私達は、最初は普通の音楽に関係のない、話をしていた。
ところが、私の出来かけの曲を一緒に聴く事になった。私は曲をリリースする前、友達にディジタルな方法でオンラインで曲を聴いてもらい、感想を聞く事がある。それで、メリージェーンに聴いてもらう事にした。
彼女が感想を言う前に、私はすでに、気づいた事を行った。
”私の本当じゃないメッセージが歌詞に入っていて、歌に感情が入らない。曲も、できるだけ、すごいもの、ヒットを作ろう、という意気込みが強すぎて、自分の感情にフィットしないアレンジメントが入っており、それで、曲を完成する事ができない。”
すると、メリージェーンは、それをサポートするように行った。
”では、できるだけ、自分自身のエクストラクトになるように、全てを書いたら？ 自分がオーディエンスとして、聴きたい、と思う物だけを、つくればいい。”
すると、私が言った。
”そこを考えなくても、自分に正直になりたいけど、曲に真実を書いて、人に心を覗き込まれるのはが怖い自分がいる。”
メリージェーンは、よくある話、というようにうなずき、
”そこはその理由だったのね？”
と、知ったかぶったように言った。
曲を書いて、人に自分の心を覗き込まれるのが恐怖だ、というのは、問題なのだろうか？
たくさんの作曲家にとって、自分のパーソナルな個人的な事を、そのまま曲に書いて、OKなのだろうか？
それとも、たくさんの作曲家が、ファンタシーのような，フィクションの世界を曲に書いているのだろうか？
実は数日前、メーリージェーンとの劇的な再会をした。
彼女が偶然？ テクスティングしてきた。"Texting”というのは，アメリカのスラングで、ケータイにケータイ用メールを送る、という意味のスラングだ。
メリージェーンはことのほか機嫌が良く、私との再会を喜んだ。私と１０ヶ月も話をしてなかったのに、それを全然きにしてないように、私とそれは嬉しそうにでチャットしまくった。彼女は、彼女の最近の写真を送ってきた。やせていて、とても綺麗になっていた。ティンカーベルのようなブロンドのバンに、白のポルカドットのついた赤いホルタードレスを着て、メーカップも、都会風で、口紅も赤くて、とてもかっこいい。最近のメリージェーンに、何が起こったのだろう？ とても健康的で，おしゃれだ。
私は彼女と１０ヶ月も話をしていなかった。私は固まっていてまじめ過ぎに生活していたつらい心が、ほどけて溶けたような気がした。
やっぱり、人間にはこういうリラックスする瞬間というのが，必要なのだろう。生活や仕事が忙しいからといって、彼女を避けていたが、それは、本当の正解だったのだろうか。
私は出来るだけ自立して、メリージェーンがいなくても、出来れば一人で生活できるようになりたい。私はどちらかというと、友達に頼ったりするのがあまり上手な人間じゃないのである。
彼女が偶然？ テクスティングしてきた。"Texting”というのは，アメリカのスラングで、ケータイにケータイ用メールを送る、という意味のスラングだ。
メリージェーンはことのほか機嫌が良く、私との再会を喜んだ。私と１０ヶ月も話をしてなかったのに、それを全然きにしてないように、私とそれは嬉しそうにでチャットしまくった。彼女は、彼女の最近の写真を送ってきた。やせていて、とても綺麗になっていた。ティンカーベルのようなブロンドのバンに、白のポルカドットのついた赤いホルタードレスを着て、メーカップも、都会風で、口紅も赤くて、とてもかっこいい。最近のメリージェーンに、何が起こったのだろう？ とても健康的で，おしゃれだ。
私は彼女と１０ヶ月も話をしていなかった。私は固まっていてまじめ過ぎに生活していたつらい心が、ほどけて溶けたような気がした。
やっぱり、人間にはこういうリラックスする瞬間というのが，必要なのだろう。生活や仕事が忙しいからといって、彼女を避けていたが、それは、本当の正解だったのだろうか。
私は出来るだけ自立して、メリージェーンがいなくても、出来れば一人で生活できるようになりたい。私はどちらかというと、友達に頼ったりするのがあまり上手な人間じゃないのである。
Then, Mary-Jane suggested something.
"Why don't you do things you didn't do when you lived in NY, and regretted?"
That's a great question. I used to live in NY. But things I didn't do was because of money.
I wanted to take a professional head-shot by a fabulous New Yorker photographer. It used to cost like $100, now $280 per the smallest, 1-hour head-sahot sessiosn. I wanted to take dance classes, but never did, because I was always broke. I also wanted to see real musicals and plays in New York. But I never did, because they were expensive. I also always wanted to see real deal jazz musicians...the top notch in the world performance in New York City.
So, I started researching on the jazz clubs in New york on Yelp.com.
First, I was interested in Blue Note, because it was a legendary place in New York. But I saw people reviews said, they really didn't like the place because over charged, and service and seats are not that good. That would ruin the experience of a jazz club even if their music is good.
Then the engineer R said, a jazz club called Birdland is a very cool place. I started reading a review, and then took their address into my map on my iPod Touch.
"Why don't you do things you didn't do when you lived in NY, and regretted?"
That's a great question. I used to live in NY. But things I didn't do was because of money.
I wanted to take a professional head-shot by a fabulous New Yorker photographer. It used to cost like $100, now $280 per the smallest, 1-hour head-sahot sessiosn. I wanted to take dance classes, but never did, because I was always broke. I also wanted to see real musicals and plays in New York. But I never did, because they were expensive. I also always wanted to see real deal jazz musicians...the top notch in the world performance in New York City.
So, I started researching on the jazz clubs in New york on Yelp.com.
First, I was interested in Blue Note, because it was a legendary place in New York. But I saw people reviews said, they really didn't like the place because over charged, and service and seats are not that good. That would ruin the experience of a jazz club even if their music is good.
Then the engineer R said, a jazz club called Birdland is a very cool place. I started reading a review, and then took their address into my map on my iPod Touch.
Yes, we did chatted about...maybe 2 hours to just catch up. Finally, I needed to talk about the main thing I needed to talk about.
"It's about the copyright on those 2 songs, isn't it?" Mary-Jane asked.
"How do you know?' I was surprised by her answer and asked back.
" Well, you kind of mentioned by the way you talked bout your project. 2songs are done, mastered. So what are you waiting for? Besides..."
"Beside, I will go to New York in 10 days."
"OMG, are you going go to New York City??!"
"Did you know that?"
"I kinda did... So have you made an appointment with anybody from a WME Agency in New York City to have your song heard?
"Ah, not yet. I'm kinda busy..."
私たちはしばらく２時間ほど、最近の状況などのおしゃべりをした。そしてついに、話さなければいけない事を話す時が来た。
”それは、あの２曲の著作権の話でしょう？” と、メリージェーンは聞いてきた。
”なんで知ってるの？” 私は驚いて彼女に聞いた。
”あなたのプロジェクトの話をしている時に、あなたがを言ってたわ。２曲が終わってマスタリングが終わったんでしょ。何を待ってるの？ それに。。。”
”それに、後１０日で、私はニューヨークに行く。
”ニューヨークに行くの？？”
”知ってたんじゃなかったの？
”なんか知ってたけど。。。それで、WMEエージンシーと、アポイントメントとった？
Then, Mary-Jane got mad at me out of the blue, all agitated.
"Doing what?" It'll be 10 days away. Go ahead and upload the songs!!"
"The copyright costs about $69 nowadays!!!!"
"So??? You gotta do what you gotta do!! That's the every beginning of business. Seriously. Get done."
"What else should I do??"
Mary-Jane said very this strongly.
"Do call the agency first, to see if there's any room for solicited music materials. Ask them if they can meet you at their office while you are in New York City, which is 5/20 or 5/21 depending on your flight schedule.
Tell them you are interested in being an artist/ record producer to manage. They might tell you a code for you to send out your demo package. They might really meet you. Maybe you can find a manager who can represents you to even for the major label contract, I don't know. Then it's arranged, then quickly copyright your 2 songs. The set-up, Reverbnation and my space."
"OK....what if they were not interested? Or I was a wrong place?"
"You have nothing to lose." Mary-Jane said with a confidence.
" Just give it a shot. The they might give you a chance. Or find someone else."
I just ran into a person who I would least likely to run into. That was Mary-Jane.
I checked my last bog here. Last time I talk to her was, back in November, That means I haven't seen her for a whole 6 months! I actually felt longer, like 2 years. I actually totally forgot about her. But somebody brought this chic to a musician's party or whatever. She is a music publicist, so she knows just about everybody in this industry.
I was actually terrified by how she would react to this meet-up. She might nag at me, or ignore me like nothing happened, or missed me.
I just said "hi" to her. And we started talking for whole 5 hours after that first "hi". I couldn't believe how I was stressed out by my work, and other things. She never cheered me up this much before. I couldn't deny that I really missed her.
最近、絶対に会わないであろう人に出くわした。それは、メリージェーンである。
このブログの最後の日付けを見ると、なんと最後に彼女と話したのは、去年の１１月であった。でも私にはそれが２年くらいだと感じた。実は私は彼女の事は全然忘れていた。ところが、この女を音楽インダストリーのミュージシャンパーティーに連れてきた奴が居た。彼女は音楽パブリシスなので、音楽インダストリーの中で彼女を知らないという人はないと言われている。
私はこんな状態で別れてしまった私に、どういう彼女がどんなリアクションをするか恐くなった。彼女は超怒って怒鳴りつけるかまたは、全く蒸しするだろうか。
私はこんなに長く会っていないのに、いきなり“ハイ”とだけ言った。その”ハイ’から、５時間続けて、音楽の作品や他のことなどを彼女と話つづけた。これだけ話て、私はずっと疲れ続けていたと思った。私は彼女に会って、これだけ心が軽くなった事は最近ない。私はこの所が居なくて本当は寂しくなったのだ。
I checked my last bog here. Last time I talk to her was, back in November, That means I haven't seen her for a whole 6 months! I actually felt longer, like 2 years. I actually totally forgot about her. But somebody brought this chic to a musician's party or whatever. She is a music publicist, so she knows just about everybody in this industry.
I was actually terrified by how she would react to this meet-up. She might nag at me, or ignore me like nothing happened, or missed me.
I just said "hi" to her. And we started talking for whole 5 hours after that first "hi". I couldn't believe how I was stressed out by my work, and other things. She never cheered me up this much before. I couldn't deny that I really missed her.
最近、絶対に会わないであろう人に出くわした。それは、メリージェーンである。
このブログの最後の日付けを見ると、なんと最後に彼女と話したのは、去年の１１月であった。でも私にはそれが２年くらいだと感じた。実は私は彼女の事は全然忘れていた。ところが、この女を音楽インダストリーのミュージシャンパーティーに連れてきた奴が居た。彼女は音楽パブリシスなので、音楽インダストリーの中で彼女を知らないという人はないと言われている。
私はこんな状態で別れてしまった私に、どういう彼女がどんなリアクションをするか恐くなった。彼女は超怒って怒鳴りつけるかまたは、全く蒸しするだろうか。
私はこんなに長く会っていないのに、いきなり“ハイ”とだけ言った。その”ハイ’から、５時間続けて、音楽の作品や他のことなどを彼女と話つづけた。これだけ話て、私はずっと疲れ続けていたと思った。私は彼女に会って、これだけ心が軽くなった事は最近ない。私はこの所が居なくて本当は寂しくなったのだ。
I just happened to talk to Mary-Jane. I have trouble with not being able to find the string patch I need and want for NWQ song. The problem is, the other string patch I used for CD song is too slow. I need a very energetic, fast strings that excites me.
I flipped through every where, but I can't find it. I'm not able to find the Sy drum, that was originally in Trinity,either. If I can't find these 2 core patches, I can not re-produce NWQ to top the original.
Then Mary-Jane came up with crazy idea. I recently said, I found my dear performance of Ravel's Bolero from Youtube. It was conducted by Karajan, and I had a tape of this very same orchestral performance, but I lost the tape. In fact, I remember when I saw it last. I left it in Ohio, but nobody sent it back for me, I guess. That's how I remember. But now I found the lost recording I 've been craving to listen to.
Mary-Jane said, "Chop up and sample the orchestra Karajan conducted for Bolero or New World Symphony."
Wow. That's a very interesting to say. It is very time -consuming, but if it's successful, Karajan can be a part of my song. And I have to find the perfect unison in i either Bb or C to map it out on the sampler. Is it possible?? I also have to fins a digital version, instead of something taped on an ol' school tape.
I can look into it. The idea itself is cool, but I'm not sure if that works at all. But it sounds very original. It might be worth the sacrifice and struggle.
I flipped through every where, but I can't find it. I'm not able to find the Sy drum, that was originally in Trinity,either. If I can't find these 2 core patches, I can not re-produce NWQ to top the original.
Then Mary-Jane came up with crazy idea. I recently said, I found my dear performance of Ravel's Bolero from Youtube. It was conducted by Karajan, and I had a tape of this very same orchestral performance, but I lost the tape. In fact, I remember when I saw it last. I left it in Ohio, but nobody sent it back for me, I guess. That's how I remember. But now I found the lost recording I 've been craving to listen to.
Mary-Jane said, "Chop up and sample the orchestra Karajan conducted for Bolero or New World Symphony."
Wow. That's a very interesting to say. It is very time -consuming, but if it's successful, Karajan can be a part of my song. And I have to find the perfect unison in i either Bb or C to map it out on the sampler. Is it possible?? I also have to fins a digital version, instead of something taped on an ol' school tape.
I can look into it. The idea itself is cool, but I'm not sure if that works at all. But it sounds very original. It might be worth the sacrifice and struggle.
The mastering engineered just asked me if I wanted to go for the second mastering session. He said he would have a re-amping session for his band, so he had only 1 hour or so for my CS song. The first mastered verson wasn't good. The enhancement was too sheer, you couldn't
We basically applied the same mastering method from SOB song. He made 2 versions. One is Dynamic Range 7, which is kinda normal, another is Dynamic Range 5, which is louder.
I kept listening to it, but it's very hard to say which is better until I put the CD in the car and listen. Sounds like DR sounds better, but I feel like I hear a distortion somewhere I never hard before. DR7 sounds great too, but I feel like I need more push.
I personally think, if we should go for somewhere in the middle,which is DR 6.
We basically applied the same mastering method from SOB song. He made 2 versions. One is Dynamic Range 7, which is kinda normal, another is Dynamic Range 5, which is louder.
I kept listening to it, but it's very hard to say which is better until I put the CD in the car and listen. Sounds like DR sounds better, but I feel like I hear a distortion somewhere I never hard before. DR7 sounds great too, but I feel like I need more push.
I personally think, if we should go for somewhere in the middle,which is DR 6.
As far as the suggestion Mary-Jane made for the bass volume automation didn't work, but I put the 2 basses's pan back to dead center to make the bass line "one". her suggestion was right and successful about bringing me to the awareness for the bass line. Then the songs sounds much cleaner. It actually made a huge difference.
The mastering engineer's been sick really bad, but he just recovered. So we decide to put the CS song in the first mastering process.
I wanted to have a very sheer mastering. We decided not to tweak much because the final nix sounded good already.
I liked the way it sounded, but it needed to be louder. So I was thinking about messing with the volume of shark drum, but I think kit's a better idea to wait unless the engineer runs through this again in mastering to check the right level.....a little louder. Then fix the missing volume of shark drum.
When I though about my 2nd song is going through mastering, I felt like I was free. Like, free from a bad spell. I've been feeling stranded or strapped in a glass box all the time. But I guess for me to be is coming very soon. I can pitch into a bunch of different places for business. But the thing is, I might have to me own...star to perform. I may not be just ended as a composer. Maybe I should be a performer too.'
I used to have craving to perform, whatever the free form was. Now I think it's a bit too much exhausting or a risk.. I don't know what to think. I even don't know what to start.
The mastering engineer's been sick really bad, but he just recovered. So we decide to put the CS song in the first mastering process.
I wanted to have a very sheer mastering. We decided not to tweak much because the final nix sounded good already.
I liked the way it sounded, but it needed to be louder. So I was thinking about messing with the volume of shark drum, but I think kit's a better idea to wait unless the engineer runs through this again in mastering to check the right level.....a little louder. Then fix the missing volume of shark drum.
When I though about my 2nd song is going through mastering, I felt like I was free. Like, free from a bad spell. I've been feeling stranded or strapped in a glass box all the time. But I guess for me to be is coming very soon. I can pitch into a bunch of different places for business. But the thing is, I might have to me own...star to perform. I may not be just ended as a composer. Maybe I should be a performer too.'
I used to have craving to perform, whatever the free form was. Now I think it's a bit too much exhausting or a risk.. I don't know what to think. I even don't know what to start.
Until the 2nd song is mastered, I wasn't gonna call Mary-Jane. Then she emailed me out of the blue. I thought she was pissed at me too, but she left me a message. And it was the least expected thing to hear from her.
"Turn up the bass line a little and automate it."
What??!! Sjnce when she knows about engineering? But since her automation idea woeked out, I decided to tale her suggstion. Let get this done and masterd.
"Turn up the bass line a little and automate it."
What??!! Sjnce when she knows about engineering? But since her automation idea woeked out, I decided to tale her suggstion. Let get this done and masterd.
I don't give a shit if Mary-Jane gets pissed at me or not. The deadline is coming, which is November 1st. I have to get the 2nd song mastered, and uploaded to Reverbnation. I want pitch my songs into those competitions.
But, why does it cost $30 to enter one competition? Is it an easy money-grab by record companies? Well, still, you have to start something. If you think $30 as an investment, and worth getting your works noticed, then work for it and pay for it. It is a necessary cost, and if you think about it, it's much better to pitch them into the right places. Check the names of judges. Then you can figure out the dynamic of the auditions. o, I have to have at least 2 songs down.
But, why does it cost $30 to enter one competition? Is it an easy money-grab by record companies? Well, still, you have to start something. If you think $30 as an investment, and worth getting your works noticed, then work for it and pay for it. It is a necessary cost, and if you think about it, it's much better to pitch them into the right places. Check the names of judges. Then you can figure out the dynamic of the auditions. o, I have to have at least 2 songs down.