The only other Got Talent "heroes" I can think of are Susan Boyle and Brett Domino.

share-alike is like the GPL in software: it says "if you make something from this, you must use the same licensing." In this case, something marked NC would be NC in its remixes too

An allegedly more serious blog asked, what is the difference between NC-ND (non commercial, no derivs) and conventional copyright? I see his point but at the same time, I think a person choosing that sort of thing wants the material to be freely available (and free to copy and share) under the condition that it be presented in an expected way without having to contact the artist first; otherwise, that person indeed wants all the other rights in copyright law.

If you want and expect derivs, it should also be easy to get the sources and individual instrument without needing to ask the artist for them.

A little more detail here http://createdigitalmusic.com/2010/10/c … -addendum/


tempsoundsolutions wrote:

i am a mechanic for the armored fleet dairugger xv


I'm a customer service telephone operator, one of those people who answers when you call the 800 number at the bottom of the website. I also like certain kinds of motorsport and round football. Haven't I answered a thread like this before?

1,157

(51 replies, posted in General Discussion)

theghostservant wrote:

all that said, I've seen shows where I know everyone was into the band that was playing, but no one did absolutely anything all set, including me.
I guess a lack of crowd participation doesn't always mean a lack of interest.

Venues matter: sometimes your audience wants to chill and talk. If that's the case, are you able to be a good background for them?  If the audience as a whole aren't into you, can you spot the one person that is and address that person directly? It's not easy...

1,158

(4 replies, posted in General Discussion)

Last FCM he did a USTREAM of all the tunes as played on his gear. (Perhaps it was the one before, it feels like forever ago.)

DJCactus wrote:
tempsoundsolutions wrote:

just release 2cd's, i think its way more rewarding...somethin about putting out 2cd albums screams 'DONT FUCKIN SLEEP', if you put out a 2cd and then follow it up with a 2cd, labels start thinking you are some sort of ed dmx or jimi tenor, which is WHAT YOU WANT

Without getting too far off topic, as far as record companies are concerned i dont think they want you to make a double album anymore...

I think the objective here is to seem to take yourself so seriously that people have no choice but to listen to you at least once, and I suppose that can work, at least once.

I think it's important that if you're trying to sell things (big if,) you should offer things in many pricepoints, so 2CDs (or more) can be in the mid-to-high point...

tempsoundsolutions wrote:

start doing soundtracks from commercials for board games.

1,161

(43 replies, posted in General Discussion)

egr wrote:
MisfitChris wrote:

Gives you a chance to collaborate and become close friends with a group of artists w/ like minded tastes.

That part right there cannot be emphasized enough.

That only happens if you actually bother to interact with the other people in the label, otherwise, it's not much different from talking in a forum like this one.

A netlabel is just a means to an end. What are the goals for your music, really? Do you want as many people as possible to hear your work? Are you trying to land gigs? Looking for some hypothetical credibility? That, along with Decktonic's list will tell you if you need a netlabel or not.

1,162

(16 replies, posted in General Discussion)

What C64 tune it was lifted from?

1,163

(7 replies, posted in General Discussion)

calmdownkidder wrote:

I'm from Liverpool, I'd love to play if possible! My choons r @ http://allyourbass.com/

How to set up a gig, CDK style
...
5) ???
6) Don't profit, lose money or break even at best.

Honesty rules

1,164

(7 replies, posted in Nintendo Consoles)

Shiru wrote:

Don't forget that all the samples on SNES are ADPCM-compressed (so called BRR compression), loop points are aligned to 16 samples, and max sample rate is 32000....

This.

Most of the SNES "tone" comes from tightly looped, high pitched samples meant to save space in the cart, so sample super high C, and see how tight you can get the loop. (Same is true for old-school SoundBlaster AWE SoundFonts.)

1,165

(52 replies, posted in General Discussion)

4mat wrote:

(does not contain renegade master)

"D" for damager, power to the people- with the ill behaviour....  (or something)

I've answered this in the other threads but I guess it's nice to consolidate.

blogs:
http://chunter.info/
http://cedtm.info/
http://chunterfactor.wordpress.com/

tweet+books:
http://twitter.com/chunter16
http://plus.google.com/117182575140058255648
http://www.facebook.com/pages/chunter/1 … 571?ref=ts

sound and video:
http://soundcloud.com/chunter
http://youtube.com/user/chunter203908
http://vimeo.com/chunter
http://last.fm/user/chunter16

There are more, of course, forum accounts, compo sites, and so on...

1,166

(184 replies, posted in General Discussion)

I've answered this question in the same way a few times too many. Also, maybe I need to play another gig someday wink


You know what your abilities are, so use them to entertain; that's all there is to it.

1,167

(16 replies, posted in Audio Production)

Agreeing with the above, the very basic answer to your question is "yes," but is it necessarily the best tool for the job? I don't think so but I'm not the one to answer that. (Coming from a person who recently decided that guitar-modelling amp-DAW is a better result than guitar-DAW-amp sim VSTs. YMMV)

1,168

(41 replies, posted in General Discussion)

I write on staff and have sometimes use nashville numbers, but I only bother if I think of a melody that is catchy and can't sing into a recorder or something