webbs hill studio
actually-because this is a recording software forum-all posters should register a song,no matter how bad, on the Songs forum and gain a status(Actual User)or whatever and maybe some Reward points from there -this would sort the users from the abusers,maybe

So I can't rest on the fact that I talked with THE Greg Hendershott on the phone back in '87 to help debug a problem with Calkwalk v1.0?
 
Well, ok then!  It only seems to make sense to me that to be considered a full member of the Coffee House forums in good sitting that you have to play ALL the instruments in your song, ya?  So, without further ado, I offer up this old turd made entirely in SONAR Producer v4 where I play all the instruments (poorly), but it's all me!  It was mainly something to test out a new baritone guitar I had just bought (hence the name).  Oh, that said, this was really just a quick take so the incredibly horrible v-drums were meant to be replaced by REAL drums (hey, I'd only been playing drums for less than two weeks when I made this).  I'll leave it up to your imagination just how good this would have sounded if I had an Alembic... (but who does, really?).
 
Here it is, my never-before-heard (on this forum anyway) registration song:  Berry Jam!
 
 

nice one Craig-i sold a sheepskin jacket to Eric Clapton in 1973-you only "spoke" to Henderschott so my bragging rights are way better.
your song would have been pretty cool in it`s day and the beauty of it is you can always overdub it-
let`s face it -most of the crap i hear on the radio today are 70/80`s reinterpretations anyway.
  Leonard Cohen admits that only his lyrics changed a bit over his career-the music didnt.
cheers
tony
 

webbs hill studio
i sold a sheepskin jacket to Eric Clapton in 1973

Since you're "down under" I'm guessing that a New Zealander probably had a girlfriend running around without a coat, ya? 

apparently most people prefer them shaved rather than the full pelt anyway.
am guessing it would be difficult to wax a sheep?

webbs hill studio
...
ps:Moshkiae-you are a platinum member and obviously know the film and stage industry well-do you actually use Sonar or another program?.
...

I'm still on MC, but at this point the music'ing is on hiatus, as I need someone to come over and give me a push, and it ain't happening. I have the option to get the new Sonar cheap, but at this point it becomes ... what for? The help I would like to have ain't happening, and I do not want a music teacher over here teaching me scales and notes!
 
I have Abelton Live 7, however, it is way too much for me, and I am too blind to be able to see that much on the screen, and it is a problem for me. I need something simpler! And even as I have, before, written what I had, and wanted to do, the help has been limited, however 2 folks have been above and beyond. But I have issues hooking things up with a mixer and 2 computers (one with the VST's and softwares and midi, the other to record). It's so bad, that I can't even get folks to help me add a new track to things ... because while recording I can not hear the other tracks in order to add things to it properly. At this moment, I have been doing live poetry over some music that I have created. It's not ready for prime time -- the wording and feeling is -- but the rest is too primeval and trying to get some one to help has been difficult.
 
For the most part it is a serious case of music "teachers" and "experts" always want to make sure you are dumber than them, and here is a case that is specific and is not about teaching music, and that area is so fudged up and screwed up right now, everyone knows everything, but no one can teach or help!
 
So, now I have to wear the same badge as you guys to be able to say something ... ohhh wait ... for you guys to agree on everything and ki$$ some rear?

I'm always willing to help with whatever I can Moshie. All you gotta do is ask. Politely if possible but it doesn't really matter. I'd still help even if you were being a dink but I may have a bit of fun being a dink right back. It makes me giggle. So does the word "dink".

Beepster
I'm always willing to help with whatever I can Moshie. All you gotta do is ask. Politely if possible but it doesn't really matter. I'd still help even if you were being a dink but I may have a bit of fun being a dink right back. It makes me giggle. So does the word "dink".

Thanks. No issues there, and I know who I can ask for help. And a couple of folks are above and beyond reproach.
 
But, for me, it is really sad to see a discussion that only touches 5% of the subject, because it looks like some folks are afraid to get off their safety net, or what they know. A great rehearsal is usually about you learning what you don't know, that you eventually add to what you know ... but it's like saying that you can play the notes, and if I tell you to play the same notes with love, you will play the same notes the same way if I say play with hate, or turn around and say play as if you were a vacuum cleaner (challenging!), or turn around, play as if you were a horse ... and you got the same notes on the same piece. That's different feelings, and sometimes, guess what a song is missing ... not these same "exercises", but you end up tuning in to something that makes that piece and your playing even more special.
 
It is the role of a director, or a George Martin, or a Tom Dowd, for example, to help you bring this out, but it's hard when the folks are afraid to learn beyond their notes and ideas. If you ever see that Tom Dowd special, you might find that the big duet in rock music, was accidental and a part of a rehearsal when they were just fooling around! But it takes someone that can "see" beyong the notes, the chords and the instruments, and the computers, to help (sometimes) bring out something that belongs in another time, place, and sphere of experience and emotion! It's priceless, and the beauty is unsurpassed -- specially when you hear him isolate the 2 in front of you!

That's a lot of assumptions and broadstrokes there my friend. I've basically fallen into the role of musical director in almost every band I've played in. From writing, arrangement and indeed nudging the other musicians toward the nuances I felt the material needed. I did however in most cases allow them to make their own choices for that last bit because one of the major points of playing with other musicians is to have everyone's particular flavor come through. This is one of the things I miss most about playing with others. Even if their skill level or experience isn't as high as mine they are still contributing a piece of their soul to the end result. If there was something that I felt really did need a bit of a palm mute, hushed tones, full blast freakout, vibrato, whatever I would show them what I meant and more often than not they would agree with me and play the par that way but STILL with their own personal flair. Those types of interactions also helped give them ideas of their own and/or anticipate what I wanted from them before I even said it for future material/performances. Yes, perhaps not all musicians engage in such detailed communication and likely not even a majority of bands out there BUT I've found that the good ensembles DO communicate on that level and enjoy it as part of the more human and enjoyable element of playing music with others. There is a connection made for the greater good. Like telling your lover just how like to have something done. When it all goes down it is much more satisfying for both parties.
 
You have to realize that we have some extremely talented and experienced musicians posting on here so they are likely to fall into the category of those who want and DO know how to communicate these ideas and able to manipulate them in a live setting based on what their bandmates are doing at the time. Exactly the type of free flowing expression based on predefined parameters you seem to be hell bent on saying musicians do NOT participate in.
 
Aside from high school band members or an upstart garage bands still learning their instruments what you are implying is not particularly true and certainly not to the extent you are implying and certainly CERTAINLY not the case with a large majority of the CH regulars and forum members in general. Cripes... I'm good, I've been playing for 25 years like a man possessed and there are people here who make me feel like a beginner. It's very arrogant and insulting to make the presumptions and insinuations you are in this thread. And really what is your point? Chuck was asking for people's opinions on how to approach getting his bandmates to move toward getting their work on tape. Not a philosophical debate on staunchly purist methods of channeling ones artistic expression through the collective subconscious of his group at a synaptic level.

Moshkiae
 
It is the role of a director, or a George Martin, or a Tom Dowd, for example, to help you bring this out, but it's hard when the folks are afraid to learn beyond their notes and ideas. If you ever see that Tom Dowd special, you might find that the big duet in rock music, was accidental and a part of a rehearsal when they were just fooling around! But it takes someone that can "see" beyong the notes, the chords and the instruments, and the computers, to help (sometimes) bring out something that belongs in another time, place, and sphere of experience and emotion! It's priceless, and the beauty is unsurpassed -- specially when you hear him isolate the 2 in front of you!

 
What you keep referring to as a 'director', is a record producer. Believe or not, we ALL know what they do, and how much (or how little) they can bring to a recording session.
 
The point is, this is irrelevant to Chuck's dilemma - record producers are generally employed by a record company, and unless you're signed to one, you generally won't have a producer, recordings will be 'self-produced'.
 
I don't know where you get this idea that we're all 'afraid' to experiment either, I bet we can all recall instances of happy accidents in rehearsal, of musical sparks that fly between players when things begin to gel - this stuff is part and parcel of what we do, and have been doing for years.
 
You have some interesting ideas Pedro - the trouble is, you continually try and shoehorn them into just about every conversation, like smashing a square peg into a round hole. It seems to me on this thread that you read the OP, saw the word 'rehearsal' and constructed your reply based on just that.
 
It's not that we're 'only having 5% of the conversation', it's that you're trying to swamp the thread with 95% of another subject entirely.
 
I can't help wondering what kind of reaction I'd get on an acting forum if I started telling people they should try ''acting this line like you're Buddy Holly'' and ''now try it like you're playing a Fender Precision''...all the while admitting I don't do any acting myself.