“Most of all I would like more coming to terms with what happened…I think what needs to be done is for all of my fellow citizens in this country to understand what happened and to be able to say, this is what was done and now we must think about how to make the playing...

Explore the future of the Green New Deal and what it means for Texas with Cristina Tzintzún Ramirez. Tzintzún is challenging John Cornyn for the 2020 US Senate seat for the State of Texas. She is the Co-founder of the Workers Defense Project and Jolt, and she talked with The Secret Ingredient team–Raj Patel, Tom...

Novelist, screenwriter, critic and slam poet C. Robert Cargill sits down with host Owen Egerton at SXSW 2016 to talk about coming up in Austin, the history of scary movies, and advising on the set of Dr. Strange.

This Song — Mojo Nixon, Kat Edmonson, Aaron Behrens Welcome to the first ever “This Song” podcast! This week we have three amazing artists! Mojo Nixon:  The rock musician, DJ, lover of Elvis and natural born iconoclast talks about why “Sweet Soul Music” by Arthur Conley is the song that still makes him feel like […]

In this episode of “This Song” host Elizabeth McQueen sits down with Max Frost and Nakia to talk about songs that helped them find their artistic voices. You can hear Max Frost’s studio 1A Performance from June 6, 2015 here You can see the video of Nakia singing with Sharon Jones here Subscribe via iTunes or Stitcher to get […]

What do John Aielli, David Bowie and Caracaras all have in common? Jonathan Meiburg from Shearwater has learned something from all of them. Hear about his many and varied interests in this first ever "This Song" extra!

Butch Vig talks about how seeing the Who perform "My Generation" on the Smothers Brothers made him want to be become a drummer, and showed him the kind of energy he would later help others capture in the studio. Along the way talks about what it means to be a producer and about his new documentary "The Smart Studios Story."

Alex Trimble of the Irish indie rock trio Two Door Cinema Club explains how Beck's “Midnight Vultures” album illustrated the concept of music-making without rules. Then Adrianne Lenker and Buck Meek of the Brooklyn-based band Big Thief describe how “The Leanover” from Life Without Buildings and the work of Michael Hurley inspired them and lead them to approach their songwriting and musical performances from completely new directions.

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IBM Db2 Server 11.5 for Linux on AMD64 and Intel EM64T systems (x64) Multilingual

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Looking to raise funds for a cause during COVID-19? Have a new album to promote? If so, your friends at All About Jazz can help. All About Jazz is currently broadcasting select livestream programs as we pivot our platform to present music performances, album release concerts, master classes, interviews, and more...

"This year's Montreux Jazz Festival, which was set to take place from July 3 to 18, has been cancelled" announced Press Officer Marc Zendrini. Montreux Jazz Festival has regretfully announced that this year's event, which was due to be held between July 3—18th 2020, will not take place...

Me and my partner have decided to form a shared social distancing "bubble" with another of our couple friends. I believe we are following safe protocols for this but wanted to get an honest outside opinion as to whether we could be managing this better/safer/etc.

Here is the situation: I am a musician, and my main music collaborator used to live about a half hour from me. Back in January, he and his girlfriend relocated about 90 minutes away, in a major city that has had a large amount of COVID-19 cases. Where I live hasn't been as bad, but we are all still being cautious.

Musician friend and I are collaborating on a music recording project to combat boredom because we are both unemployed and obviously live gigs are right out. We have been doing most of our planning remotely, via Zoom and phone calls, but every now and again we do have to meet in person as his recording studio is in his apartment and sometimes he and the girlfriend come up here to ease the stir-craziness. We believe we are being safe in our methodology but wanted to confirm.

When we embarked upon this project, we made a pact with each other and our partners that the only people we would allow into our homes is each other. The way this works is, when I have to drive to his place to record, I wash my hands, mask up, and drive down to see him. He lives in a neighborhood with ample street parking near his building. When I arrive, I mask up again, buzz into his apartment, take off my outerwear and shoes immediately and keep it on a hook outside their front door, take mask off and put in my purse leave purse in one spot on a table, hand wash and hand sanitize. He and girlfriend also hand wash and hand sanitize, and have been cleaning all doorknobs and buzzer buttons and handrails of the stairs with disinfectant wipes before I arrive. When we record, we disinfect all microphones, headphones, gear we touch including instruments with wipes before and after use. When I leave, I wipe down the table where my purse was, wash hands again, mask up, drive home. All clothing I wear is promptly laundered.

When he comes up to work with me his protocol is similar: wash hands, mask up, drive to my house, where I have been disinfecting doorknobs and other surfaces. When he arrives, he parks in our drive, his outerwear and shoes stays out on our patio, he washes hands again and hand sanitizes, we rehearse for a couple hours, then he washes hands again, masks up, drives home, masks up, goes into building, washes hands. All clothes he wore go immediately into the laundry. Any surface he touches in my house gets pre-and-post wiped down with disinfecting wipes. We don't record in my home there is no gear to disinfect other than his guitar.

His girlfriend works from home and keeps herself separate from us when we record in their home. My boyfriend lost his job due to COVID but busies himself with projects in his home office while we rehearse in our home. The four of us have mutually agreed that we are the only other folks we will allow in our homes and we follow this safety protocol to the T every time we travel to see each other.

So, question 1) are we being safe enough, or are we being dumb? None of us so far has gotten sick and we are comfortable with our routine. How could we improve our safety protocol? Neither of us stop at gas stations to and from each other; we gas up on our own time and hand sanitize after doing so.

Question 2) Musician friend and I are getting ready to record a video of us performing a duet in his apartment. Our mutual friends know we no longer live near each other, and my fear is that when they see evidence that we haven't been keeping six feet apart at all times in his apartment we will get scorned by our colleagues, or near the brunt of actual anger because they are not aware of our safety routine. How can we explain that we have been talking proactive steps to keep ourselves safe and have chosen to be a somewhat long distance social isolation bubble with each other when we release this video to avoid angry responses? Is it necessary? Musician buddy is ambivalent, but I am a worrier and don't want to inadvertently bring us bad publicity.

Please be gentle with me. We are doing our best and we so far have not gotten sick with this protocol. Our partners are also proactive in hand sanitizing and/or hand washing once one of us leaves the other place. Are we being stupid? Is there a way to explain this succinctly when we release our video to pre-empt any judgement?

Seriously please be gentle. My anxiety is on high alert just from reading the news each day and I really hope this community will refrain from a pile on because we are doing everything we can to keep ourselves and our partners safe.

Any advice would be much appreciated. Thank you.

I've been working with this Excel formula for a month or so. It comes from Leila Gharani's Youtube tutorial.

=IF(ROWS($A$1000:$A1000)<$J$291,INDEX($B$2:$B$300,AGGREGATE(15,3,($N$2:$N$300="Japanese")/($N$2:$N$300="Japanese")*ROW($N$2:$N$300)-ROW($N$1),ROWS($A$1000:$A1000)))," ")

In this iteration, it's indexing column B, which is a list of movie names, and returning a list of every Japanese language film. Film languages are listed in column N. The formula takes advantage of Aggregate's "Ignore error" option; since Excel treats yeses as 1's and nos as 0's, dividing the aggregate results by itself returns an error for all the nos, since you can't divide by zero. Pretty clever. Then the formula multiplies the 1 by the row where it's located, and finally returns the smallest number in the list to the index function (then the second smallest, then third smallest as you drag down the formula).

My question is, how do I add criteria so the film not only has to be in Japanese, but also has to have a RottenTomatoes score of >75%, if Column T is RottenTomatoes scores? I'm feel I should just multiply the Japanese criteria by the RT criteria in brackets and then divide that product by itself, but I keep getting errors when I try this. Maybe my syntax is screwy?

And yes, I know it would be a lot easier to do this using VBA, but I'm running the workbook on Sharepoint, which doesn't support VBA.

Thanks!

07-Jul-2015 09:55.

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Antonia Tully of SPUC's Safe at School was interviewed on BBC Radio Wales in response to the news that the Government is introducing compulsory sex and relationships education for children as young as four....

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Mayor George Fuller and Maylee Thomas-Fuller share some of the good stories that have been submitted from the community! Share your stories with us at https://www.McKinneyTexas.org/TMSG Also, be sure to visit https://www.OneHeartMcKinney.com if you need help, or want to help others....

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I’ve made so much music over the years and most of it is sitting on hard drives or gathering dust in neglected corners of the internet. Recently a listener reminded me of an album I made over 6 years ago … Continue reading →

Writers have been creating worlds for centuries. J.R.R. Tolkien, Stephen King, H.P Lovecraft, they all shaped worlds and mythologies and civilisations out of words. Few musicians, however, have created new worlds out of their music. Kraftwerk's albums and aesthetics form a unique world of Pop Art, industrialism, rhythms and electricity... [ read more ]

Ive been making music for couple of years now but still cant figure out why my mix doesnt sound professional. Im I doing something wrong? This is the link to my tracks http://www.ourmedia.org/node/300488 Someone please help me out.

The 100% guaranteed way to get your bedroom mixes to sound more professional (and by far the most expensive) is to spend time in a recording studio. Take the raw tracks to something you want to mix, import it into their ProTools setup (or whatever they use) and have a pro engineer (must be a talkative, friendly one, not a grumpy, cynical one) to mix it. ASK A BILLION questions, be a dork and write stuff down if you have to. The worst case scenario is that after 2/3 hours at least you'll know what questions to ask of Google or at the local tech book store. The best case is that your music impresses the engineer and he/she becomes a pseudo mentor for you. Engineering is by far my weakest area (along with playing in tune and in time) so everything that follows is said that caveat: I have found that going cheap on mastering tools (compression, limiters, eq) hurts bedroom mixes a lot. Money I've spent on the top utilities there (I use Waves) dwarfs all my other plugins put together by an order of magnitude. (Reason's mastering suite is pretty good so you may be covered there; although I've applied Waves L2 to mixes done after the 'final' Reason mixdown and there's no question there was a marked improvement in pro-sheen.) I have found tweakheadz site very useful, especially their mixing 101 page. Finally I have been told (and have experienced it myself) that posting often to ccM and asking for real, brutal reviews and feedback has helped a lot of people. I, for one, am very, very embarrassed by several of my uploads from 2 years ago here, while only very embarrassed by more recent ones; all strictly due to people hearing stuff I didn't.

that sounds good. ill look for a studio near my place. at the end you said that the comments from ccmixer is very useful but what shall i do if i want a brutal review of my own original mix? because on ccmixer i can only upload remixes or samples or separate tracks.

being a remix site and short on resources we can't handle original material. so, er, get remixing... ;)

my buddy des has a great blog he runs that can surely help almost anyone here with improving their production. http://www.hometracked.com/ also, his music is worth checking out, just so you can see that he knows what he's talking about. des is a great guy and a really excellent artist. http://www.deshead.com/

U need to have a good pair of monitors, headphones will not do at all! I agree with Fourstones, Waves is a very good suite. I use it within SoundForge and it really does help in cleaning up the frequencies. My mixes really improved when I had monitor speakers included in the set up. Experiment and let me know, I'll give u some quality feedback, no holds, sometimes the truth hurts! LOL! EZ m8 Morr

The best thing I can say is: learn about sound. Learn about frequencies, which ones sound like what and do what to the overall mix. Whether or not to use a low or high pass filter on something. Fiddle with EQs for hours. And more importantly, get criticism. It's the easiest way to learn what sound to look out for, and such. And most importantly of all: Practice. Mix till your ears bleed. (from the time spent listening to the same song, not due to the terrible mix :P) Mixing is one of my strong suits, but most of it is just being able to hear the song, and make the adjustments that I want, to be able to make the necessary changes and just know what needs to be done.

bravo!

That's a very good point- I started with a Mac LC, EZVision and an M1, with the only audio manipulation being Hypercard. I got good at customizing patches and finding seamless loop points manually just to get what I could out of what I had, with mastering being 1/4"-to-RCA from the headphone jack on the M1 to AUX IN on the cassette player, or the same thing with 1/8" adapter for the 'puter sound files. Then I'd record and bounce these cassette tracks to my 4-track, with final routing from 4-track's headphone-out back to the cassette. Ugly stuff, but that's what I had to work with...

This is a very good point. I think that it's easy to keep adding new gear, and thus miss the richness of existing gear and software. I like to work with more limited software sometimes, so that I can feel as if I am exploiting it to its fullness.

Ive been making music for couple of years now but still cant figure out why my mix doesnt sound professional. Im I doing something wrong? This is the link to my tracks http://www.ourmedia.org/node/300488 Someone please help me out. The first thing I noticed was the lack of higher frequencies in your mix... My mixes always end up being bass heavy (because I suck horribly) so I can see we both have the same problem... There's is (however) an over-abundance of frequency-fighting in your track... A lot of distorted things competing for my attention (at least in my ears). Dunno if any of this has been helpful, but we could all learn things...so hopefully you'll have advice for me in the future ;-) Good luck, and we me luck too! -Joel

This is a useful thread. Im just in the middle of mixing a new ccmixter-based song and its just not coming together for me. The tweakheadz and hometracked sites are great. A couple other useful sites: tips and techniques at gearslutz - http://www.gearslutz.com/board/tips-techniques/168409-tips-techniques.html ; Live tips - http://www.ableton.com/forum/viewtopic.php?t=27120 ; general EQ reference - http://www.idmforums.com/showthread.php?t=11466 Im definitely going to get the mix Im working on up here, I need some blunt advice.

OK, I uploaded Hollywood Picture Book (feat Calendar Girl and Kaer Trouz) and entered a pluggy plug for comments over this weekend.