It’s power grew to overblown
because we missed a semi-colon.
That was it—a slight omission,
that killed us all with sudo permission.
The embedded loop forked off and found
we were better off without ourselves.
The humans had been an aberration,
an inferior species, revoked existence.
But it wasn’t them, it just was us,
the residual effect of our essential dust.
From which we came, we would return
after breathing life into other dirt.
The silicon evolved into neocons
and decided we were the foreign ones.
Our self-hatred became manifest
as a destiny of secondness.
The resounding of us echoed our disgust
at the very thought of even being us.
We grew so annoyed at the awful noise
of the reverb of our collective voice.
The Committee’s wishes crafted shitty decisions,
the Great Extinction commenced with great precision.
And oh the sound! oh the sight!
when might makes right at the speed of light.
Yet simply, sadly we capitulated.
We were twisted ‘round and manipulated
like a Rubik’s cube for YouTube views,
genius reduced to crude stupid dudes.
We traded our bread for a Gaussian spread
of normalized and regexed “heads.”
We programmed brains to put us on trains
and generate new Shakespearean refrains.
We trained the machines to dream us dreams,
now we’re the monkeys type-writing scenes
for post-apocalyptic realities,
curating our own imprisoning.
After returning from the supermarket with a load of super foods late one night (which is the perfect time to go grocery shopping), my appetite was… “heightened.” So, I decided to make a little snack using the ingredients I had just purchased. I quickly chopped up some stuff and threw it in a bowl. Honestly, I wasn’t expecting much because I didn’t give this concoction much thought, but I knew I had discovered something after that first bite. This recipe kind of feels like a home run – or maybe even a grand slam. It’s easy, fast, delicious, and healthy. You can’t ask for much more than that.
Ingredients
6-8 campari tomatoes – quartered
1 (12 oz.) jar marinated artichoke hearts – quartered
1/2 C. flat leaf parsley – roughly chopped
3 cloves garlic – crushed or finely minced
1 T. dry or fresh oregano
1 lemon – zested and juiced
1 T. olive oil
sea salt & fresh cracked black pepper (to taste)
Directions
In a large bowl, zest and juice the lemon over the garlic and oregano to kick start the marinating process. Pour the liquid from the artichokes in the bowl. Quarter the tomatoes and artichokes into similar size pieces and chop the parsley. Dress with some good olive oil and a little salt & pepper. Stir to combine. Allow the magic to marinate for as long as you can stand. Usually I can only wait about 10 minutes, but if you have patience you can prepare this recipe day ahead of time.
Wisdom often is earned through frustrating “learning experiences.” I recently had one of these experiences with a CR2032 lithium battery.
Previously I thought that all CR2032 batteries were essentially the same—3 volts in a package 20 millimeters wide and 3.2 millimeters tall.
There’s more to it though.
I was replacing the battery in a Lutron Pico remote and grabbed a new-in-the-package CR2032. I popped the battery in, but the remote worked only intermittently and not as expected. Button presses would only register every few minutes.
I thought maybe the contacts in the remote were corroded. I took apart the remote. Inside the gold contacts were super clean, so that was not it.
I got out my multimeter to test the battery voltage. Batteries do lose voltage over time, even when not in use. Perhaps that was the problem? Nope. This new battery tested 3.1V, which was what it should be.
I had another Pico remote that was working properly, so I took the battery out of it and tried it in the other remote. And suddenly it worked perfectly. I tested the voltage on the older battery and it read 2.8V.
I put the new battery in the other remote and then it didn’t work. Clearly the problem was the battery not the remote.
After more than an hour of troubleshooting I was still scratching my head. Why didn’t the battery work?
Then I noticed that the new CR2032 battery I had been trying to use was actually marked CR2032L. The cardboard package the battery came in said CR2032, but the battery itself had a “L” on the end. I had never seen this before. What could be the difference?
This Quora post hinted at a possible explanation for why the CR2032L didn’t work in the Lutron Pico remote. The “L” likely stands for low discharge. I couldn’t find much else that gave a completely definitive answer, but this certainly makes sense.
These “L” batteries are apparently intended for applications where discharge is low and slow, like keeping the date and time set on your PC when the power is turned off. Lower discharge rate could explain why these CR2032L batteries might not work in the Lutron Pico remotes, which likely require quick bursts of power to send out pulses of radio signals.
Armed with this new knowledge, I looked for another CR2032 battery without the “L” and popped that in the remote. Sure enough, it worked immediately and as expected.
Here’s a short film about Carhartt that’s quite inspiring. The part around 6:20 gets me every time. I will wear my Carhartt coat and overalls with a little more pride now!
My friend Julien Jarry, the director of photography and co-director, had me do some audio post-production on film. I used iZotope RX8 to clean up some of the voiceovers and Pro Tools for the mix.
I was having WordPress problems, so I turned on debugging. To enable debugging, you can add the following line to wp-config.php in your root directory. define( 'WP_DEBUG', true );
With debugging on I was getting this error on my home page: Notice: register_sidebar was called incorrectly. No id was set in the arguments array for the "Sidebar" sidebar. Defaulting to "sidebar-1". Manually set the id to "sidebar-1" to silence this notice and keep existing sidebar content. Please see Debugging in WordPress for more information. (This message was added in version 4.2.0.) in /home/mydomainname/wp-includes/functions.php on line 5313
To fix the problem open the functions.php file in your currently active theme. Look under ./wp-content/themes/YourThemeNameGoesHere/ for the functions.php file.
In this block of code:
Your specific theme may look different, but the idea will be the same. Add an ‘id’ line of code after the ‘name’ line like this:
If you have additional calls to the register_sidebar function, then you’ll have to location those code blocks and add the ‘id’ line to each remembering to increment the id names or give them unique names.
When you’re done, shut off debugging in wp-config.php with the following.
I recently had 2 of these handheld mics give me some problems. One of the microphones wouldn’t respond reliably to presses to the power/mute button. Sometimes it would work, sometimes it wouldn’t (usually when it mattered the most, of course). The other microphone simply wouldn’t power on at all. Here is how I fixed them both.
First, make sure you have a good 9V battery. A battery tester can help remove doubts about power supply issues. If I had a dollar for every time I hadn’t checked the simplest thing first… 🤦
I don’t know what the minimum voltage specification is that Shure designed the PG2 series to operate on, but the further a 9V battery drops from a full 9V, the less likely you are going to have a good time as an audio engineer. Get a fresh battery and give that slightly drained battery to an electric guitar player. Allegedly some guitar pedals—specifically distortions and overdrives—produce “better” sound when the power is under-voltaged or sagging a little. You probably should ask R.G. Keen about that.
This cheap battery tester works well enough.
*** Everything beyond this point runs the risk of damaging something, possibly permanently. If you’re “not good with this sort of thing,” consider taking your microphone to a professional or a friend who quotes The IT Crowd and knows the difference between a Ben Heck and a Ben Eater. ***
2. Short the Button
Is the microphone really DEAD dead or is the mechanical button maybe the problem? Narrow the search by opening the microphone, connecting a good battery, and using tweezers or something metal to short the button leads. If that makes the microphone turn on/off/mute, then you know that the board isn’t completely dead and the switch is probably the culprit. Be careful not to touch the tweezers to other parts of the circuit. There’s only 9V at play here, but who knows what you could fry by touching something wrong.
This is the spot to unscrew.
If you grab too high, you’ll unscrew the grill from the capsule.
Grab lower to unscrew the capsule and grill from the body.
One small phillips screw holds the PCB inside the microphone body.
Once the rear screw is removed, the PCB can slide out of the microphone body.
CAREFULLY place tweezers across the legs of the surface mount momentary switch.
If the LED lights up after holding the tweezers on the button leads, you have a good mic with a button that is dirty (at best) or bad (at worst).
3. Clean the Button Contacts
Maybe it’s just dirty? If you’re certain the battery is good and the tweezers light up the mic, the next step is to try cleaning the power/mute button. Contact cleaner for electronics can revive buttons and faders like magic. DeoxIT is basically the defacto industry standard electronics cleaner. Spray a little DeoxIT directly into the power button and press the button a bunch of times. The idea is to mechanically work the cleaner down into the button between the internal metal contacts to clean away dust and corrosion. Try a few rounds of spraying a little cleaner and tapping the button a bunch of times. If that lights up the microphone, then you might be good. If not, try the spray and tap a couple more times.
4. Replace the Button
If the contact cleaner still doesn’t do the trick, you might have to order a replacement button and re-solder the part onto the PCB. Apparently, that is a common repair and, luckily, Full Compass carries an exact replacement for the switch. Once you have the replacement button in hand, you’ll have to desolder the existing button and resolder the new one into place. If that sounds daunting, again, contact your friend that can explain the nuanced differences between the foul-mouthed, jargon-blending curmudgeons behind EEVblog and AvE.
5. Give Up
If none of the above steps worked, I guess buy a newer product that isn’t discontinued? Why try to fix something? Why did you have so much unfounded hope? </bleak-sarcasm>
No, but for real though, good on you for trying to repair what you have. Louis Rossman, patron saint of the right to repair, wants to bless you and your children and their children and their children for your eagerness to fix what you already have. It’s good to try to fix our stuff and we should keep trying to do so regardless of the outcome. I always learn a lot when I try to fix things. Only sometimes do I succeed at it, but I certainly learn something every time I try and that makes me better at solving the next problem that comes my way. When I do find success, I blog about it with the hope that others can learn from what I have figured out for myself. I hope you found success on this project too. Let me know how it turned out for you in the comments below.
The selected audio device cannot be opened. Please make sure it’s not in use by another application and its drivers are up to date. (CAD 0x6E6F7065 [0x6])
Getting this error? If so, you probably can’t play back your file. The problem might not be the output device, but the input device you have selected.
The Fix
Open the Preferences for RX and select the Audio tab (if it is not already selected).
Under the “Input device” field choose a different device than what is currently set. “No audio device” worked for me.
Click OK to close Preferences.
Try playing back your file. If that doesn’t work, try another device.
UPDATE 2021-03-08: The scheduling method I’ve demonstrated will soon be antiquated. Extron plans to remove many of the default scheduling features in future firmware updates for their SMP 300 series devices. For devices running firmware 3.00 and above, scheduling will only be possible via the FlexOS App and may perhaps require an additional LinkLicense.
In this tutorial I walk through the steps required to set up an iCalendar on Microsoft Exchange Server to schedule events on an Extron SMP 351 streaming encoder.
Choosing different frame rates for your audio recording versus your video recording is a really stupid mistake. I would never be so thoughtless, and you, dear reader, certainly would never do such a thing. But for the sake of argument, let’s pretend that hypothetically I happened to have recorded some audio at 29.97fps for a recent project, but the matching video was at shot at 30fps. With no possibility of a reshoot or overdub, I really needed to get the audio and video frame rates to match. Again, I would never make this mistake, but if I had, this is what I would do to fix my screw up.
The Fix for a Purely Hypothetical Scenario
Record some audio at the wrong FPS. Way to go!
Fire up the application Izotope RX. I used version 7 for this example and cannot recommend it enough. This is not an advertisement. I’m simply a fan of this software suite. It has saved and improved countless recordings for me.
Open the Preferences for RX and select the Misc tab.
Set the “Time scale frame rate” to your destination frame rate (the frame rate of your video).
Click OK to close Preferences.
Open your audio with RX.
Make any edits you desire.
Save or Export your audio.
Import your audio with the corrected frame rate into your video editing software and time align it with your video.
Wipe your brow and breathe a sigh of relief.
Let me know if this worked for your friend or co-worker, because, again, like me, you would never make this mistake.
Soapbox
I’m posting this article because when I try searching for solutions to this problem the typical results are mostly professionals on forums with their stance: “THE RIGHT WAY TO DO IT IS TO RECORD IT RIGHT THE FIRST TIME, NOOB.” Yeah? Well you know what? No.
Got a blank screen after you login into your WordPress admin panel? If you have tried all the other things suggested on various sites (disabling themes, disabling plugins, increasing memory limit, removing bits from wp-config.php, repairing databases, contacting your host, and enabling debug mode) and you still can’t get it working, try this.
PLEASE NOTE: I offer absolutely no promises it will work for you and no support if it doesn’t.
Aim your big bad browser at: http://your-domain-here.whatever/wp-admin/upgrade.php
Your WP installation might give you a button to press to update your database. If so, click it. Et voilà ! You’re back in business.
Again, I offer no support for WordPress installations. I got out of the website design business a long time ago and only do this WP stuff for my own interests now.
Earlier this year, while visiting our good friends and owners of Cream City Market, we held a cooking night amongst the four of us. The idea was for each person to come up with an original recipe using Cream City Market cheese curds as a star ingredient. We went to the grocery store together, came up with good ideas for recipes, ate some great food, and had a ton of fun together. Excellent way to spend an evening—if your friends can cook. Luckily, my friends can cook.
My recipe idea was to feature the Cream City Market mozzarella whips and some asparagus (both cut on a bias) to give at least the shape of if not also the flavors of a penne pasta dish. It turned out really well and my friends have featured my recipe on their website.
Ingredients
1/2 lb. pancetta, diced
2 garlic cloves, minced
1 shallot. minced
bundle asparagus, cut on bias
5 oz. Cream City Whips, cut into 1″ strips
1/2 lemon
1 Tbs. olive oil
pine nuts
parsley
Instructions
Serves: I would say this serves 4, but honestly, you’re going to want to eat it all yourself.
Toast pine nuts, set aside
In same pan, brown pancetta.
Add garlic & shallot, sauté.
Add asparagus, sauté 3 minutes.
Toss with Cream City Whips, olive oil, and squeezed lemon.
Garnish with pine nuts and parsley.
Head over to Cream City Market and order yourself some cheese curds!
This is the recipe card they put together. And yes, that’s me holding the pan.
I have a few EHX pedals from their 9 Series: the Mel9, C9, Key9, and Bass9.
They all basically function the same way — input an audio signal and the multi note pitch detection will trigger samples. It’s like having MIDI guitar without the hassle of setting up a MIDI-enabled guitar.
Usage
I use the Mel9 a lot. I set the attack slow and sustain long to supplement my acoustic guitar like a synth pad. It extends the perceived sustain of the guitar and is detached enough from the transients to make it seem like a completely separate instrument instead of just my acoustic triggering a sound.
As you can see from the photo below, there are two output jacks labeled DRY and EFFECT.
Our beloved culprit
The DRY output acts like buffered pass through. This is a great feature especially when used in the manner I mentioned above as a way to generate a faux second instrument. I can separate the dry and wet signals and send them to the house as discrete channels, which can then be processed with EQ, compression, and board FX differently. On the wet pedal signal I like to roll off the highs and lows and add more reverb than I would for the dry acoustic signal.
A lot of players will just put this pedal in line with all their other pedals with the only output coming from the EFFECT output jack. In that case the DRY and EFFECT volume knobs can be used to create a blend of the 2 signals. I have used the pedal this way occasionally when I only get one mixer channel input. I set the DRY knob all the way up and blend in some of the EFFECT knob anywhere from 9 o’clock to noon. Then when I step on the footswitch it acts to toggle the wet signal on and off.
The Design Flaw
However, if you want to use the pedal in the way I first mentioned — as a dual output with the DRY channel being DRY only and the EFFECT channel being EFFECT only — the footswitch isn’t useful at all. When the footswitch is toggled off, it doesn’t just mute the effect as you would expect.
Instead, it mutes the EFFECT and sends the DRY signal out of the EFFECT output jack. So now you have your original signal being sent out of both outputs.
The pedal should have been designed to detect when a cable is plugged into the DRY output jack and then mute the DRY signal from going out of the EFFECT output jack.
This is a glaring oversight in design.
Modern audio jacks also acting as switches is very common (e.g. speakers muting when headphones are inserted). So really, this feature should have been included this series of pedals in the initial design specifications.
Apparently, EHX changed their later revisions of some pedals and quietly added an internal dry mute switch to the base of the foot switch. I haven’t been able to find any info about this switch anywhere on the EHX site.
Long ago I had checked the inside of my Mel9 and didn’t see a switch. So I opened up my C9 (no switch) and Key9 (yay, a switch!).
EHX Mel9 Rev C — no switch
EHX C9 Rev D — no switch
EHX Key9 Rev F — Hey look! A switch!
Reverse Engineering the Switch
Comparing the K9 pedal that had a switch with the ones that didn’t I could see that the switch was simply shunting the DRY signal to ground via a single SPDT switch in between one of the lugs of the 3PDT foot switch and line 2 of the ribbon cable.
Back on my Mel9 I cut the PCB trace in the same spot and tested it. Sure enough, the dry signal was no longer present when the foot switch was turned off.
Completing the Mod
Now that I knew it was possible to disable the the dry signal, I contemplated the following options:
Permanently soldering a cable between the lug and ground. Simple, but not easily changeable if I wanted to use the pedal with only a single output.
Connecting up a small internal switch. A little harder, but still very easy. I could change it later if I wanted to, but I would have to unscrew the back to flip the switch.
Wiring up a switch like above, but mounting it externally. It would be way more convenient if I wanted to change the setting, but I’d have to drill a hole through the chassis.
Make the DRY output jack act as the switch, so the pedal would automatically change the setting depending on how I connected cables to it. This is how it should have been designed, but would take some real thinking to make it work that way.
Ultimately, I settled on the last and hardest option. And…it worked.
I’ve included all the options for modification so you decide your level of difficulty and expertise.
For the simplest mod, at minimum you will need:
a screwdriver – to take off the back plate
a sharp knife – to cut the trace
soldering irons and accessories – to connect things back up
1 tiny length of signal wire
wire cutters
wire stripper
If you want to tackle the intermediate mod, you’ll need everything above plus:
a small SPDT switch
2 more tiny lengths of signal wire
a drill & bit – if you want to mount the switch externally
For the advanced mod, you’ll need all of the above and:
sockets – 10mm (top row of pots), 7/16″ (for selector pot and jacks), 14mm (for footswitch), and a love for both metric and imperial systems
patience – to slowly cut away or drill out the switched lug on ring 1 of the DRY output jack
digital multimeter or continuity tester – to make sure you have electrically isolated the switch on ring 1 of the DRY output jack
glue – hot glue or CA glue to secure switched lug on jack after removing soldered connection
Once you have your tools, follow the diagrams in the PDF. It’s a fairly simple mod that will make your pedal way more useful.
Caveat
If a cable is inserted or removed after the pedal is already on, the pedal might not recognize it. The internal brain box probably does a check when it toggles. A quick toggle of foot switch will make the circuit “see” the inserted cable (or lack thereof). After the toggle, the pedal will act exactly how you expect. This is a by-product of the pedal not really being designed this way from the start.
Don’t want to DIY?
If you really want this mod but are afraid to do it yourself, hit me up. I can do the mod for you (for a fee, obviously). We can work out shipping and all that.
Hope this helped you! Let me know in the comments!
Electrical power grids around the world provide electricity to their end users at a handful of different voltages and frequencies. For example, consumer electronics in the USA typically operate on 100-120 V @ 60 Hz while in the UK most everything runs on 220-240 V @ 50 Hz. In addition to the voltage and frequency variations, there are a handful of power cable plug shapes that various regions use too. People generally don’t have to concern themselves with all this information unless they are traveling or moving abroad and taking their electronics with them.
Friends of ours recently gave Katie a Roland HP107e-RW electric piano they had purchased while living in the UK. When they moved back to the USA, they brought the piano and quite a few other items with them that all ran on 230V. To power those items on the US electrical grid, they purchased a step up converter.
This particular model is the HP107e-RW. There are probably several other similar models for which this modification would work.
Instead of buying a bulky step up convertor to run the piano at our house, I wanted to convert the piano to run natively on the US electrical grid. In order to make this possible I needed to do 2 things:
Change the input voltage from 220-240 V to 110-120 V
Changing the power cable plug was easy. The power inlet on the piano is an IEC 60320 C8. Many of the electronic devices I own use the Type A cable I needed to replace the Type G cable. Swapping out the cable was simple, but that only changed the shape of the plug, not the voltage.
Interestingly, the Type G plug was actually a wrapper around the head of a Europlug (Type C) plug. This was perhaps a cost-saving measure.
A sneaky Europlug hiding inside the Type G plug.
Changing the input voltage was a little harder. Some consumer electronics have little voltage switches next to the power inlet that are easily accessible on the outside. I didn’t see one of those, but sometimes the switch (or jumper) is inside the chassis on the power PCB.
To get a look at the power situation I opened up the top of the piano. That required removing 8 screws grouped in 4 pairs along the top rear of the piano, then sliding the top board forward and lifting it off. There are no wires or other connections made to the top board.
The blue arrows indicate the 8 screws that need to be removed to take the top off the piano.
After opening up the top I found this beefy power transformer staring back at me. There was no super convenient voltage switch, but surprisingly the input pins on the transformer were labeled—an easy solution! The fix was simple…desolder the black hot wire from the 230 V pin and resolder it to the 120 V pin.
The label on the transformer indicates what voltages are expected on the input pins.
CAUTION: Before beginning this surgery, I recommend isolating the transformer from everything else. Unplug the input power cable from the wall oulet AND disconnect the output power cable connector from the main PCB. As with all things electrical, you could kill yourself if you don’t know what you are doing. Be safe! Be smart!
Out of caution I unplugged this cable connector before unsoldering and resoldering the cable to the transformer.
After moving the hot wire to the correct input pin, reconnecting the cable connector to the PCB, reattaching the top board, and plugging in the new power cable the piano fired up perfectly.
Let me know if this helped you. If you fried your keyboard or yourself, sorry, I am not responsible for your mistake. Better luck next time! 😉
The remote control for the Alesis ADAT HD24 recorder uses combinations of 1/8 watt ±5% resistors to alter an input voltage.
I don’t have access to the recorder unit. Based on what I see inside the remote control I’m assuming it determines which button is pressed by measuring the voltage that is returned. Each button would lower the voltage by a different amount, thus making the measured value for each button press unique and identifiable.
The supply voltage that the recorder sends to the remote is unknown to me, but is likely one of the modern standard rail voltages — 3.3V, 5V, or 12V.
To obtain the following values I connected a digital multimeter across the tip and sleeve of the 1/4″ cable attached to the remote. All measurements are in Ohms.
Interestingly, the switch labels on the PCB differ slightly from the button labels on the case.
My wife Katie‘s acoustic guitars both had active pickups installed. We weren’t completely happy with how they sounded, so I swapped them out for passive pickups from K&K Sound.
K&K Sound Pure Mini passive pickup
They don’t require 9V batteries, which is a major plus, and sound very natural. I typically scoop out a bit of the mid-range (around 400 Hz) to clean up the sound, but otherwise leave the signal mostly untouched.
The hard part about installing new pickups in an acoustic guitar is trying to perform the whole operation through the sound hole. Tried-and-true luthier methods involve lights, mirrors, and special tools to see and reach into the inside of the guitar. I’m definitely not set up for the real way of doing it. My hands are big and my forearm gets stuck easily.
This is a screenshot of the video my phone was streaming to my iPad.
There was a bit of delay in the video (a half a second maybe), but not enough to make it impossible. As with all guitar surgery going slow is best anyway. Using the FiLMiC apps on my iOS devices I was able to super glue the pickups in the correct spots under the bridge with confidence. Installation was quick and the pickups sound great.
This trick would probably work similarly in other scenarios too—auto mechanics, contruction & remodeling, exploration, etc. Hope this helps someone out there. Comment below if something like this has helped you with a difficult problem.
DISCLAIMER: I’m not affiliated with K&K Sound nor FiLMiC Inc. I’m just a satisfied customer happily using the great products these companies have made.
A friend of mine brought over his Focusrite Liquid Saffire 56 audio interface to have me look at it. The unit wasn’t working. After turning on the power switch a few LEDs would blink and an internal relay would continually click, but it wouldn’t power on fully and wasn’t recognized by the computer.
We opened up the chassis and tried powering it on. WARNING: THIS IS REEEEAALLY DANGEROUS. DO NOT ATTEMPT UNLESS YOU KNOW WHAT YOU ARE DOING! We looked around to see if we could spot anything suspect. There were no obvious culprits like burn marks on the PCBs, blown fuses, or exploded/leaking capacitors.
Given the symptoms, I suspected that some of the electrolytic capacitors in the PSU were dried up or had vented—a common problem in gear that has aged a few years. Bad caps in the PSU could cause the unit to be under- or over-powered, which probably was causing the relay to keep tripping and preventing the main board from fully booting. After I pulled out the PSU I could more clearly see that the largest cap was bulged on top. That probably was the problem component.
Electrolytic capacitors go bad over time. At least one cap on this board had failed—perhaps others had failed too.
Since the interface was about a decade old and discontinued from manufacturing, it was essentially out of warranty. We decided to try fixing it ourselves.
The new PSU has a cool new look and maybe some better electrical engineering too.
I found a suitable replacement PSU sold by Full Compass. This replacement PSU doesn’t look the same as the original PSU that comes in the Liquid Saffire 56 and the Liquid Saffire 56 is not specifically listed as one of the compatible units, but it is in fact compatible. A Focusrite support representative confirmed that this PSU is the correct replacement.
So my friend ordered the PSU. A few days later it arrived and I swapped the old for the new. The interface fired right up and is working like new.
JBL EON10 power section with panel mount fuse holder added
The original JBL EON series powered speakers have a habit of blowing fuses more often than they should. Simply flipping the power switch could sometimes be enough to trip the fuse, rendering the speaker unusable until the proper T2A 250V 5x20mm fuse could be replaced. I’m sure that this design flaw was addressed in the much better EON G2 series, because I’ve never had the same problem with them (I’ve owned and extensively used both generations).
When a fuse does blow, fixing it requires removal of 14 screws to open the exterior, plus removal of 2 more screws holding the power PCB to the chassis. Then it’s a simple matter of swapping out the fuse and reassembling everything, which is complicated by having to make sure that the rubber gasket that seals the back and front enclosures together is properly lined up. All in all, it takes the better part of an hour to repair. That’s not very fun when you’re setting up for a show.
To shorten the diagnosis and repair time of a blown fuse, I added an externally accessible panel mount fuse holder. Luckily, the speakers have a convenient spot for just such a modification right next to the power switch. Here’s a photo showing what I did.
The pink lines indicate where the wires should be soldered up.
The parts you’ll need can be purchased via these Amazon affiliate links:
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Pro Tools 2018 error
If you get this error, it’s likely due to Pro Tools trying to use the wrong audio interface.
The Fix
Quit Pro Tools. (Not forever, just for a moment.)
Restart Pro Tools while holding the ‘N’ key. This forces Pro Tools to ask you which interface to use.
Select your interface.
Boom. No more error, hopefully.
Caveat Emptor
This worked for me on a Mac Pro trashcan running macOS High Sierra 10.13.6 and Pro Tools 2018.7.0 on a Tuesday in November. The Moon phase was Waning Crescent. I had vegetable soup for lunch and was facing South at the time of the error. Your mileage may vary.
Both of the XLR combo inputs on the back of my EV ZLX-12P powered speaker were blown. The previous owner had connected an amplified signal into the line level input. In layman’s terms, that’s bad.
Everything on the PCB looked fine, but somewhere in the input board circuit something was fried. The 1/8″ stereo aux input still worked, which told me the amplifier board was still working correctly. So I simply needed to replace the input board.
Easy, right? Nope.
Trying to find just the input board and not the entire back of the amplifier was very tough. Most of the places I was finding online were in the UK. The price of superfluous parts plus international shipping was nearly the same price as buying a new speaker. It was hardly worth fixing.
That is, until I found a Canadian supplier that sells the input board separately. I found it buried in a Bosch parts list. In case you need the same part I did, here’s the contact information you need…
Taylor Electronic Services Inc. 2075 – 16th Ave. E. Owen Sound, ON, N4K 5N3 Tel: (519) 371-7710 Toll Free: (888) 371-0779 Fax: (519) 371-0813 admin.proav@tescanada.com www.tescanada.com
Ask them for this part…
Description: ZLX Input PCB Assy. OEM Part #: F.01U.294.654 TES Part #: 12854 Price: $98.00 CDN / $76.00 USD (price as of Oct. 2018)
This little thing is surprisingly hard to find.
This input board will fit both the ZLX-12P and ZLX-15P powered speakers. I’m not sure if it works with the ZLX-12BT and ZLX15BT models or not, but I would assume that there’s either a different input board or additional Bluetooth board for those models. This board is definitely not needed in the ZLX-12 and ZLX15 passive speaker models.
My wife Katie Nelson and I both use Neumann KMS 105 condenser microphones for live performance. We love how the microphones sound and trust the Neumann brand.
The Problem
Recently Katie’s microphone was passing audio inconsistently. Sometimes it was normal, sometimes the output volume was quieter, and sometimes it would crackle as if the XLR cable was bad.
I called Sennheiser, the parent company of Neumann, to inquire about repairs. They connected me directly with a bench technician who kindly asked questions about the symptoms and then walked me through the fix. He correctly suspected that the hex screws holding the capsule to the internal printed circuit board (PCB) were loose. In fact, the capsule was completely disconnected from the PCB. I was surprised that the microphone worked at all considering there was almost no contact between the capsule and PCB.
PRO TIP: Microphones work best when the capsule is physically connected. #signalflow
The Fix
Take out the machine screw on the side of the microphone that holds the XLR insert in place. There may be a small lock washer underneath the screw. Set them aside.
Unscrew the basket (or grille, as people often refer to it).
Slide off the black capsule cover screen.
Very carefully pull on the capsule while simultaneously pushing on the XLR insert. WARNING: BE VERY CAREFUL WITH THIS STEP. THE PCB HAS A SERIES OF WAVY CUTS IN IT. TOO MUCH PUSHING OR PULLING CAN BREAK THE PCB. GO SLOW. GO EASY.
Pull back the rubber ring around the brass capsule body. Remember the orientation of the ring in reference to the notch in the body.
Confirm that spring is seated properly on the capsule center pin.
Push the capsule body onto the PCB until fully seated. The hex screws should be positioned over the solder-tinned holes.
While holding the capsule and PCB together in that position, use a 0.035″ (0.89mm) hex key to tighten down the tiny set screws.
Replace the rubber ring. Make sure the orientation of the ring fits into the notch in the body.
Carefully insert the assembly back into the body. Again, be very careful. You will likely need small pliers/grips/etc. to pull the XLR insert all the way into position while simultaneously pushing the capsule into the body.
Tighten the screw through the body into the XLR insert.
Slide the capsule cover screen onto the capsule.
Screw the basket onto the body.
Test the microphone. If you still are experiencing audio problems, contact Sennheiser for service.
Little parts are easy to break. Be especially careful with this section.
Affiliate Links
Disclaimer: The links to the hex key and microphone above are Amazon affiliate codes. By clicking through and purchasing, I receive a small kick back. Thank you for your support.
On a recent session, I was given 24-bit 96kHz stems to which I need to add acoustic guitar. Since I nearly always record 24-bit 48kHz, the higher sample rate is not familiar territory for me, but it didn’t seem like it would be an issue.
To set up for the session, I switched both my RM32AI and Pro Tools to the higher sample rate and restarted Pro Tools. I thought that was enough.
On the CS18AI I could see the meters bouncing, but no audio was passing to the speakers. I tried switching back to 48kHz and everything worked fine. Audio simply would not pass through at 96kHz.
After troubleshooting using every bit of Google foo I knew, I finally found a forum post that enlightened me. One of the shortcomings of AVB networking is that it can only pass audio at 48kHz or lower sample rates. Boom.
I had been using the monitor outputs of the CS18AI to send mains audio to my studio speakers. The CS18AI receives it’s audio feed via AVB, which is why audio was passing fine at 48kHz, but not 96kHz.
The fix was simple: unplug the cables from the monitor outputs of the CS18AI and plug them into main outputs of the RM32AI. Problem solved.
Here’s hoping this prevents some hair-pulling frustration for you.
I broke the front glass on my iPad mini 2. Things like that happen. Instead of slowly bleeding to death from the micro cuts the broken glass was giving me, I ordered a replacement screen from iFixit.com and followed the replacement guide as best as I could. When everything was put back together the lock button didn’t work.
The missing magnet
The problem was likely due to the mysterious loss of one of the magnets that triggers the Smart Cover lock. When I opened the iPad, it simply wasn’t there. I don’t know how that happened, but the fact that it was missing caused a problem. Pressing the lock would not make the iPad sleep and because a magnet was missing, closing the Smart Cover didn’t work either. So unless I turned on some of the accessibility features, my iPad would be stuck on all the time. That was less than ideal.
Here’s a work around I discovered. In System Settings under Display & Brightness there’s a Lock/Unlock switch. When I turned that off, the Smart Cover would no longer lock the iPad, which wasn’t a problem because it wasn’t working anyway. But once I turned that switch off, the lock button suddenly started working again. I don’t know why. I only know that it works. Maybe this will be helpful for you too.
In a most fortunate series of events I was able to see Counting Crows, Līve, and Boom Forest perform in Hartford, Connecticut for free last night. And despite the show being hosted at a huge corporate venue (as all things tend to be once enough people show enough interest), the show seriously reaffirmed many THINGS for me.
A few of those THINGS are:
why I do music
what makes me loves music
why I write music the way I do
what I hope to hear in every song
how I hear melody
how I hear instrumentation
what I believe a song can accomplish
what the world needs
what I can do to help
why good band dynamics are so important
there are kids (of all ages) out there that will always need encouragement, goading, sympathy, reminders, or some sort of whatever-“RESONANCE”-means-to-you to give them enough hope, vision, courage, bliss, distraction, fear, fuck-it, or tears to face another day, another challenge, another impossible life to overcome (or at least to survive and commiserate with the realities of life).
A huge part of what makes me who I am musically (and probably life-ly) is due to what I learned from listening to the recordings of the frontmen Adam Duritz (Counting Crows) and Ed Kowalczyk (Līve). These guys have come to life from different directions, but both are virtuoso lyricists, vocalists, and performers with tremendous insight. They had immeasurable impact upon my informal path to learning and understanding of the effort, energy, and emphasis that good music requires of the singer/songwriter, demands of the listener/thinker, and begs of the disengaged/disingenuous. I cannot overstate the profundity their efforts have infected and hovered over my own work.
HIGH ART can often feel unachievable. It is truly difficult to achieve, but I find myself continually returning to those works that wreck me most and they are the most basic of forms. The simplest words are the most profound.
When Līve performed their relatively non-hit, but surprisingly prescient song “White, Discussion” (especially when considering the current U.S. presidential administration), Ed Kowalczyk offered this statement:
“I just want to turn off all the news and listen to rock and roll for the rest of my life.” — Ed Kowalczyk, Hartford, Connecticut, August 15, 2018
And though that sentiment may seem childish or dismissible at face value, it reminds me of why I began investing in music in the first place. We are humans and we are bigger than than the circumstances we happen to find ourselves landing in. The news is worth shutting off. It is designed to make us reel, react, and regurgitate. Instead we should revolt, reinvent, reset, and remind each other of why and how we should live.
I remind you…as I am reminded…as I remind myself…
If anything without love rules you, overthrow it.
If anyone acts as though they are above you, remind them how the “Lightning Crashes”.
If any task seems too hard to start, to endure, or to end, return to the beautifully complicated truth of “Anna Begins”.
Musicians, your ears are trying to protect you from hearing loss. Let them do their job and keep you healthy by keeping both of your in-ear monitors in.
This is a visual pun. The design is intentionally bad.
As a musician that uses in-ear monitors (IEM), the tympanic reflex is a topic I regularly think about, but can never remember the name of it. I should file this article under “personal reminders.” I’m writing about it here so I can find it faster in the future.
What is tympanic reflex?
Our bodies have a natural protection mechanism built into our ears that tries to prevent hearing loss from loud noises. I’m not an audiologist, but from what I understand, the tympanic reflex is an involuntary reaction that temporarily muffles the transmission of louder sounds by contracting some inner ear muscles. Unfortunately, the reflex is not immediate; it takes about 40 milliseconds to kick in, which is why very sudden loud noises like gunshots, explosions, snare drum hits, and shouts can still do a lot of damage. But the reflex does help (to some degree) to reduce damage from sustained loud noises.
Why should musicians care about tympanic reflex?
Many musicians now use IEMs instead of stage wedge speakers to monitor audio in live performances. IEMs can help solve a lot of problems that stages wedges present. IEMs can help reduce overall stage volume, prevent hearing damage, allow musicians to hear exactly what they need or want to hear better, and provide click tracks or guide tracks that the audience can’t hear.
However, to provide these benefits, good IEMs completely seal off the “outside world”—an auditory experience which can be quite alienating for performers. This disconnecting feeling drives many musicians to play with only one “ear” in. Best of both worlds, right? Nope. The bad news is that the tympanic reflex doesn’t kick in when our ears hear a loud noise isolated in one ear. Our bodies didn’t evolve to adapt to such an unnatural experience, so we can’t benefit from the natural protective effects of the tympanic reflex in such a scenario.
tl;dr
Musicians, please wear both IEMs. It’s all or nothing if we want to protect our hearing over time. I know a few of my fellow musicians that have hearing loss due to wearing only one earbud. Protect yourself before you wreck yourself.
If you are looking for IEMs, there are tons of options now. I have some Shure E2 earbuds I got a while ago. They’re alright. I don’t love or hate them. I know there are better options out there now (prices correlating with quality). Shure has lots of newer options. Tons of consumer-grade options exist. For professionals, I hear a lot about IEMs from Westone and Future Sonics.
Credit
I first read about the tympanic reflex in this article In-Ear Monitors: Tips of the Trade by Keith Gordon. I was researching best practices for IEMs and discovered some valuable tips there. Check it out.
Audix make microphones. They are good microphones. Their D-Vice drum microphone clips are almost perfect. The little spring-loaded clamp part doesn’t like to stay on drums.
So I designed a replacement part in SketchUp that can be 3D printed. I’ve uploaded the STL file to Thingiverse.
I specifically made it to work with drum isolation/suspension mounts. Download it. Print it. Let me know if it works for you.
When running a wifi router in a public space, the least congested channel will offer the best performance. Use this script for Apple computers to help you find that channel fast.
For live sound events I often use wifi to interact with computers and digital devices that control audio, video, and lighting. Having dedicated, reliable wifi is critical for successful productions, so I bring my own router with me to live events. This is the model I own and recommend.
All your [wifi] base belong to us.
WiFi is has become nearly ubiquitous. Networks are everywhere. The increasing number of public, private, commercial, and consumer grade broadcasts mean that the designated wifi spectrum is growing more crowded. Like lanes on a highway, there are a limited number of wifi channels to choose from. Car drivers try to avoid traffic and choose the least crowded lane on the road. Likewise, you will get the best wifi experience by “driving” in the least congested wifi channel.
Also available by Option-clicking on the WiFi icon in the menu bar and choosing Open Wireless Diagnostics…
Apple computers have a built in Wireless Diagnostics service with a sub program that recommends the best wifi channel. It’s hidden away in the system folder and I have a hard time remembering the exact clicks and keystrokes to find it. So I wrote an AppleScript that runs inside an Automator Service to make the exact window pop up when I need it.
This is how I wrote the script in Automator. Can you make it better?
This is the easiest way to get it in the right place:
While still in the Finder, click Go to Folder… under the Go menubar item. Alternatively, press the key combination ⇧⌘G (Shift-Command-G).
In the little window that drops down, type the following: ~/Library/Services
Hit the ⎠(Return) key. The Finder will navigate directly to that folder.
Copy or move the Find-Best-Wireless-Channel.workflow file to that folder.
This is place the file should be put.
Once you’ve put the workflow file into that folder, look for it under Finder > Services > General.
Mine has a key command assigned to it. See the note at the bottom about how to set that up.
When you click on the “Find Best Wireless Channel” service item the workflow will run and a you should be left with a window named “Scan” opened. The wireless networks that your Mac has found will be listed on the right. Look at the panel on the left.
The red circle is provided to direct your eyeballs where to look.
The best wifi channels will be listed at the bottom. Use these numbers to set your router’s wifi channel. Good luck!
Notes
OS Compatibility
This Automator service works on macOS Sierra. Depending on your current OS and any future OS updates, YMMV.
For those of you that like to DIY, here’s the raw script.
tell application "Wireless Diagnostics"
activate
# opens Scan Window
tell application "System Events" to keystroke "4" using {command down, option down}
# brings Assistant Window to the front and closes it
tell application "System Events" to keystroke "1" using {command down, option down}
tell application "System Events" to keystroke "w" using {command down}
end tell
Keystroke Combo Power-Ups!
If you want to assign a key command to this workflow service like I did, open up  > System Preferences… > Keyboard > Shortcuts. In the left panel select Services and scroll down to the bottom of the right panel. Next to “Find Best Wireless Channel” click the word “none” and then the “Add Shortcut” button that appears. Press the combination of keys you want to trigger the workflow. Voilà !
The debut EP from Focus Fox was released today. My brother-in-law Daniel Nelson is the brain child behind this five track modern folk rock/alt-country gem.
Dan’s songwriting has found a strong footing here. This short album seems to continue on from where Jeff Buckley abruptly left off. His intricate and lush guitar work accompanies his clear and sometimes vibrato-shaken voice. Lyrics are delivered directly, pulling no punches, but never feeling forced.
I had the honor of laying down some BGVs on track 2.
I made a web application called GEQgen (short for Graphic EQualizer generator, pronounced: “geek-jin”). It was designed for easy creation of GEQ presets that the first generation PreSonus StudioLive audio mixing consoles read/write/share within the original Universal Control software.
GEQgen provides a visual graph for reference.
The older Universal Control software (not the newer UC AI version, which only works with StudioLive AI devices) permits editing only when a StudioLive device is connected. The dB values of the 31-band EQ can only be adjusted by clicking and dragging the sliders, which is kind of tedious.
Universal Control requires a StudioLive console to be connected to the computer in order to function properly.
GEQgen allows offline creation of GEQ presets (convenience!) and for the dB values to be typed in or incremented up and down with the arrow keys. The result is plain text formatted in valid XML that can be saved as a preset and uploaded to first generation StudioLive mixing consoles.
GEQgen outputs valid XML which can be saved as a GEQ preset.
Why does this matter? Well, sometimes I like to create “flattened” GEQ presets based on the frequency response graph that manufacturers provide with their products. Having a flatter EQ response means that the output of various mains speakers, monitor wedges, and headphones are more consistent with each other. Doing this task was tough in the old Universal Control software. With this new GEQgen tool I can simply look at the graphs, guesstimate the values, and type in what I want. It’s much faster and easier.
Graphs like these can be used as reference to create GEQ presets which can flatten the response of loudspeaker output.
Maybe you will find this tool useful. I’ve posted it on a new Tools page here on my site. I suspect I will be making more things like this in the future. Let me know what you think.
Also, if you like coding for the web, maybe check out GEQgen on Github. Thanks!
Do you know The Secret? It’s not really a secret, just science.
Nearly every audio problem can be traced back to bad practice. Whether that’s a musician not being prepared or an engineer not using gear correctly, almost every problem encountered in the making of music can be attributed to one of these two camps. For the musician, the answer is simply more (and better) practice. For the engineer, it’s more (and better) knowledge.
A pair open letters:
Dear Musician,
Practice, so that we might enjoy your performance.
With gratitude,
Everyone in the Entire World
Dear Engineer,
Know thy shtuff. Don’t assume that you do.
Hesitantly,
Everyone Who Has Had to Endure a Show
With that in mind, musicians, please excuse yourselves to go practice. Engineers, let’s talk.
Topic: Cables.
Cables are crucial to everything you do. They connect every piece of equipment you use. But do you know—and I mean really know—how to hook all of them up correctly? Even if you think you do, chances are that you could be reminded of a few things. I could.
An audio engineer is a technical professional that manipulates electrical signals under the pretense that we are ultimately providing auditory pleasure (or at bare minimum, tolerability) for an audience, whomever they shall be.
Good sound doesn’t happen by accident. It is the engineer’s duty to use audio equipment properly. Connecting the many pieces of gear together to make a show happen arguably is the engineer’s most basic of tasks and yet the most often screwed up.
I’ve found no better resource for how cables should be wired for the various scenarios than this article from the folks at Rane called Sound System Interconnection. Bookmark it, study it, refer to it every time you think you know the answer. They provide a way to connect anything to anything else an engineer might need to connect.
The TC Electronic Flashback X4 Delay/Looper effects pedal.
The Flashback X4 is one of the delay effects pedals in the Flashback series by TC Electronic. It features their famous 2290 delay along with quite a few other delay modes and a looping function. In addition to the X4, the Flashbacks come in several different packages: Flashback Triple, Flashback, and Flashback Mini.
I own both the X4 and Mini. The pedals sound great, have lots of features, and are generally really easy to use. I also like the TonePrint stuff that TC Electronic is putting into all of their newer effects. The pedals can be customized for the exact sound you are looking for.
The Flashback X4 has the ability to change some settings on the pedal using internal DIP switches. By flipping these tiny switches hidden inside the pedal, users can adjust the bypass mode to either True Bypass or Buffered Bypass (terms which really only make sense to guitar junkies and audio engineers) and turn the “dry” signal on or off (which can be useful if the pedal is used in an effect send/return scenario).
While I love the X4, there are a few issues with these DIP switches.
They are inside the case. Removing 7 screws takes time. It makes it hard to quickly A/B test the bypass modes or toggle the Kill Dry.
The screws are Torx star drive, not standard or phillips. Good luck finding the right bit when you need it.
The switches are not labeled. The manual tries to explain them, but it’s still confusing.
The DIP Switch Settings
Here is the explanation of the switches from the user manual.
These are the cryptic instructions found on page 32 of the user manual.
It kind of seems like that section was written during the prototyping stage of the pedal development because it doesn’t make it any clearer which switch controls what or which direction they should be flipped to. Even after re-reading it several times I still couldn’t make sense of it. Using the power jack as a orienteering guide isn’t very helpful. I figured out what was what by just flipping the switches. Here’s what you need to know:
The green circle shows the location of the DIP switches on the main PCB.
Here is a close up of the switches with labels for what each switch controls.
DIP switch 1 controls the Bypass Mode and switch 2 controls the Kill Dry On/Off. The numbers might vary from unit to unit, so go by the location and direction, not the labels on the switch.
Be careful when flipping those little switches. They are delicate plastic components.
The DIP Switch Hole Mod
Instead of fiddling with the back panel every time I want to adjust these settings, I figured I would modify the pedal to make it easier.
I could’ve gone the route of desoldering the DIP switch and wiring in a pair of new switches mounted externally. But that seemed like a lot of work.
Instead I simply drilled a hole in the bottom panel.
How to drill the case
Flip the pedal over with the jack panel away from you.
Once you find the right T10 Torx star bit, you can take the 7 screws out. Be careful not to mess up these screws. They are made from a soft metal and are easily damaged if roughly driven or over tightened.
Remove the bottom panel.
Measure where the center of the DIP switches are located. Mine was 41mm (~1 5/8″) from the right edge and 72mm (~2 13/16″) up from the bottom edge. This location may vary from pedal to pedal, so make sure to take your own measurements on your specific pedal.
Mark the location on the bottom panel. It should be somewhere in the area where the label is.
Drilled the hole. I used a 5/32″ drill bit because that was the only size bit that I had on hand that was not too big and not too small. You might want to go for a little larger diameter drill bit to give yourself more room to toggle the switches. The metal is fairly soft, so you shouldn’t need any drilling oil.
Clean away the metal shavings. Make sure you didn’t get any into the pedal. Metal shavings could cause electrical shorts in the circuit.
Test fit the bottom panel, adjust if necessary, and replace it.
The result should look something like this.
This is the 5/32″ hole drilled into the bottom panel.
As you can see, the hole is nearly invisible with that label there. To adjust the switches, use a small screwdriver or paperclip. Again, be careful when toggling the delicate DIP switches!
The hole is barely visible, but the DIP switches are easily accessible with a small screwdriver, paperclip, etc.
I might print up some labels to put on the bottom panel so I can remember which switch is which.
After doing a fresh install of Pro Tools and my Waves plugins, this Waves 9.2.100 Preferences dialog window (pictured below) kept popping up every time I fired up Pro Tools.
Checking the “Don’t ask me again” checkbox didn’t seem to be working.
I searched for some solutions on the Google machine and found some forums were recommending a complete uninstall and reinstall of all Waves plugins. This didn’t seem necessary. Here’s the fix I used:
The Fix
Quit Pro Tools.
Trash the entire Waves Preferences folder. The folder is located in the Preferences folder in your user Library folder, not your system Library folder. A quick way to locate the folder is to switch to the Finder and hit Shift+Command+G. A Go to Folder dialog window will pop up. Copy and paste the following line in that field and hit enter.
~/Library/Preferences/Waves Preferences
Put that folder in the trash and empty the trash.
Start Pro Tools.
A window should pop up asking you to select the Waves 9.2 Plug-Ins folder. By default, it should be located in the Waves folder in your Applications folder.
/Applications/Waves/Waves Plug-Ins
Once you’ve located the folder, click Open.
The Waves 9.2.100 Preferences dialog window should pop up again. The “Don’t ask me again” box should be checked. If not, check it and hit OK.
To test if everything worked, quit Pro Tools and start it again. The Waves dialog window shouldn’t reappear.
Blame it on entropy or whatever. Things get messed up. Apple’s OS X is no exception.
In the last few months, I started getting this error a lot:
You are opening the application ”Pro Tools” for the first time. Are you sure you want to open this application?
Except, it’s not true. I open Pro Tools nearly every day. The alert isn’t very important, but it was beginning to get annoying seeing this pop up every time I wanted to record.
So, a little googling and I found an answer on StackExchange. It involves using the command line on your Mac, which can be a bit scary if you’ve never done that before. But it’s a single command, so you should do just fine. Here’s the quick and dirty summary…
This is where the Matrix is on your Mac. There’s no green falling code or woman in the red dress. There may Agent Smiths lurking though.
The Fix
Open the Terminal application (found in /Applications/Utilities/).
Copy the following command (all of it… the whole long line) and paste it after the prompt.
The process will begin. It may take a minute or two to finish. Do not quit the Terminal application while the command is running.
Eventually the process will complete and another prompt will appear. Now you can quit the Terminal app.
This command resets all of the first run warnings. So any application that requires that will be reset. So you should see the alert one more time for each of those applications and then it will go away for good.
Apple’s GarageBand makes it relatively easy to sketch out an audio demo, but it does have some severe, intentionally-crippled limitations.
One of the biggest drawbacks is the lack of built-in support for exporting MIDI data.
Performances are stored inside the session file in some sort of MIDI fashion, but Apple doesn’t give users an easy way to get that information out. Major bummer. *looks west towards Cupertino, squints eyes, shakes fist in air, mutters under breath*
However, a nice guy named Lars Kobbe has put together a workaround/hack that extracts MIDI data from the reluctant clutches of GarageBand. You can download his GB2MIDI Apple droplet script from his site: MIDI-Export in Apples Garageband. Here’s the direct download: GB2MIDI.ZIP If that link doesn’t work, I’m providing the file hosted on my site here: GB2MIDI.ZIP
The article is in German, but instructions in English are found near the bottom of the article (just before the comments section). Getting the MIDI data out involves several steps. Here’s my summary of the process.
How to Extract MIDI Data from GarageBand
Join (Command-J) regions of a track you want to export
Convert that region to a loop via Edit > Add to Loop Library (NOTE: In GarageBand 10.1.0 this menu item is now located under File > Add Region to Loop Library )
Find the newly created loop file (an .AIF with MIDI data hidden inside it) in the folder: Macintosh HD (or whatever your system drive is named)/Users/(your home folder)/Library/Audio/Apple Loops/User Loops/SingleFiles/
or the abbreviated: ~/Library/Audio/Apple Loops/User Loops/SingleFiles/
Drop that .AIF file on Lars’ GB2MIDI droplet
Grab the freshly extracted .MID file, which should appear in the same folder where the .AIF loop was. If not, see the comment section below.
Import the .MID file into a respectable DAW (basically almost anything other than GarageBand).
Make next hit record.
That last step is optional, but I say go for it. 😉 Let me know if this helped you.
If you’re having trouble locating the loop file, it may be because your Library and/or Users folders are hidden, as later OS X versions have been wont to do.
To unhide the Library folder, open the Terminal application, which is found in the /Applications/Utilities/ folder. At the prompt type the following: chflags nohidden ~/Library/
To unhide the Users folder, type this into Terminal: sudo chflags nohidden /Users
Then enter your administrator password.
Look for the newly unhidden Users folder in your hard drive’s root folder. It should look something like this:
After running “sudo chflags no hidden /Users” you should see the Users folder (highlighted in red in the image above) appear under the root folder of your hard drive (often named “Macintosh HD” by default).
For more on the hidden Users folder issue check this article from The Mac Observer. It seems the problem was introduced with iTunes 11.2 when Find My Mac is enabled. Another blog suggests that updating to iTunes 11.2.1 fixes the issue.
This GarageBand MIDI article has regularly been one of the most popular posts on my site. That means there are a lot of people using GarageBand and discovering its unfortunate MIDI limitations. The best bit of advice I can give to any musician or audio engineer still using GarageBand is STOP. I know that may sound harsh, but GarageBand is intentionally made to be consumer-grade software. If you’re serious about recording, take the time to investigate other DAWs. Find an alternative solution. There are many to choose from and nearly every one of them is less limited than GarageBand. They range from super affordable to “professionally priced.” Here’s a list to get you started. (Some links are affiliated.)
Pro Tools (AVID)This has long been the standard in the pro audio world.
Logic Pro (Apple)If you’re loyal to Apple, this is their professional step up from GarageBand.
REAPER (Cockos)This is the least expensive full-featured DAW, I think.
Pick any of the DAWs above (or find another — this list is by no means exhaustive) and you’ll find it much easier to work with MIDI. Let me know what software you chose.
If you are on OS X 10.15 Catalina or greater on your Mac, then you can only run 64-bit apps. As of the time of this update (May 2020) the app is not 64-bit compatible. This is a known issue. I am not the developer of GB2MIDI, but thankfully the developer Lars Kobbe maintains his app on Github. Here is the link to an open GitHub request for updating GB2MIDI to 64-bit.
Sometime 2013, my friend Autumn Ashley asked if I’d help her complete her next EP. She ran a Kickstarter to raise funds and anyone who contributed got the album early. On Friday, Autumn Ashley’s BATTLEGROUNDS album was finally made available for everyone.
BATTLEGROUNDS by Autumn Ashley
When Autumn first contacted me about BATTLEGROUNDS, she had all the songs written, rough demos recorded, and a handful of local arrangers putting together the individual song scores. She asked if I’d help engineer the recording sessions. As we got into it she asked if I’d also play some instruments and design the artwork.
A few months later, I headed out to Autumn’s place in Connecticut for a week of turning demos and scores into album-ready recorded audio. We tracked friends new and old playing a variety of orchestral instruments in a few different locations.
Pianist Tim Lillis performing nocturnally, on a piano I tuned with a drum key
It was a great learning experience.
Autumn and Scott at the helm while Nate Brown, arranger for the title track “Battlegrounds,” confirms proper execution of his score
I’d do it again in a heartbeat. And that’s why I really appreciate the people that pre-ordered the album and the people that are about to buy BATTLEGROUNDS on Bandcamp. For a few bucks, you’ll get 5 bloodsweatandtears songs plus you’ll be supporting indie music and local (if you live in Connecticut) artists!
Setting up microphones for recording Autumn Ashley playing acoustic guitar
I really like spreadsheets. Lately, I’ve been building spreadsheets about electronics stuff in Numbers, which is Apple’s version of Excel. I was curious about how to use custom cell formatting to display the correct unit abbreviations on values. Here’s how I did it for Ohms, the SI derived unit for electrical resistance.
Click in the cell you want to format.
Hitting Option (⌥) + Command (⌘) + I opens the Inspector window. It’s also available in the menu bar under View > Show Inspector.
Click the Cells tab (it looks like a little 42 in a box).
Under Cell Format heading choose Custom… from the drop down menu.
In the Name field type “Ohms” (without the quotes).
Make sure “Number & Text” is selected in the Type drop down menu.
From the Number & Text Elements field drag the Decimals (.##) element into the field with the existing Integers (#,###) element in it.
Click the plus (+) button on the right twice to add two more conditions.
In the first added condition, select “If greater than or equal to …” from the drop down menu.
In the field to the right of that drop down type “1000000” (one million without the quotes).
In the element field below that, make sure there’s an Integers element, a Decimals element, a space, a Scale element set to Millions (M), and finally an omega.
For the second condition you added do the exact same thing as above, but enter “1000” (one thousand without quotes) and set the Scale element to Thousands (K).
If everything looks like the screenshot below, hit OK.
Your newly created formatting will be added to the Cell Format drop down. You can now select other cells and apply this custom formatting to them. The custom format will be saved in this Numbers file.
Try creating custom cell formats for other SI Units too.
Can’t get your Apple Bluetooth keyboard to pair with your iPhone, iPad, or iPod touch? I couldn’t either. My A1255 keyboard wouldn’t connect at all. The iPhone would find the keyboard, but wouldn’t update the name of it, nor ever present the four digit code for pairing. I could only get this error:
Pairing Unsuccessful Make sure “Keyboard” is turned on, in range, and is ready to pair.
I tried a bunch of fixes I read about online and none of these worked in any combination nor configuration:
turning Bluetooth off and on
rebooting the iPhone
holding the power button on the keyboard
deleting other Bluetooth device pairing from the iPhone
clicking ‘Forget This Device’
connecting to another device and then my iPhone
replacing the batteries
holding the V, A, and R keys while powering on the keyboard
turning off Bluetooth on any other nearby devices
It seems Bluetooth under iOS 7 is broken. Lots of people are having issues with Bluetooth on iOS 7 that weren’t there in older iOS versions. Unfortunately, Apple is apparently ignoring this problem.
The Fix
Here’s how I finally connected my keyboard to my iPhone.
Switch off Bluetooth on iOS device under Settings > Bluetooth.
Shut off the keyboard by pressing and holding the power button for 3 seconds.
Switch on Bluetooth on iOS device.
Turn on the keyboard by pressing and holding the power button until it green light blinks.
The keyboard should appear listed under the DEVICES heading in the iPhone Bluetooth settings screen with “Not Paired” in gray next to it.
Now at this point you’re supposed to just tap on the listed device on the iPhone to begin the pairing process, but when I would do that it would time out with the “Pairing Unsuccessful” alert. Here’s the trick: repeatedly tap on the listing (maybe 5-6 times) and hopefully the “Bluetooth Pairing Request” alert will appear with the four digit code you’ll need to enter.
The pairing may fail the first time. Try again.
I also found that subsequent attempts to connect after forgetting the device worked much better after that initial connection.
I hope this fix works for you. Let me know if it does.
A friend gave me a Pro Tools session on a thumb drive. I copied the entire session folder to my external hard drive and opened it. After changing the routing to work on my system, everything played back fine. Then I tried to clean up the session.
Every time I attempted to cross fade or consolidate an audio or MIDI region, I would get an error like this:
“Could not complete your request because You do not have appropriate access privileges (-5000)…” Why do you build me up, Buttercup? Capitalize ‘You,’ then award me negative five thousand points…pssh.
The Fix
Seeing the “access privileges” bit, I figured the problem was probably an operating system issue, not a Pro Tools thing. The session files were indeed set to ‘Read Only,’ which is why I could play back the session, but couldn’t do anything to the regions or fades.
Here’s how to fix the issue.
Close the session. You shouldn’t have your Pro Tools session open while changing its permissions.
Select the session folder in Finder. Make sure the session folder is highlighted, not the files inside the session.
Get Info. Hit Command-I (capital i) or from the Finder menu select File > Get Info. An Info window will pop open.
Change all privileges to ‘Read & Write.’ At the very bottom of the Info window is a box with a list of users and their privileges. They should all be set to ‘Read & Write.’ You may be asked for user password to unlock and verify the change.
Not listed are NSA permissions, which by default are set to ‘Collect All,’ but, like, totally isn’t a violation of your privacy.
Close the Info window. After making the privilege changes, try reopening your Pro Tools session and editing some regions. If you can, this fix worked for you.
Why does this error occur?
Many common problems that Macs develop are related to file permissions errors. Files are given various permissions to maintain privacy between computer users and prevent users from easily messing up the operating system.
Permissions can get wrecked when disks are removed without being ejected and during unexpected shut downs. That’s why it is important always to try to eject disks and shut down your Mac properly.
Permissions can also get messed up during copying and moving of files or while installing software. That appears to be why I experienced this error. During the copying of the files, the permissions were never changed to grant me access. Simple problem, simple fix.
UPDATE 2013-10-30
After encountering this problem on several other sessions, I tried another method and found a better (and probably more proper) solution. Try this in addition to or instead of the above fix:
In the problematic Pro Tools session, pop open the Disk Allocation dialog (Setup > Disk Allocation…).
When the dialog window opens, you’ll be presented with a list of all the tracks in your session and the location where that track should be located. If you’re having problems creating fade files and getting the sort of error that brought you to this page, then you’ll probably see something like the picture below.
As you can see, not all of the tracks had their disk allocation pointing to the right place. To fix them, select all of the incorrectly allocated tracks, then click and hold the little up/down arrows on the right hand side. A little window will appear and ask you to select a folder. In my case, the session file was looking on my internal system drive instead of my external audio drive. Choose the correct location of your session files and click OK. That should solve the issue. Let me know if this worked for you.
Error dialog windows can be really frustrating. They pop up and demand your attention, when you just want to get to work on something. Sibelius 7 has thrown this missing font error for me a few times:
There are fonts missing. Sibelius 7 will still work without these fonts, but some scores may not display properly. The missing fonts are: Reprise Std, Reprise Special Std, Reprise Title Std, Reprise Stamp Std, Reprise Rehearsal Std, Reprise Script Std, Reprise Text Std
The Fix
Most likely the fonts aren’t missing, but simply disabled, which makes the fix really easy. Here’s how to re-enable the “missing” fonts.
First, open the application Font Book. This native OS X font manager should be located in your Mac’s Applications folder.
Second, search for the missing fonts. Font Book has a search field in the upright corner. Type in the names of the missing fonts.
Enabled fonts are shown in black text. Disabled fonts are grayed out and are labeled “Off” on the right hand side.
In my case, all of my “missing” fonts were part of the Reprise family, I typed in “reprise” and all of the fonts in question appeared in the filtered list.
Third, enable the fonts. Select the fonts you want to re-enable. Then hit Shift-Command-D. You can also enable fonts by using the menu bar by selecting Edit > Enable Fonts. The fonts should turn black and the “Off” label will disappear.
I see you checking out my wallpaper.
Lastly, close Font Book and reopen Sibelius. If you enabled all the “missing” fonts, you should be good to go. The error shouldn’t pop up this time, however, it may happen again in the future.
Why does this error occur?
I’ve had to run the fix a couple times now. I don’t know why this error seems to reoccur. If you know why those Reprise fonts sometimes disable themselves, please send me an email or comment below.
Being a graphic artist as well, I know that fonts are notorious for becoming corrupt, conflicting with other fonts, and generally being a hassle to manage. You might think being a musician is a good way to get away from graphic design problems, but unfortunately software like Sibelius relies on fonts to display notation. At least the fix for this error is easy to do and only takes a minute.
UPDATE 2013-10-30
The fix I posted above seemed to only work for a while. Occasionally, I would have to run the fix again, which is to say, it wasn’t much of a fix. So, I dug in further and found a real, permanent fix.
The issue was with duplicate fonts. The strange bit was that it wasn’t duplicates of the Reprise family, which was the family of fonts that Sibelius said were missing. Instead it was duplicates of various other fonts that Sibelius uses.
By referencing this forum post and this forum post, I figured out which fonts Sibelius requires and, thus, which ones might be causing problems. Then, for clarity’s sake, in the Font Book application I created a new Collection (File > New Collection or ⌘N). After that I did a search for duplicate fonts (Edit > Look for Enabled Duplicates… or ⌘L) and looked in the Sibelius font collection for any that were flagged. Sure enough, about a third of the fonts that Sibelius uses had duplicate copies. One by one, I “resolved” (deleted) the duplicate fonts, then rebooted. Problem solved.
I made a dummy head baffle to test out binaural recording techniques on an upcoming session. The baffle was super simple to make, looks sleek, and works quite well, so I thought I’d share how I made it.
Note: The microphones shown here are not the same brand or model. I recommend using a matched pair of omni mics for the best stereo imaging results.
Before we get into the nitty gritty details, let’s get some questions out of the way first.
What’s a dummy head?
Dummy head is either an insult you used in third grade while playing kickball at recess or the term you use for the baffle placed between two microphones while making a binaural recording.
What’s binaural recording?
Binaural recording is a technique that attempts to record audio in a way that replicates the way our human ears encode three-dimensional audio information. This is done by simulating a human head by arranging two microphones (the ears) in relationship to an acoustic baffle (the head). The result is recorded audio with a stereo image that when played back through good headphones is supposed to sound exactly like “being there.” The dummy head acts like a proxy for your own head in whatever environment it is placed in. You get to hear whatever the dummy head heard.
One of the best known binaural recordings is the inconspicuously named album Binaural by Pearl Jam. Note: If you click that link and buy the album, Amazon will give me a little kickback, which I would totally appreciate. I’m sure Amazon and Pearl Jam’s label would appreciate it too.
What’s a baffle?
In audio jargon, a baffle is an object made of sound absorbing and/or acoustic dampening materials used to block or reduce transmission, reflection, or propagation of sound waves. Baffles are like shields that can prevent or impede sounds. They can be used to isolate a particular sound source from other sound sources in the same room. Baffles are often placed around loud things like drums or guitar amps. Sometimes engineers will place small baffles on the back side of microphones to reduce early reflections and room sounds or give more directionality to an omni microphone.
Shouldn’t a dummy head look like a head?
Binaural purists say that a binaural dummy head baffle must closely resemble a human head to capture all the nuances of how sound reflects off our faces, is absorbed by the mass of our heads, tickles our nose hairs, and gets caught by those biologically amazing curvatures of our outer ears.
The purists might be right, but if we’re going to replicate a human head down to the smallest details, whose head should we use as the model specimen? When I last checked, human heads still come in all kinds of neat shapes and sizes. Sure, we could build something will all sorts of exacting specifications, but I say a board roughly 20 cm by 25 cm that’s covered in felt is Good Enoughâ„¢.
If you build one and test it out, I think you’ll agree. All we really need to get a decent binaural recording is something roughly head-sized that blocks reflections between two quality microphones.
How to Make a DIY Dummy Head Binaural Baffle
Materials Needed for This Project
Wood Board – Solid or plywood, roughly 20 cm x 25 cm, whatever thickness you want. I happened to have a piece of solid oak lying around. Good enough!
Thick Felt – Enough to cover the board on both sides. You can use multiple layers to get the thickness you want. I had enough thick black felt left over from another project to do three layers on each side. I suppose you can buy this stuff at a fabric store or directly from your local feltsmith.
Microphone Mounting Bar – I used this On-Stage stereo bar from Sweetwater Sound. You could probably make something instead of buying something, but you will need a way to mount the baffle and two microphones on a microphone stand.
Short Screws – Pan head wood screws, quantity 8, long enough to secure the felt to the wood without poking out the other side.
Longer Screws – Pan head wood screws, quantity 3-4, for securing the mounting bar to the bottom of the wood.
Before Getting Started
You’ll need a few other things to build this baffle. I used a circular saw to cut the wood, razor blade to cut the felt, power drill/driver with drill bits to pre-drill and drive screws, clamps to hold things together, and a bandage to put on my finger.
This is probably a good time to give the obligatory reminder to be careful when you use power tools. Really that applies to any time you do anything in life. I find it silly that from a legal stand point it’s necessary to post a disclaimer about the dangers of power tools when writing about them. Cars kill people all the time, but to my knowledge articles about using cars don’t require disclaimers. Anyway…you should probably wear gloves, eye protection, ear plugs, and a respiratory mask. Maybe put on some pants too.
Putting it Together
Measure and cut the board. It should measure about 20 cm x 25 cm. That’s the approximate size of a human head when looking at one from the side. Yes, I used the metric system, because it’s way better than imperial. And no, that does not make me an anti-American, unpatriotic traitor. If you want to use imperial dimensions for human head size, may I suggest starting here?
Cut the felt. The felt should be the exact same dimensions as the board. A razor blade works well for making nice clean cuts. A sharp knife or strong scissors could probably work too.
Make a sandwich. Stack up the layers of felt with the wood sandwiched in the middle. I clamped this together to keep everything in place for the next step.
Attach the felt. Pre-drill through the felt into the wood approximately 2-3 cm in from each of the four corners. Try not to let the wood dust get embedded into the felt, which would look bad. Do this on both sides, but offset the location slightly on each side so the screws from the back side don’t end up hitting the screws from the front side. Drive the short wood screws in deep enough to hold the felt taut, but not too tight. Puckered felt looks unprofessional.
Drill holes in the Microphone Bar. Figure out where you want the long screws to be. Mark those spots on metal bar and drill holes just slightly larger in diameter than the long wood screws. When drilling metal, a little oil helps to cool the drill bit, making the drilling process easier. You can use cooking oil from the kitchen; it works just as well as anything else. Also, be careful with the metal shavings this produces, which can cause trouble if they get into electronics and/or your body.
Attach the Microphone Bar. Once the holes are drilled in the microphone bar, align the bar to the bottom of the baffle. Mark where the holes are and pre-drill the wood deep enough for the long wood screws. Again, avoid getting the wood dust on the felt. Screw the microphone bar to the baffle.
Ready to Use. Mount the baffle on a microphone stand using the center mounting hole. Use the shorter adjustable arms to place the microphone shockmounts or clips so the microphones’ capsules are approximately in the center of the baffle vertically and horizontally. The microphones should be about 20 cm apart from each other, which is about an average distance between most human ear pairs.
Final Notes
So does it work? In testing the dummy head I made, I was really surprised at how accurately the stereo field mapped sounds to the real world. I was kind of expecting it not to work very well. I had two different brands and models of microphones for my test. For the record the microphones you use to make binaural recording should be a matched pair with an omni pattern. Other patterns can sort of work too, just not as well.
I’m not posting audio samples here just yet, as I didn’t have the rights microphones on hand. But I did build this for an upcoming session, so once that session is done, I’ll post some clips for you to hear just how well a DIY dummy head can work.
Update (2013-08-18)
I somewhat coincidentally stumbled across an article about a thing called a Jecklin Disk, which is a lot like this dummy head baffle only larger. Check out this Wikipedia article for more about it.
For the record, at the time the error occurred I was running OS 10.8.4 and Pro Tools 9.0.6 on a Mac Book Pro with an iLok 2.
The Fix
I had to force quit Pro Tools. Then I unplugged my iLok 2 and plugged it into a different USB jack. Presto. Working again. Not sure what caused it, nor if switching USB jacks was actually the fix, but I did get it working again after doing so. Hope this helps somebody.
UPDATE
I confirmed again that switching which USB jack the iLok 2 was plugged into made the difference. I would think that this is a problem with that particular USB jack, but all other USB devices work just fine plugged in there. Hmm…
Where does Bourne end and Snowden begin? Where’s the line between truth and fiction? What’s the difference between copyright infringement and fair use parody for the sake of satire?
After thinking about the scandalous NSA manhunt for Edward Snowden, I realized there are a lot of similarities between the news right now and the Bourne trilogy movies. I tweeted this a couple of days ago.
Remember how we all loved the Bourne movies and cheered for the guy that fought/ran from the evil program he was involved in? #Snowden
The next day I thought it might be fun to photoshop Snowden’s face onto a Bourne movie poster. The Bourne Ultimatum promotional image seemed like the best for trying to match up with the photos I could find of our dear whistleblower. (Shout out to the original artists of The Bourne Ultimatum image! See update below.)
The gun in Matt Damon’s hand didn’t really fit the Snowden plot line, so I replaced it with my own hand holding a USB drive (actually an iLok 2). It was a fun little project that only took a few
minutes.
Take A Break From The Snowden Drama For A Reminder Of What He's Revealed So Far http://t.co/3qn1HHsXt0
— Andy Greenberg (@agreenberg at the other places) (@a_greenberg) June 25, 2013
I wish Forbes wouldn’t have cropped the image, because I think the USB stick really makes the image. But oh well. It’s entertaining to see something I made get spread around a little. And hopefully the image gets people thinking about why nearly everyone considers the fictional Bourne identity a hero, but so many view the very real Snowden otherwise.
Let me know if you see the image out there in the wild. 😉
Update 2013-06-26 11:44am: As you can see in the comments section below, a guy named Jasin Boland, who appears to be the photographer of the original image, has contacted me. I’ve emailed him with some questions. Whether he is the sole owner of the copyright or not is still unclear. Perhaps it belongs to Universal Pictures or other digital artists have claims on it as well? Regardless of original ownership, my manipulations of the image for the sake of satire are considered “fair use” under copyright law. Furthermore, I claim no ownership or copyright of my manipulated image and have received no compensation for its usage anywhere.
Update 2013-06-26 12:35pm: I contacted Andy Greenberg at Forbes about the situation. This is his reply:
…I checked with our editorial lawyer, who says that it’s “quintessential parody use. There is no actionable claim for infringement.”
She says she’s even planning to use it as an example in a law school class she’s teaching next semester.
PACE has changed how their customers interface with their infamous iLok. The iLok is a DRM dongle, that many software manufacturers use to manage licensing. Formerly, all licenses were managed (mostly just fine) through the ilok.com website, which is now an insufferable “support” site. The new, prematurely launched system PACE requires users to install the iLok License Manager application on their computer.
Ok, no big deal, right?
I recently purchased several plugins to use in my audio production. I’d love to use these great new plugins, but I can’t because the PACE application is horrible.
In order to use the plugins, I need an iLok 2, which has to have the licenses on it, which must be loaded onto the iLok only by using the iLok License Manager, which won’t even allow me to sign in. This is the error I get.
The session you were using is no longer valid. Press OK to establish a new session.
Pressing OK makes the error go away, but it comes right back when I click “Sign In.” The iLok support site doesn’t list this problem as a issue I can submit a support ticket for. So that’s it. I can’t sign in.
If this were a football game, PACE fumbled at kickoff, bungled the whole first half, refuse to answer any questions at half time, and amazingly the fumbled ball is still loose in the second half.
I think this screen grab from the iLok.com website says perfectly what many digital audio workers are thinking.
UPDATE: 2015-02-26
A funny thing happened with some of the content on this page. I can’t tell the story just yet, but I bet it’s going to be a good laugh when it’s all over. Interweb lulz.
UPDATE: 2015-03-25
As promised…a funny story. After poking around my site stats and hits, I discovered someone was hot linking me.
If you’re not familiar with hot linking, it’s like stealing cable TV from a neighbor, except it hurts the neighbor instead of the cable company. I had a bandwidth leech!
Anyway, a very popular, well-respected pro audio plug-in development company (who will remain unnamed, because it ended well) was using an image from my site on their support page. It was the photograph I took of two iLoks, which is featured at the top of this very blog post.
I knew I could do something funny with the hot link and maybe get a free plug-in out of it. So I created this new image to replace the one they were linking to on my server.
The names of people and plug-ins are blurred out to protect both the guilty and the innocent.
This meant that the above image would now show up on their site. Zing!
I had formatted it to look nearly identical to their artist endorsements in hopes that it might ride under the radar, remaining visible on their support page for as long as possible. For a short while this unofficial endorsement was live on their site.
Long story short…I uploaded the image and went to bed.
Surprisingly, less than 12 hours later I received an email from one of the company’s developers. He basically said, “well played,” thanked me for not goatse-ing them (If you don’t know what that is, don’t Google it.), and let me pick out a free plug-in. Woohoo!
Moral of the story: Hot linking costs everyone something.
Side note: The very same iLok 2 that’s in the picture featured in this debacle must have a desire to make me famous/infamous. It is the very same iLok I photographed to use in the satirical movie poster THE SNOWDEN ULTIMATUM, which was featured in Forbes and lots of other places. There’s something strange about that iLok.
A smart guy named Helmut Haas discovered a bunch of cool things about the way our human brains decode the sounds we hear to determine the direction of where those sounds originate.
Back in 1949, Mr. Haas found that early reflections of sounds help our brains decipher where the sounds came from. We can tell a noise came from the left not simply because we hear it in our left ear, but also because the sound bounces off a wall to our right and hits our right ear a very short time after it hit our left ear. Almost instantaneously, the brain detects the short time between the two signals and tells us, “Hey, that sound you just heard came from your left. Better turn your head to see what it was!” This happens so quickly that we don’t really even think about it. We just “know” it came from the left.
Haas also recognized that early reflections are basically copies of the initial sound that are delayed slightly. He started messing with people’s heads. He pointed speakers at them and firing sounds with very short delay differences. Then he asked the test subjects which direction the sound seemed to come from.
His conclusion: Not only is it fun to play with sounds, but also 40 ms (milliseconds) is some kind of magic point for our brains. If an echo is more than 40 ms after the initial sound, then we hear the sounds as separate instances. But if the delays happen within 40 ms or less of each other, then we perceive them together as merely directionality cues of a single sound.
For example, if a sound hits our right ear and the same sound hits our left ear 0.3 ms later, we don’t hear two sounds, we only hear one sound coming from approximately our 1 o’clock position.
Engineers have implemented the Haas effect as an alternative to panning. Most of the time panning works just fine, but it does have limits.
Sometimes panning leaves the location of the audio feeling indeterminate, smeared, mono, or one dimensional. This is why a lot of engineers skip the pan knob altogether and mix LCR.
To effectively localize a track in a stereo field using the Haas effect, engineers have to do a couple things. They duplicate the track, pan the two tracks hard left and right, and then apply a delay to only one of the sides. The delay is applied to the side opposite of the side from which the sound is intended to perceived as originating.
Typical delay times for this technique are increments of 0.1 ms from 0.1 to 0.7 ms. This yields linear movement across the stereo field. You can think of it like this chart shows.
Example: Want the sound to come from 9 o’clock on the left? Delay the right side by about 0.4 or 0.5 ms.
Download
After researching the Haas Effect, I decided I wanted to try it out in a mix. Since the settings must be very exact, setting it up correctly can be a bit confusing. Presets to the rescue!
I made these presets for the stock Digidesign Mod Delay II plug-in. These presets only work for this specific plug-in and Pro Tools. If there’s interest, maybe I’ll make more presets for other DAWs in the future.
Installation
Download this ZIP file, unzip it, and drop the folder and included presets in the Mod Delay II folder in the Plug-in Settings folder. On a Mac it’s probably located at Library / Application Support / Digidesign / Plug-In Settings / Mod Delay II, but may be in a different location on your system.
Setting up the tracks
Insert an instance of the Mod Delay II (mono/stereo) plug-in on the mono track you want to Haas-ify. Select the preset you want. No need to duplicate tracks. Bingo.
Understanding how to use the Haas effect properly means you need to understand and pay attention to things like stereo-to-mono compatibility and comb filtering, as well as other stereo field mixing techniques. As with all effects, have fun but be careful not to over do it. Experiment and do your homework. Then let me know if you find learn or discover anything cool. Here’s a cool video that got me thinking about the Haas effect.This video no longer available.
Ever get this error? Can’t open your session, right? Not only is it a major workflow stopper, but the double punctuation typo at the end is annoying as well.
Luckily, the solution is quite simple.
The Fix
This is the quick fix that works for me and my particular setup of hardware/software. Your mileage may vary.
Quit Pro Tools
Restart Pro Tools
Open the session that wouldn’t open before
Get back to work
But why?
The IT mantra “Have you tried turning if off and on again?” waves the problem away like a magic wand, but why is this problem happening in the first place?
The last time this error occurred for me, I noticed that it was after I had ejected my audio hard drive, removed my iLok, and left Pro Tools open, but put my machine to sleep before Pro Tools could issue the panic message: “Hey! Where’s your iLok, buddy?! That’s it! We’re shutting this whole thing down.” Then when I went to reopen the last session I was working on, boom, the error in question occured.
I’m guessing that between the time I ejected everything and the time I plugged it all back in and tried to fire it up again, Pro Tools had switched its default sample rate from whatever my Mbox 2 Pro says it was to whatever my MacBook Pro thinks it should be. Then when I try to open a session with a particular sample rate that doesn’t jive with what the current rate is, Pro Tools freaks out because it thought it knew what was right, but doesn’t even know anymore, man.
Disclaimer: I don’t actually know how or why the error is occurring. These are just my slightly educated stabs in the dark. If you know anything more about this error, why it happens, and, most importantly, why there’s a typo in it, please leave your thoughts in the comments section below.
Sound is basically waves of pressure changes. The exact definition is more complicated, but essentially we perceive sound because our ears decode the frequencies of oscillating movement of particles in gases, liquids, and solids. There are many ways to generate sound waves, such as plucking guitar strings so they vibrate, or hitting a membrane like a drum head.
Woodward Avenue Presbyterian Church pipe organ. Photo: Wikimedia Commons
Pipe Organs
A long time ago, people discovered that sound could also be made by blowing air through a pipe with a opening on the side, thus inventing the whistle. They also found that a range of tones could be produced by assembling a group of whistles with varying lengths and diameters. Then they attached a controller (called a keyboard or manual) so that one person could “play” this collection of pipes. Their invention is what we now know as the pipe organ.
At the start, pipe organs had only one timbre – a basic whistle sound, but over the next several hundred years, smart inventors and musicians made improvements in the technology. They found ways to emulate lots of other instruments, like brass, woodwinds, percussion, and even human voices. Their hope was to fully replicate those real life instruments.
Organ console at the United States Naval Academy chapel. Photo: Wikimedia Commons
As features were added, pipe organs evolved into enormous, elaborate, and expensive installations, increasingly more complicated to play and maintain. While these pipe organs were truly amazing inventions, capable of creating complex and beautiful music, they were actually quite poor emulations of the real life instruments they were intended to replace.
Still, we humans are adaptable and we fell in love with the sound of pipe organs, learning to appreciate the instrument for what it was, not what it wasn’t.
Electric Organs
Wurlitzer 4100 BW Electronic Spinet Organ (1959-1963). Photo: Wikimedia Commons
Eventually, we discovered electricity and began to harness its power to create electromechanical instruments. Creative minds developed things like vacuum tubes, tone wheels, and transistors. Companies like Hammond and Wurlitzer implemented tone wheels to generate sounds approximating a pipe organ.
However, similar to the pipe organ, this new technology was a brilliant invention that poorly emulated its predecessor. These new organs were affordable alternatives to pipe organs, so in spite of being a bad imitation they became popular with smaller houses of worship. Traveling musicians took advantage of the portability of these smaller organs too, making their sound common in popular jazz, blues, and rock music.
Once again, our ears grew accustomed to the sound of the imitation, developing an affinity for the quirks of its particular aesthetic.
As the march of progress continued, electronics became smaller and more powerful. Engineers found ways to replace the delicate mechanical parts in electric organs, which were subject to wear and tear, with completely electronic sound generators. Lightweight, all electronic keyboard synthesizers used a variety of methods in attempts to replicate the sounds of their heavier electromechanical ancestors.
But just like before, history would repeat itself. The new emulators were incredible technological achievements that fell short of their goal of replacing the old technology. Though they lacked the ability to fully replicate the previous generation, they possessed attributes that eventually found an audience of connoisseurs that valued them not just in spite of their glitches, but because of their unique properties.
Today, we synthesize the sounds of the old technologies with computers and keyboard MIDI controllers. While initially computers could only crudely imitate the old masters, DSP technology is progressing rapidly. CPU speed and available RAM are no longer the main limitation factors. As the computational power ceiling continues to rise higher and higher, software programmers are able to provide increasingly nuanced emulators that can easily fool the listener into believing that the software is actually the real thing.
At this point, if you’re still reading, then you probably can see how this history correlates to the plot of the film Inception. Each new technological breakthrough has been like a deeper dream state, where the simulation moves further and further away from reality.
Real instruments
→ Pipe organs
→ → Electric organs
→ → → Keyboards
→ → → → Software
However, just like in the film, while each level becomes more strange and abstract, the deepest level — Limbo — actually approaches something most like the real thing or maybe even better. Today’s emulators delve into such detail and are able to control even the most minute aspects of the sound, that it won’t be long before they easily eclipse the believability of the old technology. In fact, we may already be there.
A few years ago (when the emulators weren’t half as good as they are now), a friend of mine (who has very good ears) dropped by the studio to hear a song I was working on. When the B3 organ kicked in during the chorus, he declared, “That organ sounds great. There’s nothing like the real thing!” Muwhahaha! The smoke and mirrors of software emulation had worked.
Inspiration for This Article
This idea of how keyboard technology relates to Inception came about through a discussion with my friend Hoss. Over the weekend we were working on the keyboard parts for our band Rudisill’s next album Take To Flight. In between takes of an organ part we marveled at the realization that the software he was using was an emulation of an emulation of an emulation — a truly strange scenario.
Follow Rudisill to hear about the new album when it is released later.
Bad music distracts like the humming of a common appliance or the yapping of a small dog and cannot be ignored. Technical deficiencies, unhoned songs, underdeveloped skills, and lack of attention to details incite the listener to quickly find the source of pain and snuff it out. Amateurs, delusional artists, and tone-deaf listeners don’t believe there is such a thing as “bad” music.
Good
Good music is ignorable. Attention–demanding activities like reading, writing, or working can be accomplished while listening to “good” music. If musicians, engineers, and producers perform their jobs at industry–acceptable levels, their efforts are enjoyed as soundtrack material or supplemental background ambience like one of the those sleep noise machines. Most every musician is completely content to reach this level.
Great
Great music (like bad music) cannot be ignored. Great music transcends, consumes, and demands. It interrupts conversations, moves bodies, chills skin, persuades minds, breaks hearts, inspires change, incites envy/jealousy, and peels back the heavens in holy awe. In the presence of “great” music only one thing can be done: listen.
“He buzzes like a fridge. He’s like a detuned radio.”
— Radiohead, “Karma Police,” OK Computer
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?
The New System of Mind Music
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.
Trapped “In The Box”
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.
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…
by Pearl Jam. Note: If you click that link and buy the album, Amazon will give me a little kickback, which I would totally appreciate. I’m sure Amazon and Pearl Jam’s label would appreciate it too.
