The new Guns N’ Roses album will be released next month, it has been claimed.
Chinese Democracy has been mooted for around a decade by Axl Rose, the only surviving member of the band since their days of rock ‘n’ roll world domination.
However with the group recently completing a relatively successful and trouble-free European tour and scheduling more dates in the U.S., new recordings also seem imminent.
According to claims in Rolling Stone this week, Chinese Democracy has officially been scheduled for an American release date of November 21
Charlie Hunter is a phenomenal guitarist with the distinctive ability to play fluid bass lines with his thumbs while picking complex leads and rhythms on a custom seven-string guitar.
When his new trio took the stage at Alley Katz Thursday, Oct. 5, at 9:30 p.m., it was 90 minutes after the advertised start. But all memory of the delay was swept away by a marathon, two-and-a-half-hour, two-set performance that kept the audience — including many local musicians — spellbound.
The band drew much of its material from its recent “Copperopolis” CD, with detours into “Amazing Grace” and kaleidoscopic snippets of other songs, delivering a performance that revolved around structured free associations and the many ways of subdividing a backbeat.
Hunter never lingers with one idea long, ranging through tones and textures electronically expanded by the jumble of pedals and effect boxes he controls with his feet. His fondness for the wah-wah gives his solos a classic ’60s patina.
Hunter’s sharply focused attack is the balance point for the contrasting styles of his new sidemen, the extroverted drummer Simon Lott and poetic keyboard player Erik Deutsch. Lott attacked the set with loose-limbed enthusiasm, smiling with surprise when his sticks delivered an unpredictable bit of cleverness from the rhythmic cascade.
Britney Spears has again managed to surprise the world with her crazy antics once again, this time posing topless in a garden, the return of her naked boobs. Well, sorta. Britney Spears is seen in several shots covering her nipples with bright red flowers and crouching on a rock in a botanical garden. The topless woman does have some very strategically placed flowers across her breasts so as to make the photos PG-13 rated. Britney, who is pictured wearing a fedora and sporting sunglasses, reportedly posed for the photographs at a friend’s house last month.
However, the timing immediately caused speculation that the photos are a hoax and were taken on April Fool’s Day. If it is a look-alike she has it down pat all the way down to the trashy outfit. The Toxic singer, who performed live for the first time in three years on Tuesday (01May07) night in California, wearing a straw hat and over sized shades, dropped her white linen top and posed for the pictures in the front garden of one of her friend’s house using only freshly picked flowers to cover her boobs. Britney who has been in rehab, in trouble with the law and has sacked her manager seems to be finally getting her life back on track. She caught a ton of criticism for another see through outfit she recently wore out - but in that one at least she was wearing a hot pink bra. The fashion sense was pathetic but everything was covered.
Hi all... A few days ago, I always think about how to be a freelance musician and get many musician friends from around the world, we can help, got a job, be a friend...wow awesome!! we can share all about music, instrument, industry, management, and other things here. If somebody have an idea, opinion, I would be glad if you posted it here. So friends, if anybody here wanna be my buddy I would be glad to sharing about my idea, and my opinion too..see you guys...bye
Recording your own digital music at home is easier than it ever was before - your hard disk becomes the tape used to store audio tracks, and a variety of software applications are available to mix multiple tracks together. For example, GarageBand is included with all new Apple computers, and professional software such as Logic Audio, Cubase, or Pro Tools is more expensive but higher quality and more intuitive. Other software such as Cakewalk often has trial versions, however, freeware and shareware software options are also available - in fact there is a free limited version of Pro Tools available.
While you can setup one or two microphones in a room and record everything in one pass, most recordings today are done using multiple tracks, called multi-track recording, which allows you to record different elements separately (such as the voice, guitar, piano, etc.), then mix them together to make a final song. This is the way that some professional recordings are made and it is not uncommon to have 32 to 48 tracks used to record a single song, with a track used for each type of drum in a drum set, each separate instrument, and each harmony of the vocals getting a dedicated track. This type of recording gives the most flexibility - if you decide one part of the recording is too loud, you can drop its volume in the mix, or if you decide that one subset of instruments needs to be brighter or needs an effect, you can apply it to that specifically without affecting any of the other tracks. If you record all the music and instruments in one pass on to the same tracks, you are stuck with how it was recorded as a whole, and can only treat the entire track as one.
Some computer tools also allow you to leverage synthesized music, such as keyboards, drums, and other instruments, often using a standard called MIDI (Musical Instrument Digital Interface) to synchronize them together, keep them in time with each other, and represent the instruments as specific synthesized sounds and notes. This has recently become a key advantage of digital recording, as it allows a lot of the more difficult instruments to record to be reproduced with MIDI, making the recording process much easier than it had been, for example, synthesizing the drums and string section of a track while recording guitars and vocals in a fraction of the time that it would have taken to actually record the same music with live musicians.
Most multi-track recording starts with a base track, which is a rough recording of the song and sometimes just the drums, to use as a guide to layering the remaining tracks on top. This allows you to have a common reference that keeps all the other tracks in sync with each other, and as a partial reminder of what part of the song you are in. Once this main track is recorded, you can continue to record successive tracks individually or together until all the components are recorded, piece by piece. Once all the tracks are recorded, you can apply tweaks to individual tracks - common changes would be EQ, or to sonically fine-tune a certain track that has too much bass or treble or another specific frequency, or applying effects such as reverb or delay to fatten individual instruments or make them sound more natural. Professionals will often take this a step further and make edits to clean up pitch, timing, or completely rearrange individual tracks, for example making a composite version of multiple lead vocal tracks to get one perfect lead vocal track. The final tracks can then be mixed together to create a single stereo track of the song, which you can then encode to MP3 or another format and share online with others, or burn to a CD and listen to in your home or car.
DANIEL RADCLIFFE has said that Radiohead could have been the perfect group to appear on the soundtrack for the Harry Potter movies.
The actor, who plays the boy wizard in the big screen adaptations of the JK Rowling books, said it was "almost uncanny" how appropriate the records were to his character.
Speaking to the Daily Record, he said: "Harry's darkness is a very specific type of darkness and it's Radiohead's OK Computer or Amnesiac, and it's Manic Street Preachers' The Holy Bible and Hope of the States' The Lost Riots and it's stuff like that.
"It's kind of angry and epic. It's angry in the sense that your life is beyond your control and you are in the middle of this maelstrom of politics and power. You have no control over that, and that's where part of Harry's anger comes from."
WOW!! few days ago I went to music store in my town, and guest what?? i found fender telecaster made in Korea...Awesome!! I think tomorrow I'll buy one hahaha...finally i can buy generic fender..not bad..
First things first: In order to get a good sound recorded from ANY INSTRUMENT it must and I mean must sound good at the source. Ever hear the saying "you can't get squeeze water from a stone"? Well, that's sort of what it's like. Even if you have the most expensive mics/pre-amps/outboard gear money can buy, I assure you that if the source you are recording sounds like garbage (e.g. cheap - poorly tuned drums, disgusting sounding guitar...etc..etc.) Than all you would have recorded is really warm, full sounding, TRASH. After-all, part of the reason home-studios are so convenient is because it saves you from spending your hard-earned cash at studios where you spend a bazillion dollars an hour to get a sound you really don't like. So do yourself a favor and do your music justice...take the time to get a great sound, tune those-drums till they sound immaculate, hunt-out any buzzing or ringing that may come from loose bolts or nuts, or grease up your kick drum pedal so it doesn't! squeak. So in summary...for those of you who like to skim read...maybe this list might catch your eye.
Tune the drum as best as you can (try to experiment, loosen the front head while tightening the beater head - or try doing just the opposite, or try taking off the front head altogether)
Dampen the kick drum slightly by putting a blanket inside that rests against the head where the Beater makes contact, and weigh it down with something heavy like a weight
Listen for any buzzing or ringing that may from a loose nut or bolt somewhere on the drum kit
Listen for any squeaking coming from the kick pedal,...and if you hear some, use some WD-40 to lube it up
Use some heavy sleeping bags or blankets and drape it over the front (audience side) and top of the kick drum - this helps prevent leakage into other mics and in some cases seems to "simmer" the set down (meaning it prevents the sound of the kick drum from rattling the snares, bringing out obnoxious overtones in the toms, etc.try it and see for yourself)
I really wanted a fully sounding kick that really cut through the mix. I had the body (read: BOOM!!) right from the get-go by placing my AKG-D112 just about anywhere in the drum. The problem I ran into was that the BOOM! was all I had. We started noticing the further we moved the mic away from the head...the closer the sound became to what we had been looking For (p.s. it doesn't hurt to have a general idea before-hand of the kind of sound you are going to be looking for)...problem was, we ended up having the mic outside the drum completely at one point...but...gosh-dang - it was getting better - I pulled it out further and I loved it more and more the further I pulled it out. But because the mic was no longer inside the drum being "protected" by the wooden shell of the kick drum, I started to get concerned about leakage. So to alleviate this problem, I grabbed another bass drum from the back room of my basement and placed it in front of the other one to create a sort of of !
"tunnel" and placed the mic in there (the extra drum was used to extend the "protection" from leakage while allowing me to move the mic completely outside of the original kick altogether) By the time I was done the mic was sitting only about 3 inches inside of the SECOND kick drum...so I draped a heavy sleeping bag over this "tunnel" to extend the amount of isolation and it sounded awesome...
Dynamics/EQ:
The first step I took in mixing the kick was to setup my compressor. Try to follow me through this process as precisely as possible (p.s. I am using CUBASE SX and the plug-ins within it) First I open up the compressor and turn Ratio, Threshold, Attack and Release to the highest they can go, so essentially nothing is happening to the kick drum track right now. Then I pick out a ratio of 3:1, but you can really use anything from 3:1 to 5:1 that all depends on taste (but you can mess with that later) So, my ratio is at 3:1...I slowly lower the threshold till I see it's actually working (I can visually see it working by how the nice little blue light on the meter moves up and down a couple two or tree notches every time the drum is hit). Next, I turn the attack down all the way...then I slowly let it up, you'll hear it working...go with a fast attack...5-15 milliseconds...then I turn the release down all the way...and let it up slowly...(you'll also want a rather fast speed for !
this) you'll hear it really start to add PUNCH to your track...try it...I swear this step by step process works...the paragraph follows is going to explain why I chose the ratio and attack/release settings that I did...
.... Many people believe that compressors are used to control the peaks and valleys of an instrument, or to "baby-sit" them and make sure the peaks don't jump too high and that the valleys don't sink too far and become inaudible in a mix (dada, dada, dada, blah, blah, blah) While this is true, compressors are also used to improve the over-all sound qualities of instruments as well. Particularly on kick drums/snare drums, compressors can be used to add punch, that's right...it ADDS PUNCH. Generally you can always just mess around with thresholds and ratios. I always start at 3:1 and just go from there after I have dialed in my attack and release. As far as attack and release settings, you just need to understand that for most percussive instruments with a lot of attack...a fast attack setting is key (because it starts the compressor working "fast") The release should also be moderately fast...this is due to the fact that percussive instruments are inherently fast themselves..!
.in and out real quick, and if you keep the setting slow...it won't "let-go" fast enough and it'll carry onto the next "hit" or percussive note. These settings increase the punch by letting only the strongest part through and essentially cutting out the after-tones of the drum. It's kind of hard to describe, so for all intensive purposes, why don't you try it?
Ratio - ehh...start at 3:1...but I've used anything from 3:1-5:1 with great success
Threshold - ehh...also a hard one for me to dictate, you'll have to mess around with this one
Attack - fast (5-15 milliseconds usually seems to work for me)
Release - also somewhat fast (around 30 milliseconds seems to do the trick for me)
I used a 20 band EQ as a directx plug-in from Sonic Foundry Soundforge...first things first...I cut somewhere around 500khZ and a little bit around 400khZ, a lot of people say to cut this to remove the cardboard boxy sound (this could also be cut down by cutting any of the lower mids between 300-700hZ...its just that a cut at 500hZ did the trick for me) They say to cut these out as much as you can - as far as your EQ will let you - Then to improve the presence of the kick add some beater smack at around 2.5khZ or 4hZ (2-5 dB's of boost should be enough, try to never boost by more than 6 dB's when you first start out) whichever frequency out of the two that you choose to boost all depends on preference, but one of these is bound to sound awesome, Also to add additional presence, boost slightly (slightly = 3 dB) at around 10-12khZ...but careful on this one...then lastly...you MAY want to add a low end boost at 60 or 100hZ (choose one, but more than likely, you won't want to u!
se both) The reason why I emphasize "MAY" is because I've never needed to boost here because I've always had enough bottom end...but I'd be cheating you if didn't at least suggest it. (p.s. always try to cut "problem" frequencies before boosting others - cuts sound more natural to the human-ear than boosts in frequency bands)
Cut lower mids between 300-700hZ to remove cardboard-boxy sound
Boost either 2.5khZ or 4khZ to bring up "beater-smack" and help it cut through the mix
Slightly boost around 10khZ or 12khZ to increase presence
Michael Jackson has gone forever. He was made a history of music by his own. No matter what he was did in the past years, but we have to give him SALUTE!!!2 thumb for you Mick.. Good bye Mick we'll miss you, hope you got a better live there...bye-bye Mikhail fly with an Angel to Heaven.
1. Nirvana 2. Radiohead 3. Sonic Youth 4. Weezer 5. The Rentals 6. Green Day 7. Pearl Jam 8. Rage Against The Machine 9. Smashing Pumkins 10. Soungarden 11. The cranberries
This post is based from my own experience... 1. You need a PC with specification : windows Xp any edition, P4 Processor (3 G or more), 2 G DDR2 memory, 80 G hardisk ($300). 2. For Audio hadrware i using Samson rubicon R8a speaker monitor ($400), Creative platinum Zx series ($100), Microphone shure SM 58 wireless ($500). 3. Input devices cable for installed your instrumen to your devices. 4. Small Recording room (3*2 M size) I think it's enugh. But this room need a little modifiction to make your clean sound during recording without echo ($130) 5. Guitar, Bass 6. Then ok, you are ready to make some noise now. 7. Record them as your song's.
Ok guys, this my experience at all, maybe you guys have more idea about this blog... please give a comment.. thank's
A final farewell
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