David Earl

Boom.

    That's been the word going through my head these days. Every time I sit at my desk with a fresh cup of Peets and survey the latest projects while tuning up my virtual orchestra, I get that little giddiness. Creatively speaking, we live in magical times. We live in a world where I can press a button and get eight cellos playing Bartok pizzicato, and I can tidy up the score in minutes and email a pdf of the score to players in Chicago, New York, Moscow.... What's REALLY awesome, is that with a little creative mixing and reverb, i can get a very nice sounding group that can serve a project that can't afford human cellists. This hasn't stopped amazing me.

    With the addition of electronic elements, sliding sound design and beats under a score, it just turns everything up another notch. I've always had a sort of dichotomy going on with my music. I like expansive broad strokes of someone like Brian Eno, Steve Reich, and Debussy. I also like the evil genius of Aphex Twin, Trent Reznor, and Squarepusher. You got your chocolate in my peanut butter! You got your peanut butter in my chocolate! It's fun to get all of these influences to play together, and a lot of clients that I've worked for really enjoy the multi-faceted style. You know you are on to something when writing becomes more effortless, and when I write this stuff... it's really fun.

    Granted, I'm still getting asset sheets and design documents. I'm still getting style sheets. I am still required to write whatever needs to be written, whether it's guitar rock, country, folk, jazz, etc. I don't mind, because every style that I explore ends up being an opportunity to find the great artists of the genre and try to get inside their head. Every new musical language I learn just rounds out my own. Besides, different musical styles aren't really new languages of music, they are merely dialects. Music now, more than ever, is reflecting the cross-pollination of cultures, and the technology we have at our fingertips is allowing someone like me to have a 3-way chat with Marshall Jefferson in the U.K. and shoot tracks back and forth while sipping my coffee here in San Francisco.
    There it is again.... that giddy feeling.

It's gonna be a great year.

Boom.

Showing comments 1 to 4 of 9 | Next | Last

HALO
Posts: 9

Plug-ins
Reply #9 on : Mon January 05, 2009, 08:20:27

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Hi are the plug-ins in logic, far as the eq's/compressor are as good as the UAD's..

and if not why? its a digital zero's & one's..

Josh K
Posts: 9

Thanks
Reply #8 on : Fri December 12, 2008, 16:58:19

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Hey, thanks for the Logic videos you put on YouTube :)

Rob
Posts: 9

Thanks and help please
Reply #7 on : Tue September 16, 2008, 16:11:29

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I just would like to say thanks for all you do and all you will do in the month to come. My question is a newbee question for shure so please bare with me why when i rec midi (say drums)when the loop goes over, like for a second pass same track la†er when i make a copy only one of the passes gets copied so i guess my question is why is that so and what setting do i use to flatten every pass, oh yea im using logic8 THanks thanks thanks sooooo much

evert josemanders
Posts: 9

recording an effect only
Reply #6 on : Sun September 07, 2008, 02:41:36

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hello david,

my name is evert and i'm from holland. thanks for all your very useful tips. they really make it fun to work with logic.
i also have a question,
last days i'm trying to record an effect only. i want to record the echo of a voice without recording the voice. i putted a echo-plugin on the channel strip of the audio-vocaltrack. i send it to bus 1 and made it a pre-bus (and took the volume of audiotrack complete down.) on my aux i hear the result already now (only the effect). i also send my aux to bus 1. i make another audiotrack and record the aux. now i recorded the vocal and the effect. i can't find out how to get rid of the original signal (the voice).
can you help me out??

lot's of 'pre-thanks,

Showing comments 1 to 4 of 9 | Next | Last

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