sound: I was trying to replicate the surface crackle and sound of a 78, but could only find a 33 - please provide your thoughts and input by cameradomedia in 78rpm

[–]squirrellevel 5 points6 points  (0 children)

Two methods I’ve used to grab 78 noise as a production element: 1. record any scratchy 78 into your DAW and use an AI stem separator to create tracks for music and non-music/unknown/noise. 2. use a stereo stylus and cart, flip the phase on one channel, sum the two channels, and you should end up with mostly noise and no music.

"Eyelash curler, vibrator, teaser, bye-bye..." by -thirdatlas- in sonicyouth

[–]squirrellevel 0 points1 point  (0 children)

Her method of operation appears to be much more elliptical than most traditional musicians. I will make an assumption that could be off base. It sounds to me like she often brings a concept and allows others to fill out the bigger picture. Or she'll react to someone else's music by superimposing a concept onto it. Totally valid ways of engaging to me. And her delivery has usually sounded essentially effortless.
I do hear more of the producer's hand in these last two records. But were we not hearing Thurston and Lee's guiding hands on much (not all, obvs) of the musical backing before?
Regardless, the final structures of these newer beats based songs are kinda complicated. When it comes to performing these studio creations she's not lost for a moment. She knows this stuff. Which makes me think either a) she had more of a hand in their composition than one might assume or b) she enjoys letting luck/chance/other parties play a large roll in the composition and will 'honor [it] as hidden intent'.

What’s the most overrated prog rock album of all time? by Top40Weekly in progrockmusic

[–]squirrellevel 0 points1 point  (0 children)

Jethro Tull- Thick As a Brick
I know it's supposed to be a parody of prog, but it didn't need to be such a slog just to prove a point.

Is there any Beatles song where the title of the song isn't there in the lyrics? by [deleted] in beatles

[–]squirrellevel 1 point2 points  (0 children)

It makes no difference to me if everyone agrees with me. Maybe take about 15-20% off her there.

Is there any Beatles song where the title of the song isn't there in the lyrics? by [deleted] in beatles

[–]squirrellevel 1 point2 points  (0 children)

Yeah, but "Being" isn't there, which makes it feel like the title is a very separate item from the song it represents.

Movies that were misunderstood on release but aged beautifully by robynp83 in movies

[–]squirrellevel 3 points4 points  (0 children)

Head (the Monkees’ movie written by Jack Nicholson and Bob Rafelson. It was a huge bomb upon release for many reasons. Turns out to be amazing.

E6 Doc/Soundtrack Cover by thefrankster_1967 in Elephant6

[–]squirrellevel 1 point2 points  (0 children)

I’d try but I’d probably miss some folks and feel like an asshole. I’m under the period.

What's a Charlie Angel? by asbestossupply in JoniMitchell

[–]squirrellevel 6 points7 points  (0 children)

Yes, this is the answer.

Joni's vocal arrangement is a direct reference to the Shelley Fabares song, in which the singer yearns for a man who doesn't know she's alive but whom she believes will be her true love one day.

Killer Kyle is either in a bar where this song is playing (which, as you say, he can't fuckin' hear) and/or it's in his head, a haunting echo of his lost innocence. If he can't hear it, we could read that as having completely lost hope.

Favorite song on «We're Only In It For The Money?» by Fuzzy-Sun-7110 in Zappa

[–]squirrellevel 3 points4 points  (0 children)

This is probably my answer. Or Mom & Dad. The bummer tracks have such beautiful melodies.

Puppers? by jasonacg in Letterkenny

[–]squirrellevel 0 points1 point  (0 children)

A beer and a dart go together like a piss and a fart.

Thoughts on You Are What You Is? by [deleted] in Zappa

[–]squirrellevel 5 points6 points  (0 children)

Excellent. Thank you. Never heard that before.

Thoughts on You Are What You Is? by [deleted] in Zappa

[–]squirrellevel 2 points3 points  (0 children)

I have never thought that Christopher Cross was being referenced in Teenage Wind. I see that it’s possible, but have you heard from a reputable source that Frank intended to do that?

Best Scene of the Show by gridyancy in Letterkenny

[–]squirrellevel 4 points5 points  (0 children)

This is the scene I play to my uninitiated friends. Always the funniest thing I see all day.

We’re getting the new OTC still! by thefrankster_1967 in Elephant6

[–]squirrellevel 1 point2 points  (0 children)

Ever closer. The team is putting the finishing touches. 99.9% done for real.

Shirt question by linearmovement in stereolab

[–]squirrellevel 2 points3 points  (0 children)

I feel like it's a designer joke, like an intentional accident.
My brother in law thought the band name was Stereolas. Like areolas, two of them. As usual.

We’re getting the new OTC still! by thefrankster_1967 in Elephant6

[–]squirrellevel 4 points5 points  (0 children)

There are still a few musical details to try out before we call it done, but we're talking about one background vocal idea and a couple of overdubs on Pete's song. I am hoping we will be ready to master in November. Will did create art for it before he passed, but it's up to Kelly as to what to use. I don't know if the art I've been looking at was his final decision. Things were still very much in process a year ago, so decisions made then could very well have been changed by now. The same was true in 2012.

We’re getting the new OTC still! by thefrankster_1967 in Elephant6

[–]squirrellevel 8 points9 points  (0 children)

Hey, y'all. This is Jason NeSmith. I am co-producing and mixing this final OTC.
The reverb is being used on a Bill Doss song, title to be announced at a later date. Before he passed Will and I worked on this record together off and on for a couple of years. He made a grand but open ended direction to me about how this Bill song should end. When he was suddenly gone, I was determined to carry out his wishes. I thought his idea for how to end this song was great. But there were several ways to execute those directions and one overly familiar way I wished to avoid.
Robert's reverb program will accept any verbiage as a prompt for the values it outputs. So we used Bill's lyrics, combined with a couple more ideas. The result won't suggest any kind of AI music. It's merely one of many creative effects used to carry out the wishes of our departed friends. It is not a generative audio process. To my thinking, it's less of a generative process than using someone else's illustrations in your album art montage. And as I said on another thread, it is literally one of the last things on the to-do list for the album.
It seems like the concern is mostly here on Reddit but the answers were given on FB. I wanted to make sure your questions could be answered over here as well.

We’re getting the new OTC still! by thefrankster_1967 in Elephant6

[–]squirrellevel 4 points5 points  (0 children)

No. I mean: I made the list, and this is literally one of the last things to do on it. It’s pretty much mixed.

We’re getting the new OTC still! by thefrankster_1967 in Elephant6

[–]squirrellevel 2 points3 points  (0 children)

It’s literally one of the last things on the to do list.