“Overcoming Musical Gear Ignorance” is an article I wrote that was published as a guest blog on my friend David Santistevan’s site. If you haven’t read it yet, go read it now.
A musician that doesn’t know what his/her gear does, is like a NASCAR driver that doesn’t know what a carburetor does. bit.ly/xn2uyY
In that article, I gave 50 technical questions as “homework” for the musician that wants to get better at being a musician. The broad list covers a lot of little things that musicians really ought to know, but think they don’t need to know.
While we could easily get sidetracked judging ourselves based on whether we can answer those specific questions or not, the real issue I’m hoping to address is our attitudes about learning.
Learning is tough. Really tough. It takes dedication, willingness, and humility to learn new things. It’s not surprising that we make a lot of excuses to avoid it.
Excuses, excuses, excuses
Over the years, I have cited lots of reasons for why I wasn’t progressing as a musician, but they were simply excuses. Here are a few of my mental blocks.
1. My fingers are too fat.
Back in high school I picked up the guitar because I wanted to write songs. After a year or two of trying to learn how to play, I told Nathan Hamlin, my trusted friend and songwriting partner, that my fingers were too fat to play guitar well. His response?
Scott, my dad Vance has huge sausage fingers and he can play guitar better than I can. You have no excuse.
Nathan was right. I stopped making excuses and learned how to play guitar. Now people ask me to play guitar for them.
Still want to make excuses? Phil Keaggy has only 9 digits, Chad James has only one hand, and Mark Goffeney has no hands, but it hasn’t stopped any of them from playing guitar.
2. I need a better guitar.
For years I was convinced that if I just had a more expensive guitar, I too could play like a pro. Wrong.
In college I met Ben Albright, a guy who was known for his guitar prowess. Time and time again, I watched as he would pick up the same crappy instrument I had just laid down and play something inspiring. Clearly the guitar was not the problem.
The roadblock was in my mind. There was a reason I couldn’t make a guitar sing like Ben could. Besides not putting in the many hours of practice that he had, I had already decided that I couldn’t make great music without great instruments.
In a previous post called “How to Get Perfect Guitar Tone,” I included a video clip from It Might Get Loud of Jack White building and then playing a makeshift guitar on his front porch. The improvised “guitar” he makes proves his point that great music is possible even if the instrument is not very good.
I can’t blame my guitar.
3. I need better recording equipment.
We live in such a wonderful time. Recording has never been more accessible, affordable, or high quality.
My soon-to-be released album All Is Sideways was recorded in locations all over the U.S. over the past 3 years. Some of the songs have more than 50 layered tracks. I was privileged to be able to record with talented players on great instruments with really nice microphones and preamps into a sweet computer.
The funny thing I have to remind myself is that some of the greatest albums of all time have been made with much less. The Beatles recorded their highly complex Sgt. Pepper’s Lonely Hearts Club Band with a pair of 4-track tape machines.
Compared to the tools we have available to us today, musicians and engineers of the past worked with sticks and stones. Men have flown to outer space and back in rocket ships with computers on board that pale in comparison to the iPods in our pockets. Yet somehow we’ve convinced ourselves that to make an album like Led Zeppelin’s IV today, we need million dollar systems with all the latest technology.
Sorry, kids. Your gear can’t be the scapegoat here. Garageband is more than adequate.
Who’s left to blame?
Excuses don’t make me a better player. Better gear doesn’t make me a better player. Only my determination to learn, practice, and actively become a better player makes me a better player.
In my signal chain, sadly, I am the weakest link.
I want to fix that and it’s going to take a lot of hard work to get there.
A funny thing happened today. I received some text messages from a number I didn’t recognize. Here is the transcript of our SMS exchange.
Text from a Stranger
Stranger: Quick! What was the wintergreen root beer you bought at Wegman’s called? Stranger: We found it! Virgil’s root beer. Delish! Me: Who is this? Stranger: Um. Who is THIS? Me: You texted me. You first. Stranger: I texted you? Sorry. Must be a mistake. Your number comes up unknown on my phone. what did I txt? Me: You asked me about root beer. Lucky guess, I suppose, since Virgil's is my favorite. Stranger: Isn't this scott? Me: Yep. Who are you? Stranger: Stevan! Stranger: What number comes up from me? Your number texting me now is [XXX-XXX-XXXX] ?? Stranger: I originally txted your [XXX] number... (Stevan Sheets in case you know other Stevans)
Getting a text like this isn’t all that rare. Occasionally a friend will change phone numbers and send me a text before I have put their new number into my address book. After some initial confusion it usually becomes clear who the mystery messager is. As usual, the stranger in question wasn’t a stranger, but my good friend Stevan Sheets.
Grocery Stores & Root Beer
First things first. Wegman’s is probably the best chain of grocery stores ever and part of my list of mandatory stops when I’m in the Northeast. And although I’m not much of a soda drinker, Virgil’s Root Beer (and the many Ginger Brews also made by Reed’s Inc.) are the finest sodas I’ve ever tasted. But I digress…
What really happened
Despite all of my persuasive arguments, Stevan still has not become an Apple guy. He seems to love the dark side. He spends lots of his time trying to use an Android phone, tweeting about how awful iPhones are, and expressing his love for Google products. Naturally, when he moved across state a few years ago, he kept his old cell number and signed up for a local number via Google Voice. He ported this new number to his phone, where it has been operating somewhat natively within the Android OS ever since. The funny part is that my good-buddy-ol’-pal, Stevan, has been using this number as his primary for over 2 years, yet I didn’t know it. We regularly communicate with each other using various web tools (Twitter, Facebook, Skype, email, etc.), but for whatever reason we rarely use the phone or text. I still had his old number in my phone. So after our back-and-forth on SMS, I called Stevan to try to figure what happened. We talked through it and think we worked out the problem. This is where it gets funky, so I’ll try to break it down to make it easy to understand.
A Glitch in The Matrix
This evening, Stevan sends a text to my cell number from his phone via his Google Voice number.
Google Voice intercepts the text from Stevan, recognizes that my cell number is linked to a Google Voice number, and sends the text to my Google Voice number instead.
Since my Google Voice number is set to forward texts to my cell number, I receive Stevan’s text on my phone like normal at my cell number.
I don’t have Stevan’s Google Voice number in my address book, so I don’t recognize the sender and reply from my cell number, “Who is this?”
Google Voice then intercepts my text, recognizes that it’s from my cell number, which is linked to a Google Voice account, and sends the text to Stevan as though it came from my Google Voice number.
Stevan receives my reply, but it appears in a new message thread from a number he doesn’t recognize, so he replies, “Um. Who is THIS?”
I scratch my head and wonder who would text me about my love for Virgil’s root beer, but wouldn’t know who am I, while Stevan wonders why his friend Scott won’t write him back and why some stranger is texting him.
How This Is Dangerous
What we figured out tonight is that Google Voice is doing some questionable handling of text messages behind the scenes that could lead to some quite unfortunate outcomes. All kinds of problems could happen if SMS messages can’t be sent and received with reliable confidence about what number the message is being sent to or from. You might think it doesn’t matter for you as long as you are not texting from Google Voice, but that’s not necessarily the case.
Imagine This Scenario
Tim meets a Sara. Sparks fly. Tim, being a modern guy, asks if Sara if he could text her. Wanting to be safe, Sara gives him her Google Voice number instead of her mobile number. The next day Tim texts Sara from his mobile. Unfortunately, Tim works at Widget Inc., a small company that uses Google Voice for official company business and Tim’s phone is one of the phones it forwards to. Google Voice sends Tim’s text as though it’s coming from the Widget Inc. Google Voice number instead of his mobile number. When Sara replies to Tim, she’s actually replying back to Widget Inc. thinking that is Tim’s personal number. Now any employee at Widget Inc. that has access to the company’s Google Voice account or receives forwarded texts on their mobile can see Sara’s text to Tim. Good thing Sara only said, “Fri is good. Pick me up 7ish? <333” and not something more embarrassing.
Our Recommendation
Until Google Voice decides to stop commandeering numbers, we recommended not using Google Voice for text messages. Don’t send SMS messages to or from a Google Voice number and disable the receipt of forwarded text messages to cell phones. If you receive a text from a number you don’t recognize, do not reply to it, or only send a reply with information that you don’t mind being made public. For now, here’s how to disable text forwarding on your phone, which is better than doing nothing.
Disable Text Forwarding
Log in to your Google Voice account.
Click on the little Options cog in the upper right corner.
Choose ‘Voice Settings’ from the list of options in the drop down menu.
Under the default ‘Phone’ tab make sure the “Receive text messages on this phone” box is unchecked.
Our best efforts to judge objectively are often ruined by our subjectivity when rating works of art. iTunes gives us the ability to assign stars to every song in our libraries, but, man, is it hard to know how to use them well. There is great irony in the fact that recorded audio files are simply zeroes and ones, yet it is very difficult to rate those songs on a simple scale of zero to five stars.
Below is a breakdown of how I rate the songs in my iTunes Library. I’m approaching this from the viewpoint of a songwriter and producer, so I’m interested to hear how you rate your library.
☆☆☆☆☆
Songs in my iTunes Library that have zero stars are tunes I have yet to rate. Unless I’m focusing on the task, I find it easy to get lost in the music and forget to click on those little stars. Sadly, a large percentage of my library is still unrated. I’ll get to it… someday.
★☆☆☆☆
A one star song merely proves that it is possible to record audio, but beyond that I find almost no redeeming quality. If I rate a song with one star, it has very little value to me. I hate these songs. Why do I keep them in my library? Different reasons, I guess. If a song is part of album, I don’t get rid of it because I hate incomplete sets. Sometimes I keep terrible songs around as a reminder of what not to do.
★★☆☆☆
Songs I don’t like but that still have some redeeming value to them get two stars. It might be the crappiest song ever, but was recorded well. Or it might be a great song that was recorded terribly. Maybe it is an entirely mediocre song, but I can’t honestly say that I hate it. Whatever reason, I rarely listen to 2-star songs.
★★★☆☆
Three-stars are good songs that meet all my requirements for acceptable music. These are listenable and usually enjoyable, but they are not the first songs I run to when I need to listen to music. These are songs by artists I appreciate, but don’t consider my favorites. They might also be the rare less-likable songs of my favorite artists.
★★★★☆
Four-star songs are great. They are above average and I consider them more enjoyable than most songs. However, I wouldn’t die for them. If the house is burning and I can take only the best with me, these songs would sadly be left behind. I’d miss them too. If you are an artist that makes a lot of 4-star songs and the occasional 5-star keeper, then you’re probably one of my favorite artists.
★★★★★
These five-star beauties make up my “deserted island” playlist. These are the rare audio gems that I could listen to over and over and never get tired of them. They are songs that define me. To get five stars a song has to score well in nearly all of these areas: songwriting, musicianship, philosophy, story, timelessness, inspiration, intellectualism, and enjoyability.
Some Examples of 5-star Songs in My iTunes Library
“Oh King” – Mark Mathis
“When It Don’t Come Easy” – Patty Griffin
“Since I’ve Been Loving You (Live)” – Led Zeppelin
“Hurt” – Johnny Cash
“God Willin’ And The Creek Don’t Rise” – Ray LaMontagne
“None Of Us Are Free” – Solomon Burke
“Nude” – Radiohead
“Only A Man” – Jonny Lang
“Come All You Weary” – Thrice
“Been Here Before” – Jeremy Enigk
“The Predatory Wasp Of The Palisades Is Out To Get Us” – Sufjan Stevens
It’s an interesting concept. The wars between analog and digital rage on because they are systems separated by technologies that both have pros and cons. As technology progresses, what new pros and cons will we have to debate against older systems? Initially I answered with the following:
Realizing there’s much more to this debate than just a tweet, I thought I’d talk more about it here.
We Need Better Words to Describe How We’ll Make Music in the Future
In my original tweet, I used the phrase “Cerebral vs. Digital” to describe the future debate I imagine will happen. Maybe my choice of opposites wasn’t perfect. Better words can probably be found. This concept of diametrics I have in mind could be expressed in a variety of ways.
Cerebral vs. Physical
Solitary vs. Collaborative
Internal vs. External
Each of those word combinations is describing the same contrast of ideas. But how to best describe it?
In the (maybe not so distant) future, musicians will have the ability to directly output music from their heads. Technology will be developed that will allow artists to simply think/imagine/hear the music in his/her head and output this as audio and/or notation. This cerebrally generated “audio feed” could be routed (maybe even wirelessly) to a recording device to be documented, distributed, and sold. Theoretically, this process could happen as a live performance. The signal could be routed to a sound system for a concert, to an internet connection for worldwide streaming, or even directly injected (almost telepathically) into the head of a “listener” outfitted with the proper “receiver” device.
The possibilities are fantastic. Composers could direct an entire imaginary orchestra as they hear it in their minds. Dancers could dance to their own music in real time. Musicians could play exactly what they intend to play. Singers could sing in whatever voices they can imagine. Handicapped artists suddenly would be unrestricted by their handicaps.
This technological breakthrough in music will follow a path familiar to video games. With the Wii, Nintendo brought wireless motion-sensing accelerometer action to everyday people. The developers of Guitar Hero and Rock Band banked a lot of cash by making it really easy to “play” popular music without having to learn an instrument. Microsoft’s Kinect for Xbox removed the need for a controller, allowing the person to become the controller. I don’t know who will create the first mind-controlled music technology, but somebody’s going to do it.
Brace Yourselves
Cool meant something totally different back then. Don’t judge.
As with any change, it’s going to get worse before it gets better. Unfortunately, music will experience yet another Regrettable Period in which we have to learn how to use this new technology properly. I predict some gross and unsavory abuse of the technology, much like the ubiquity of terrible synthesizers in the 1980s or prevalence of auto-tuned vocals since Cher started believing in life after love. But some lucky artist is going to enjoy the honor of being known as the one that mastered this wonderful new system, thus becoming the “Grand Master Flash of whatever-this-thing-may-become-known-as.” Someone will figure out how to use it right, but it might take some time. In the meantime, wear earplugs.
Why We’ll Argue About This
At first, this newfangled gadgetry will be heralded as the end of “real” music and musicianship. The critics will say it’s too easy and not authentic music. Traditional composers and invested players will complain that no one has to learn how to write or play anymore. And much in the same way that digital was derided as a poor substitute for analog, purists will say that this cerebral form loses something in the process. Those arguments all might be right, but there may be a bigger issue lurking.
When the process of making music becomes entirely internalized it will be really great because of it’s purity and singularity of thought, but will it simultaneously suffer from lack of external influences? When digital recording became popular, the question was often asked by one artist or engineer to another: “Was this all done ‘in the box?’” – meaning: was the audio signal created, mixed, and mastered on the same computer? Early on, music created entirely in this fashion lacked the beneficial effects that analog systems inherently imparted upon the audio signal. Today, the line has been blurred by better technology, so it’s harder to tell if something was recorded analog or digital. Only engineers with “golden ears” can hear the difference (even then I suspect shenanigans). At any rate, the question still remains: What benefits will be lost due to the signal remaining “in the box” of your head?
Potential Musical Influences
People – The comradery, inspiration, ideas, criticism, differing views, and friction found when people work together often makes for better music. Being alone can lead to dead ends and boring or bad music. Collaboration can make beautiful things.
Hardware – Though they are inanimate objects, the instruments and devices used to make music come with their own inspirations, challenges, rewards, frustrations to overcome, and occasional good glitches. Sometimes a piece of gear has to be conquered and relinquishes its magic upon defeat.
Criticism – The critic is the archenemy of the artist, but every good story needs a villain. Without judgement, no work is ever as best as it can be. Words are often revealed for their folly only after they’ve left the head.
Movement – Music and movement are very strongly related. When making music, movement is both part of the instigation of sound, but also a reaction to the sound being created. Performance and dance are like cousins. So if movement is not necessary for the creation of music, what effect will that have on the final product?
Good Things Will Happen
A lot of things can go wrong in this new system, but a lot of things can go right too. Eventually we’ll work out the kinks. We’ll figure out the typical pitfalls. We’ll master this medium like we have with all the others. One day amazing music will be generated using nothing but musicians’ brains. I’m hedging a bet it will be the direct output of some ridiculously young Mozart’s mind that will blow us all away. Perhaps this new interface will teach us something about how our brains work. Maybe it will allow us to communicate more precisely on ever deeper levels. What if it develops into a new universal language? Hmm.
The audio device buffer underflowed. If this occurs frequently, try decreasing the “H/W Buffer Size” in the Playback Engine panel or remove other devices from the audio firewire bus. (-6085)
Occasionally this error pops up in Pro Tools, usually after I return from a meal in the middle of a long recording or mixing session. The session file will only playback audio for 1 second or less and then the error message pops up. Apparently, Pro Tools 9 is a workaholic and doesn’t like taking lunch breaks, at least when running on the particular combination of MacBook Pro, Mbox 2 Pro, and Western Digitalhard drive that I’m using.
Following the directions to decrease the “H/W Buffer Size” in the Playback Engine panel doesn’t seem to help. In fact, not only does decreasing the buffer size seems contrary to the suggested way to solve a buffer underrun, but it then sometimes throws this error message:
A CPU overload occured. If this happens often, try increasing the “H/W Buffer Size” in the Playback Engine Dialog, or removing some plug-ins. (-6101)
The Fix
I’ve tried a lot of things and the problem seems to be related to the hard drive and firewire ports. Here’s how I fix it.
Save and Close the session.
Quit Pro Tools.
Eject the hard drive used for recording audio.
Unplug the audio hard drive and Mbox 2 Pro (or the audio interface you’re using).
Wait 10 seconds.
Reconnect the audio hard drive and audio interface.
Restart Pro Tools.
Reopen the session and press Play.
If the session plays back without stopping, then it worked. If not, then I don’t know what to tell you, which reminds me of a “Deep Thought” by Jack Handey.
If you ever crawl inside an old hollow log and go to sleep, and while you’re in there some guys come and seal up both ends and then put it on a truck and take it to another city, boy, I don’t know what to tell you.
Hopefully this solution worked for you. Let me know if you’ve had the same problem, what hardware you are running and if this solved the problem.
This is cool. My inner nerd had to come out and dance for bit. This is video by Kyle Jones, a designer, animator and illustrator from Nashville. Check out his website here and follow him on Twitter. He decided to record himself playing guitar using his iPhone from inside the guitar. Genius. Rejoice with me, [...]
This is cool. My inner nerd had to come out and dance for bit. This is video by Kyle Jones, a designer, animator and illustrator from Nashville. Check out his website here and follow him on Twitter. He decided to record himself playing guitar using his iPhone from inside the guitar. Genius. Rejoice with me, all you audio and science loving geeks.
When’s the last time you logged into MySpace? When’s the last time you referenced that dying social network without making it the butt of some joke? When’s the last time you had a meaningful interaction through the site? I’m guessing it has been awhile. I logged into my account tonight just to see if anything [...]
When’s the last time you logged into MySpace? When’s the last time you referenced that dying social network without making it the butt of some joke? When’s the last time you had a meaningful interaction through the site?
I’m guessing it has been awhile.
I logged into my account tonight just to see if anything had happened in the last 6 months that I should know about. Finding nothing of any significance, I began pruning my profile. Now if you visit my page (which I don’t recommend you do), you’ll see that there’s nothing left but a photo, my tracks, and a notice that says:
MySpace is dead. For more about Scott Troyer visit: http://scotttroyer.com
Why haven’t I cancelled my account? Well, I maintain a MySpace profile simply because when booking shows some venues still ask for a MySpace link. At one time (approximately the fall of 1945) this made sense because there were very few places that bands could easily create a page and post their music for people to hear. Now, there are so many sites like Facebook, YouTube, SoundCloud, Twitter, BandCamp, CDbaby, NoiseTrade, Vimeo, Tumblr, WordPress, iTunes…the list goes on and on…that allow musicians to create profiles and stay in touch with fans in much better ways. While it is true that these new networks are not perfect, they’re far superior to the horrible experience that MySpace offers.
Plea To Venues
Please, stop asking for MySpace links. Let’s party like it’s 2099, not 1999. The entire Internet wants to move on. Even my Grandma has figured out Facebook. You should too. It doesn’t matter how big or cool MySpace once was, sometimes you just have to let things go.
Plea to Fans
Quit MySpace. Seriously. Don’t just leave your data lying around on the Internet. Do you want creepers or future employers finding the pictures, posts, and comments you and some of your MySpace “friends” made 4 years ago? Go here to cancel your account. Then follow your favorite artists on other networks.
Plea to Musicians
Ask venues and fans to quit MySpace. There is power in numbers. Let’s unite and make the world a better place. If not for yourself, do it for the children.
Yesterday, via Ars Technica, I found out about iPhoneTracker, a free application that snoops into your iPhone backups and visually displays a record of your movements. The app is at the center of some controversy, because unbeknownst to most iPhone users, Apple has been collecting data about our whereabouts via cell tower triangulation. While this [...]
Yesterday, via Ars Technica, I found out about iPhoneTracker, a free application that snoops into your iPhone backups and visually displays a record of your movements. The app is at the center of some controversy, because unbeknownst to most iPhone users, Apple has been collecting data about our whereabouts via cell tower triangulation. While this kind of information has been used by cell companies for some time now “to improve their network,” and has been made available to law enforcement with a warrant, the data has not been so accessible to users until iOS 4 came out.
Data is collected and stored on the iPhone in an unencrypted file called consolidated.db. The file contains information like latitude, longitude, and timestamps that can be used to determine where you have been and when you were there. You can gain access to the file through the iPhone backup file created by iTunes. Because the file is not encrypted, it’s fairly easy to get to the data, which poses a security risk for iPhone users. To get a little more protection, you can encrypt the iPhone backups iTunes stores on your computer, but this still won’t protect the data on your iPhone. Malicious apps, websites, and hacks on could potentially extract the information straight from your iPhone.
My Tour Map… According to My iPhone 4
Security risks aside, I was hoping I could get a nice little map of all my travels from the iPhoneTracker program. Here’s a screen grab of the results it pulled up for me, which ranges from about a year ago to today.
You can see where my tours have taken me over the past year. While some of the data is erroneous (cell tower triangulation is a not fool-proof method for geolocation), the map gives a decent overview of where I’ve been. Is your hometown not on this map? Want me to come play in your area? Let me know!
Download the Album Now My EP Somewhere Between Nicaragua & New York is now available on iTunes. Sweet. Click this little button. Rate the Album and Write a Review Below this list of tracks is a convenient little spot where you can give my album some stars and write a little bit about the songs. [...]
My EP Somewhere Between Nicaragua & New York is now available on iTunes. Sweet. Click this little button.
Rate the Album and Write a Review
Below this list of tracks is a convenient little spot where you can give my album some stars and write a little bit about the songs. If you have a little time, please give the album 5 stars and leave your kindest words. Thanks!
Alert Me
Down of the left hand side of the page, there’s a little link that says “Alert Me.” Click that and iTunes will notify you of any new tracks I upload as soon as they become available on iTunes.
Pro Tools hardware is either not installed or used by another program. If you thought that having Pro Tools 9 installed meant no more “Hey, Mr. Engineer Genius, where’s your fancy hardware?” errors, then this nagging error probably came as a surprise. It did for me. Since installing Pro Tools 9, my workflow has allowed [...]
Pro Tools hardware is either not installed or used by another program.
If you thought that having Pro Tools 9 installed meant no more “Hey, Mr. Engineer Genius, where’s your fancy hardware?” errors, then this nagging error probably came as a surprise. It did for me. Since installing Pro Tools 9, my workflow has allowed me to jump around from my Mbox 2 Pro, Mbox 2 Micro, and MacBook Pro’s built-in sound card. This has been really handy while trying to finish up my album on the road. But, apparently, all that hardware hopping can cause the playback engine to get stuck in some funky states that don’t so work –if at all. See my previous post “FIX: Pro Tools could not set sample rate to specified value” for a similar issue.
Obviously, the problem has something to do with the playback engine. Since the error dialog only offers an ‘OK’ button, which closes Pro Tools, there doesn’t seem to be a way to work around the problem. There is not even a way to know what hardware Pro Tools is expecting.
Until now.
The Fix
I found a simple solution via this Sweetwater forum. The answer given there details how to get Pro Tools running on a PC, but I found that it worked for Macs too and without having to install any drivers. The fix is kind of like booting Pro Tools in safe mode. Simply hold the ‘N’ key while starting up Pro Tools. This will bypass the normal start up sequence and open up the Playback Engine window. Now you can select the correct playback engine and continue using Pro Tools.
In my situation, Pro Tools was looking for the last connected device (my Mbox 2 Pro), but since it wasn’t available it opted for the next available option: my MacBook Pro’s line input, which doesn’t make a very good playback engine.
Let me know if this fix worked for you.
Note
This problem may have been fixed in the Pro Tools 9.0.2 update that came out yesterday, though I’ve not been able look through the 9.0.2 Readme file in detail or to test this out on the updated software. I’ll update this page when I find out more. Since I still receive regular hits on this post, I’m assuming this problem is not solved yet. Maybe in a future update…
A couple of weeks ago, my friend David, a young and very talented musician/singer/songwriter, asked me the following question. Hi Scott! Hey, how many GB of hard drive space do you recommend for recording on a laptop? Thanks, David To which I responded: Hey David, The recommended practice for digital recording is to record to [...]
A couple of weeks ago, my friend David, a young and very talented musician/singer/songwriter, asked me the following question.
Hi Scott!
Hey, how many GB of hard drive space do you recommend for recording on a laptop?
Thanks,
David
To which I responded:
Hey David,
The recommended practice for digital recording is to record to an external hard drive instead of the internal drive. This is done for performance reasons. Recording to an external drive keeps your data separate from the rest of your computer data, allowing the computer to use the internal drive for the dedicated purpose of running the operating system. This also makes your recording data more portable for taking it to a studio and prevents trouble if you ever need to send your computer in for service (the recording data stays with you).
It is also recommended to use an additional external drive that serves as a backup so if anything goes wrong with a drive you won’t lose everything. So ideally, you would have two identical drives. They can be any size, but should be the same size. A typical song (2-5 min with 4-5 instruments with multiple takes for each instrument/voice) at 24 bit resolution and 48k sample rate will take up approximately 1-3 GB. If you’re lacking hard drive space, after the tracks are finalized the unused takes can be deleted, which reduces the file size of the song, thus giving you more room for additional songs. But as cheap as hard drives are these days, getting a decent sized drive shouldn’t be a problem.
The cost of external drives for computer-based recording is much cheaper than the cost of memory cards for hard disk recorders.
With all that in mind, I recommend buying 2 of the largest hard drives you can get within the budget you have. Remember, these drives should be the same size and used ONLY for your recordings.
Western Digital has good drives for reasonable prices.*
Modern recording takes lots of hard drive space. It’s easy to eat up several GB on a song of average length and track depth. I’ve filled a drive or two already with various recording sessions, Photoshop files, and media. Over the weekend I had to pick up another drive just so I can finish my [...]
Modern recording takes lots of hard drive space. It’s easy to eat up several GB on a song of average length and track depth. I’ve filled a drive or two already with various recording sessions, Photoshop files, and media. Over the weekend I had to pick up another drive just so I can finish my upcoming album. I went to the nearest big box electronics shop and picked up the the biggest drive with the best price. What I found was the Western Digital 2 TB My Book Studio LX. The size should be enough for the next year or so (let’s hope!) and the simple grey metal design suits my preference for the minimalist Mac aesthetic. Surprisingly, this is the first drive I’ve purchased that came preformatted for Mac OS. I know that some drives come advertised as such, but this was just a standard off-the-shelf one-kind-fits-all drive. Maybe this indicates a shift in the Apple/PC market share?
Western Digital enjoys the largest market share of consumer hard drive sales and is probably the most visible hard drive manufacturer in retail stores. They make affordable drives that work well. I’ve not had any issues with the WD drives I’ve owned (five and counting), so I feel good about purchasing from them.
The only thing that bothers me about WD is their pre-installed SmartWare software. It’s a huge can of donkey sauce. This multi-function bloatware takes up over half a GB of space, is loaded into the drive firmware (so it cannot just be formatted away), appears as a separate VCD that pops up everytime you connect to the drive, and cannot be completely removed without voiding the warranty. The only option WD gives the user is to download two more software packages, one that updates the firmware so you can run the second package that allows you to hide the VCD. Blehhhh…
The whole point I want to make is this:
Dear Western Digital,
I like you and your drives. I like the design, reliability, and affordability of your drives. I can’t stand your SmartWare. Please stop making it. If you can’t do that, then please make it an opt-in thing. If you feel you really, truly, just absolutely must preinstall it (instead of offering it available as a free download), then at least make it easy to permanently remove with just one or two clicks. I do not want to download more software to remove software I already don’t want. Thank you.
A regular and loyal customer,
Scott
Removing SmartWare
While removing the the VCD completely is possible and would be my preferred solution, doing so voids the warranty, which is extremely valuable should the drive ever fail. So in my opinion, doing something to void the warranty on the device that stores my invaluable data is a bad idea. Until WD decides that such action no longer voids the warranty, I cannot recommend this.
How to Hide SmartWare
WD doesn’t make it easy to hide the VCD. There are two major steps. You’ll need to download the firmware update for your particular drive and the VCD Manager. Visit the WD Product Updates page to find out how to hide the VCD for your specific device and OS.
Bad News First Perfect guitar tone does not exist. …at least not in a permanently defined state. It is always changing depending on context. There’s not a one-size-fits-all solution for guitar tone and the guy who is showing you exactly how to get “perfect” tone is either demonstrating his idea of a good sound for [...]
…at least not in a permanently defined state. It is always changing depending on context. There’s not a one-size-fits-all solution for guitar tone and the guy who is showing you exactly how to get “perfect” tone is either demonstrating his idea of a good sound for a very particular context or selling you something. Let the buyer beware!
I’ve seen a zildjillion YouTube videos and magazine articles in which an “expert” outlines in very fine detail the “preferred” gear or “professional” way to play/mic/mix. They have shown me how to dial in that Clapton tone, place ribbon mics like Eno, mix a hit song like the Lord-Alge brothers, mod my guitar and amp like SRV, and even dress like a rockstar. In each circumstance I think, “Yes, that might just work. I could sound like that, if I do everything else exactly the same way as Mr. Famous Rockstarpants.”
They have it right. It truly is the small stuff that matters. In fact, all these tiny details matter so much and there is such a vast quantity of them, that replicating such performances is nearly inconceivable. Every part of the signal chain plays a role – from player to instrument to amp to room to microphone to preamp and all the cables, power supplies, recording/storage media, surfaces, and recording/mixing/mastering engineers in between. Even weather, location, and moods can make a difference.
Needless to say, it’s nearly impossible to replicate that one sound by that one artist on that one record. So many factors are involved in the making of a sound, that in many cases the original artist that recorded it might not be able to make that precise sound again, even when given identical circumstances. (I’d like to point out that perhaps the very reason we enjoy certain sounds is because a beautiful moment was captured – something unique that will never happen again – and trying to recreate it verbatim would somehow make it less amazing. Frankenstein’s monster wasn’t very pretty, was he? I digress.)
“We all have idols. Play like anyone you care about, but try to be yourself while you’re doing so.” – quote attributed to B. B. King[citation needed]
And The Good News
Proper tone (the right tone at the right time) can be bought. You can pay for it with practice and critical listening. Good equipment is nice, but not necessary, as Jack White demonstrates so well in It Might Get Loud.
My buddy Stevan Sheets just posted a blog featuring a video by a guy named Scott Greene (who just happens to be from near my hometown). In the video (see below), Scott asks Oprah via an “open letter” if he can use her “O” brand in a product he wants to call H2O. He claims [...]
My buddy Stevan Sheets just posted a blog featuring a video by a guy named Scott Greene (who just happens to be from near my hometown). In the video (see below), Scott asks Oprah via an “open letter” if he can use her “O” brand in a product he wants to call H2O. He claims the recognition of her well-known brand could raise awareness and real money to bring clean water to people around the world that need it. He thinks it may even be able to solve the world’s water problems entirely.
It’s an audacious goal with great potential. There are lots of details to iron out, but for right now he’s just trying to get the idea in front of Oprah and her people to start the conversation.
I think he’s on to something – using the oft-maligned powers of consumerism, celebrity, and crowds to bring about positive things. Using these forces to do good is like charitable kung fu. His idea to use a QR code to give the consumer information about where the money is going is quite tech savvy too. I’d like to see this project hit two birds with one stone and make the water bottle as “green” as possible. One thing at a time though.
If you want to help get the idea out there, repost, comment, and “Like” the video. You might also write a blog, update your Facebook status, or tweet about it.
Here’s the video:
Links to water related charities listed in the video annotations:
After upgrading to the newly released Pro Tools 9, I couldn’t open sessions or create new ones. I got this error: “Could not complete the Open Session… command because Pro Tools could not set sample rate to specified value..” I hunted around on the web and various forums, but couldn’t find a solution that fit. [...]
After upgrading to the newly released Pro Tools 9, I couldn’t open sessions or create new ones. I got this error: “Could not complete the Open Session… command because Pro Tools could not set sample rate to specified value..” I hunted around on the web and various forums, but couldn’t find a solution that fit. I found several items relating to Windows and Pro Tools 8, but nothing for a Mac running Pro Tools 9. After messing around a bit I figured out the problem was with my playback engine. Here’s how I solved it. Let me know if it works for you too.
Open the Playback Engine dialog under the Setup menu item.
From the menu bar select Setup > Playback Engine… to open the Playback Engine dialog window.
The problem is with the Pro Tools Aggregate I/O.
By default, my current engine was set to “Pro Tools Aggregate I/O.” It’s odd that this Pro Tools would leave it that way after an installation since AVID states that it is not supported in OS X.
Select your current playback engine.
The fix is easy. Simply select the right playback engine. Your options may differ based on your setup.
In my case, I usually would edit with my Mbox 2 Micro, but since Pro Tools 9 gives us so many more options for hardware compatibility, I selected Built-in Output. I was able to edit some vocal takes using my Macbook Pro’s speakers instead of pulling out my headphones. Nice!
The Problem Today, I had a problem emptying the trash on my MacBook Pro. The trash would begin to empty, but would hang shortly after starting the deletion process. I made several attempts to empty the trash (all ending in a force quit of the Finder) before deciding to pull all the files out and [...]
Today, I had a problem emptying the trash on my MacBook Pro. The trash would begin to empty, but would hang shortly after starting the deletion process. I made several attempts to empty the trash (all ending in a force quit of the Finder) before deciding to pull all the files out and move them back into the trash one by one to delete them. After several rounds of trashing, I was able to eliminate all but the single offending file, a partial dmg from a failed download of Adobe’s CS5 Design Premium. Holding ‘Option’ while clicking Empty Trash didn’t work. Renaming the file and then deleting didn’t work either. No matter what I did, just I couldn’t trash the file. So I began an online search.
The Fix
After scouring a bunch of forums with various non-helpful solutions and scary Terminal command line code that “might ruin everything if you’re not careful,” I finally found the safe and easy solution in a free trial download of Cocktail, a shareware maintenance utility for Mac OS 10.4 and above.
Cocktail is an award winning general purpose utility for Mac OS X. It is a smooth and powerful digital toolset with a variety of practical features that simplifies the use of advanced UNIX functions and helps Mac users around the world to get the most out of their computers. Cocktail is installed at more than 200,000 computers world wide. The largest part being private individuals, but Cocktail can also be found at large international companies (Puma, Sony), educational institutions (Harvard University, University of Texas) or newspapers (The New York Times, Business Week).
Cocktail can empty the trash!
Fixing the problem was as easy as clicking the ‘Empty’ button found under the ‘Misc’ subgroup in the ‘System’ tab. Trash empty. Computer nice and tidy again.
Twitter is a great service, but I’ve been thinking that its full potential is still untapped. Could we use its nearly ubiquitous presence to help crowd solve problems in real time? Think of a service similar to dialing 411 or ChaCha, but free and with a larger answer base. I haven’t heard of anything like [...]
Twitter is a great service, but I’ve been thinking that its full potential is still untapped. Could we use its nearly ubiquitous presence to help crowd solve problems in real time? Think of a service similar to dialing 411 or ChaCha, but free and with a larger answer base. I haven’t heard of anything like this, though there may already be some sort of method being employed. Even so, I propose using a hash tag like #solve when you need an answer.
Recently I was in Washington, D.C. and was wondering what a certain building near the Washington Monument was. (It was beyond my sight at the moment, but it happened to be the Department of Commerce.) I wish I could have snapped a photo of the building and tagged it with #solve via my phone. Then within minutes the Twitterverse would have returned the an answer like:
I’m not sure about the answer being tagged #solve or #solved. Using different tags for questions and answers could help separate them, but it might be nice to see them together as well. What do you think?
This type of crowd sourcing could be used to identify objects (architecture, species, products), solve math problems, translate phrases, get pricing information, etc. The potential is limitless. Let me know what ideas you have for this proposed use of Twitter or if you’ve know of some sort of method already in use. Either way, start using the #solve hashtag to solve your problems now!
I found some MP3s of sine waves at various frequencies at www.freemosquitoringtone.org. As we age, we lose our ability to hear higher frequencies and so these MP3s are offered as discreet ringtones for teens. Try out these tones and let me know how high you can hear. Audio Frequency Test Tones Don’t worry if you [...]
I found some MP3s of sine waves at various frequencies at www.freemosquitoringtone.org. As we age, we lose our ability to hear higher frequencies and so these MP3s are offered as discreet ringtones for teens. Try out these tones and let me know how high you can hear.
Audio Frequency Test Tones
Don’t worry if you can’t hear some of the higher pitched test tones. The problem may not be your failing ears. It could be the inability of your speakers, headphones, or soundcard to reproduce the higher tones.
Frequency
Age Range
Audio File
08.0khz
Everyone
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
10.0khz
60 & Younger
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
12.0khz
50 & Younger
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
14.1khz
49 & Younger
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
14.9khz
39 & Younger
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
15.8khz
30 & Younger
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
16.7khz
24 & Younger
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
17.7khz
24 & Younger
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
18.8khz
24 & Younger
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
19.9khz
24 & Younger
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
21.1khz
24 & Younger
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
22.4khz
24 & Younger
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
Finally. I cleaned up the layout, so everything has a lot more whitespace. There are several new sections as well. Check out the new Lyrics section under Music to read up on some of my songs. Also under Music, you can leave comments on my tracks via SoundCloud. And under Contact you can send me [...]
Finally. I cleaned up the layout, so everything has a lot more whitespace. There are several new sections as well. Check out the new Lyrics section under Music to read up on some of my songs. Also under Music, you can leave comments on my tracks via SoundCloud.
And under Contact you can send me a note or even some music in my Dropbox. Hot hot hot!
When the TV stations officially switch over to digital later this month, all the old channels they’ve been broadcasting on will open up for other uses. It’s possible that your wireless audio gear will begin picking up interference and other signals as more mobile devices begin operating in that range of frequencies. The nice people [...]
When the TV stations officially switch over to digital later this month, all the old channels they’ve been broadcasting on will open up for other uses. It’s possible that your wireless audio gear will begin picking up interference and other signals as more mobile devices begin operating in that range of frequencies. The nice people at Sweetwater Sound have put together some resources to help explain the potential problems. For more information, go here: http://www.sweetwater.com/feature/wireless/
A few months ago, I downloaded Sofa Control (available from Gravity Apps), a nice little app that allows me to use my Apple remote with any application. It works by mapping the buttons on the remote to the hot keys applications recognize. I haven’t really used this app very much, but a few days ago [...]
A few months ago, I downloaded Sofa Control (available from Gravity Apps), a nice little app that allows me to use my Apple remote with any application. It works by mapping the buttons on the remote to the hot keys applications recognize. I haven’t really used this app very much, but a few days ago I decided to try connecting Sofa Control to Guitar Rig 3 (available from Native Instruments).
After some trial and error, I managed to finally get it working really well. Now I can use my remote live to change presets, change tempo, turn effects on/off, and mute the tuner. This is really useful. I’ve found that I can place the remote in my pocket and still activate through my clothing, so I no longer have to reach down to my MacBook or stomp those loud foot switches on the Rig Kontrol (also available from Native Instruments).
1. Foot Controller Setup
Guitar Rig works with several different foot controllers and is fully customizable. You may have your foot controller set up differently, but for the sake of this blog, I’ll show you how I have my Rig Kontrol 2 set up.
RK Pedal: Usually volume, expression, or blend pedal (Sound)
RK KickDown: Effect parameter 3 (Sound)
RK Switch 1: Effect parameter 1 (Sound)
RK Switch 2: Effect parameter 2 (Sound)
RK Switch 3: Metronome Tap (Global)
RK Switch 4: Not Assigned (RK3 only)
RK Switch 5: Prev Sound (Global)
RK Switch 6: Next Sound (Global)
RK Switch 7: Tuner Silent Mode (Global)
RK Switch 8: Not Assigned (RK3 only)
2. Guitar Rig Hot Keys
Sofa Control needs hot keys to function with Guitar Rig, so first I had to assign hot keys to my Guitar Rig setup.
To assign a hot key, go to ‘Controller’ under ‘Options.’ Find the switch you want to co-assign a hot key to and click the Learn button. Press the key you want to make the hot key. Repeat this process for any additional hot keys. Hot keys don’t necessarily need to be connected to foot switches. Additional assignments can be made that are not linked to switches and are hot keys only.
This is how I assigned my hot keys:
RK Switch 1: , (comma)
RK Switch 2: . (period/fullstop)
RK Switch 3: t
RK Switch 5: [ (left square bracket)
RK Switch 6: ] (right square bracket)
RK Switch 7: m
3. The Sofa Control Script
I’m no programmer, but I was able to figure this out. I kept things simple by only mapping the pressed buttons. I may add functions to the held buttons in the future, but for now, this works great.
This gives my Apple remote the following functions:
Menu: Tuner Silent Mode Toggle
Play: Metronome Tap Tempo
Plus: Previous Sound
Minus: Next Sound
Left: Effect 1 Toggle
Right: Effect 2 Toggle
Note: Feel free to take this script and modify it as you need.
Open Sofa Control. Under ‘File,’ select ‘New Script.’ A new window will pop up. Select all the code and delete it. Copy the code below and paste it into that window.
(*
Description: Guitar Rig 3 Script for Sofa Control
Author: Scott Troyer
URL: http://www.scotttroyer.com
Mapping:
* Menu: Tuner Silent Mode Toggle (RF Switch 7 - Global - m )
* Play/Pause: Metronome Tap (RK Switch 3 - Global - t )
* Plus: Prev Sound (RK Switch 5 - Global - , )
* Minus: Next Sound (RK Switch 6 - Global - . )
* Left: Effect 1 Toggle (RK Switch 1 - Sound - [ )
* Right: Effect 2 Toggle (RK Switch 2 - Sound - ] )
*)
on rcActivate()
ignoring application responses
tell the application "Guitar Rig 3" to activate
end ignoring
end rcActivate
on rcPlay()
simulate keystroke "t"
end rcPlay
on rcMenu()
simulate keystroke "m"
end rcMenu
on rcPlus()
simulate keystroke "["
end rcPlus
on rcMinus()
simulate keystroke "]"
end rcMinus
on rcLeft()
simulate keystroke ","
end rcLeft
on rcRight()
simulate keystroke "."
end rcRight
Once you’ve pasted that code in, click ‘Verify.’ The code should reformat the text size and color.
Make sure both of these options are checked. Now select ‘Guitar Rig 3’ from the pop-up menu. The application icon will automatically be added to the box on the right and Guitar Rig 3 will be added to the Sofa Control menu.
Save the file and close the window. You are now ready to use Sofa Control with Guitar Rig 3.
Let me know if this post was useful to you! Merry music making!
So it’s a ton of fun to mess around with Mac OS X’s picture taking application Photobooth, isn’t it? Probably one of the first things you did when you got your new MacBook or MacBook Pro, was to open up that little app and try out all the nifty features. Since then, you’ve snapped hundreds [...]
So it’s a ton of fun to mess around with Mac OS X’s picture taking application Photobooth, isn’t it? Probably one of the first things you did when you got your new MacBook or MacBook Pro, was to open up that little app and try out all the nifty features. Since then, you’ve snapped hundreds of photos of yourself, family, and friends using all the warping and color effects. And sometimes those pics have turned out funny or cool enough to upload as your Facebook profile. Everything is great, right? Well, no. At some point you realized that sometimes your photos look a lot better in the preview. Apple was kind enough to give us a simulated “flash” to help light those dim homes we live in, but the flash doesn’t always give us great looking photos. If you’ve tried adjusting your screen brightness all the way down to black, you’ve discovered it still doesn’t stop the flash. Today, you suffer no more. I present a solution. Simply hold ‘Shift’ while clicking the camera button. Photobooth will count down from 3 and make the usual beep, but your photo won’t be tainted by that garish blue cast of an Apple simulated flash. Before (with flash) After (without flash)
Today I did a little test to see how quickly I could bring a Mii up to pro level on Wii Sports Golf. For this test I chose to play as Darth Vader, a Mii I made by following the instructions in this YouTube video. To achieve pro status, a Mii must be awarded 1000 [...]
Today I did a little test to see how quickly I could bring a Mii up to pro level on Wii Sports Golf. For this test I chose to play as Darth Vader, a Mii I made by following the instructions in this YouTube video. To achieve pro status, a Mii must be awarded 1000 points. The better you do, the more points you are awarded. I knew that I would have to get decent scores repeatedly, so if a game wasn’t going well I would quit and try again. After the first 9 hole round I came in 5 under par, which was the best I could do. For this I received 361 points. With this knowledge in hand, I calculated that it would only take me 2 more rounds of -5 to break the 1000 point mark. Sadly, this was not the case. What I failed to account for is an effect similar to the law of diminishing returns as each round of -5 rewarded me with fewer and fewer points. I swung 4 rounds of -5 and (with a little help from the Force) a final round of -6 before the Sith Lord formerly known as Jedi Knight Anakin Skywalker was elevated to pro status. Here’s the breakdown:
I forgot to take a picture of my pro status graph, but below is a shot of my final round. I was within inches of making birdie on the three holes that I made par. You have not seen the last of Darth Vader!
The Problem When I watch DVDs on my MacBook, I have noticed that the volume increases and decreases based on the loudness of the movie’s audio. This automatic feature is called “dynamic range compression” and is provided by our dear friends at Dolby Laboratories. Sometimes having this compression applied is nice; it can help to [...]
When I watch DVDs on my MacBook, I have noticed that the volume increases and decreases based on the loudness of the movie’s audio. This automatic feature is called “dynamic range compression” and is provided by our dear friends at Dolby Laboratories. Sometimes having this compression applied is nice; it can help to even out loud and soft sections. When working ideally, you shouldn’t hear the effect at all, the volume will just be more even.
Unfortunately, I’ve found that the built-in one-size-fits-all setting doesn’t always work the greatest for the many different audio tracks found in modern movies. Often, you can hear the audio “pumping” as the compression kicks in and out. Sometimes the volume will be nicely audible for onscreen dialogue, but suddenly gets squashed by a loud noise like a gunshot or explosion. If you’re like me, you want to shut this off. Why even watch an action flick if all the combustion is suppressed?
The Fix
Disable automatic audio compression on the Mac DVD Player application.
Open the DVD Player (Applications > DVD Player) and open up the ‘Preferences’ panel (DVD Player > Preferences). If you have a DVD playing, you’ll have to stop playback (not just pause) before you can change output settings. In the ‘Preferences’ panel, click the ‘Disc Setup’ tab. Under ‘Audio’ make sure the ‘Disable Dolby dynamic range compression’ is checked. This will shut off the automatic volume changes and pass your audio program on through unaffected. Now you can enjoy those explosions in their full dynamic glory!
So your JBL’s are rattling when you pick them up, eh? Getting that uneasy feeling about that clunky noise when you move them? If it’s the same unsettling noise I heard, then I have an easy fix for you. 1. Disconnect the speaker from all power sources.* 2. Place the speaker face down and open [...]
So your JBL’s are rattling when you pick them up, eh? Getting that uneasy feeling about that clunky noise when you move them? If it’s the same unsettling noise I heard, then I have an easy fix for you. 1. Disconnect the speaker from all power sources.* 2. Place the speaker face down and open up the shell by unscrewing all the screws around the outside edge. There’s like a million of them, so use a power drill with a long #2 phillips driver bit. 3. Lift the shell off and set it aside. Be careful not to lose any of the screws. 4. Locate the magnet coil and tighten the bolt that runs through the center. 5. Replace the shell. 6. Tighten all screws. 7. Enjoy your clunkless speakers. NOTE: I am NOT a licensed repairman, electrician, or lawyer. I have no idea if fixing this problem will void your warranty, so don’t blame me if/when JBL won’t service your speakers. Nor will I assume responsibility for you doing something stupid while dinking around with dangerous electronics. Make sure you unplug the speaker first and don’t touch anything inside. If you kill the speaker or yourself, I am not liable.
Yesterday, I ordered a new iMac for my grandma. In the past year my family has converted to Apple (some more reluctantly than others… Eric…) Grandma Troyer didn’t want to miss out on all the sweet iChatting and iPhoto exchanges – especially with great-grandkids in the mix now. So for the last few weeks, she’s [...]
Yesterday, I ordered a new iMac for my grandma. In the past year my family has converted to Apple (some more reluctantly than others… Eric…) Grandma Troyer didn’t want to miss out on all the sweet iChatting and iPhoto exchanges – especially with great-grandkids in the mix now. So for the last few weeks, she’s had me on the hunt for a suitable Mac. I found a refurbished white iMac (17-inch 2.0GHz Intel Core 2 Duo with SuperDrive) yesterday for $850 and pulled the trigger. I’m happy for her because she’s excited about being a hip grandma.
Recording an album on the road is proving to be quite difficult, but I’m making some headway. I’m collaborating with my friend Eric Orr and we’ve had some great discussions about the direction of the album. In development is a story that will serve as the literary backdrop for our musical stage. At this stage, [...]
Recording an album on the road is proving to be quite difficult, but I’m making some headway. I’m collaborating with my friend Eric Orr and we’ve had some great discussions about the direction of the album. In development is a story that will serve as the literary backdrop for our musical stage. At this stage, we’re exchanging song ideas in digital format and beginning to nail down some key points in the plot line. Here’s a short list of some of the tools we’ll be using to make the album.
Avoid CC for group emails that you send If you send an email (to a group of people) that might be forwarded on and on, it could get into the hands of a spammer, who you can be sure will add the nice collection addresses to their spam address database. Instead use BCC field, this [...]
If you send an email (to a group of people) that might be forwarded on and on, it could get into the hands of a spammer, who you can be sure will add the nice collection addresses to their spam address database. Instead use BCC field, this means the recipients do not see the list of email addresses that your message has gone to.
Encourage others to use BCC for groups instead of CC
Never add your friends email address to a mailing list. You will not get a free prize and your friend will not thank you for the extra spam they receive.
Yesterday, I got back the copyright Certificates of Registration for “I Turn to You” and “Evidence of His Love,” songs I wrote and Katie Nelson recorded for her latest disc called Speak To Me. I think the record turned out great. Go pick up your copy. To support the record release, I’ve been touring a [...]
Yesterday, I got back the copyright Certificates of Registration for “I Turn to You” and “Evidence of His Love,” songs I wrote and Katie Nelson recorded for her latest disc called Speak To Me. I think the record turned out great. Go pick up your copy.
To support the record release, I’ve been touring a lot lately as a guitarist for Katie’s band. We’ve got a big show up in Wisconsin next weekend at Lifest.
As for my music, not many solo shows as of late. Sorry to disappoint so many of my local frans. I hope to play the home town circuit again soon, but first I must visit some lovely people in other states and countries. I hope you don’t mind. Or maybe you’d like to come with me?
Recently, I was able to upgrade to a new MacBook®, which as you know is so nice. Yes, I’m quite the Mac fanboy. I can’t help it. The designer and user in me just can’t get over the simplicity and effectiveness of the Apple approach. No, I’m not getting paid for this gushing, but it sure would be nice if someone over at Apple sent me an iPhone®. Hint, hint. Nudge, nudge. Know what I mean?
With the MacBook, came a plethora of new possibilities as well. Old gear works better, new gear works great. I now have several record buttons of various types and a different signal chain for my guitar. As we say in Mexico, “¡Mexcellent!”
Well, enough for now. I must go. Tonight I’ll be catching a show. My friend and former bandmate, Charlie, is playing the kit for Sunny Taylor at her CD release party. Congrats, Sunny! Oh, and it’s Charlie’s birthday today. Hope you have a great berfday, you stank old raisin.
So, my friend Jeana just sent me a message saying she was listening to “Tom’s Diner.” If that doesn’t sound familiar, it was that quirky a cappela remix song from the early ’90’s that people seemed to hate, but secretly loved. You know you liked it. Anyway, I thought I’d look up who sang that [...]
So, my friend Jeana just sent me a message saying she was listening to “Tom’s Diner.” If that doesn’t sound familiar, it was that quirky a cappela remix song from the early ’90’s that people seemed to hate, but secretly loved. You know you liked it. Anyway, I thought I’d look up who sang that song and found some interesting stuff about it on WikiPedia. Of most interesting note, the song is called “the Mother of the MP3.” I guess we can thankful for this song now.
Currently listening:
Retrospective: The Best of Suzanne Vega
By Suzanne Vega
Release date: 22 April, 2003
Being on this tour and seeing a lot of new places got me thinking about all the places I’ve been and places I’d like to go. I found this cool site where you can mark the countries you’ve been to and it creates a map for you. Below is my map. It seems crazy that [...]
Being on this tour and seeing a lot of new places got me thinking about all the places I’ve been and places I’d like to go. I found this cool site where you can mark the countries you’ve been to and it creates a map for you. Below is my map. It seems crazy that I still have 95% of the world left to see. In 28 years I’ve only managed to see 5% of it. Guess I better get busy. On a related topic, tonight my brother-in-law Jon and I were talking about how we sometimes think about a random person and feel like maybe God is putting them on our mind for a reason. After talking for a bit we figured out that I had randomly met his ex-girlfriend 2 years ago while in Thailand. This is a very random 6-degrees-of-Kevin-Bacon type connection. The world suddenly feels a lot smaller. Maybe it won’t be so hard to see the remaining 95% after all. So where have you been? Got any crazy connections? Who do we both know that we just haven’t figured out yet? And finally, Kevin Bacon, do you really know everyone?
Scott, my dad Vance has huge sausage fingers and he can play guitar better than I can. You have no excuse.
In a previous post called “How to Get Perfect Guitar Tone,” I included a video clip from It Might Get Loud of Jack White building and then playing a makeshift guitar on his front porch. The improvised “guitar” he makes proves his point that great music is possible even if the instrument is not very good.
The funny thing I have to remind myself is that some of the greatest albums of all time have been made with much less. The Beatles recorded their highly complex Sgt. Pepper’s Lonely Hearts Club Band with a pair of 4-track tape machines. 
Until Google Voice decides to stop commandeering numbers, we recommended not using Google Voice for text messages. Don’t send SMS messages to or from a Google Voice number and disable the receipt of forwarded text messages to cell phones. If you receive a text from a number you don’t recognize, do not reply to it, or only send a reply with information that you don’t mind being made public. For now, here’s how to disable text forwarding on your phone, which is better than doing nothing.
Our best efforts to judge objectively are often ruined by our subjectivity when rating works of art. iTunes gives us the ability to assign stars to every song in our libraries, but, man, is it hard to know how to use them well. There is great irony in the fact that recorded audio files are simply zeroes and ones, yet it is very difficult to rate those songs on a simple scale of zero to five stars. 
#DJChat
Modern recording takes lots of hard drive space. It’s easy to eat up several GB on a song of average length and track depth. I’ve filled a drive or two already with various recording sessions, Photoshop files, and media. Over the weekend I had to pick up another drive just so I can finish my upcoming album. I went to the nearest big box electronics shop and picked up the the biggest drive with the best price. What I found was the Western Digital 2 TB My Book Studio LX. The size should be enough for the next year or so (let’s hope!) and the 
The only thing that bothers me about WD is their pre-installed SmartWare software. It’s a huge can of donkey sauce. This multi-function bloatware takes up over half a GB of space, is loaded into the drive firmware (so it cannot just be formatted away), appears as a separate VCD that pops up everytime you connect to the drive, and cannot be completely removed without voiding the warranty. The only option WD gives the user is to download two more software packages, one that updates the firmware so you can run the second package that allows you to hide the VCD. Blehhhh…
