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Casney came to my Pigg room and cerebrated my B'day!! :DDD
She set me 2 bags of B'day presents :)
I opened them both, and they were very expensive wigs!!
I was soooo shocked...in a awesome way...
She told me to try them on, so I did; I looked like a total different person!!
Later, she sent me 3 B'day cakes on my piano!!
WOW, how many B'day presents she keeps sending me??
I actually had a great day :)
She set me 2 bags of B'day presents :)
I opened them both, and they were very expensive wigs!!
I was soooo shocked...in a awesome way...
She told me to try them on, so I did; I looked like a total different person!!
Later, she sent me 3 B'day cakes on my piano!!
WOW, how many B'day presents she keeps sending me??
I actually had a great day :)
This is how the cats of "Misty" looks like.
It appears to be very hard to make a movie, but I might be able to make still shots and make a storyboard out of them.
If I try to make a movie, I need at least 3 to 4 Pigg operators in real time, typing the dialogue to make a movie, while I'm setting up a tripod to shoot the screen.
But it's great to see all the characters (actors) in one place today.
Re-amping was very cool experience. It boosted and colored the desired tracks with Neve and API. Only problem was, you don't get to listen to the outcome with the other tracks, so it's a guess work.
We used "double Avalon VT-737" for vocals. Double doesn't mean stereo, it means, I used it one to cut the vox tracks with normal vox preset, then re-amp it to color the tracks more with different compression ratio. It also has some API coloration for the boost.
We used "double Avalon VT-737" for sax. I did a special EQing for SAX, and got the thick and breathy tone I wanted like Hammer 2 EQ.
WE also used Neve for stereo drums. It sounds punchy and great, but I insisted not to roll off the kick drum at @ 60 hz like the engineer insisted. So it came out a bit bassy, but I rolled it off @33hz, and came out as close to the original drum track with a huge punch and boost.
They came out exceptionally good and sounded like an expensive studio.
But it didn't work with TR-808. It normally would work with Neve, if you want a true hip-hop sound, that's the way to go, but I wanted to have more trancey patch, as this is a dance music. The basses got too woof too. I wanted the original tone I got from 2 different basses.
I was working on the Maelstrom key patch for the fade out for 3 days..... T-T It's a such a painful time, every time you mix something, you have to burn a CD and listen to it for the check up since I don't have a sub-woofer in my studio. (I do have a studio sub-woofer, but I'm not using it.) So I needed to simulate a club sound in the car. I was still messing with the fade out part right before it goes though the mastering. But I'm glad I automated the key patch and pt ot back to the center. It sounded so much better. I'm glad I didn't compromise.
And SOB finally went though the mastering process on 9-16-2012.
I noticed when "we" were doing re-amping for vocals with API and Nuendo, the tracks got phat, but some frequency around 3.5 to bring up the consonants started stinging my ears.
And degrading 24 bit/96k recording to 20 bit just to do re-amping also seems defeating its purpose. I rather should do re-amping by myself, staying in 96K makes more sense.
HAMMER 3BAND DUAL CHANNEL EQ: HM2EQ
PIANO = smiley EQ with more bass, treble and less mids.
Gets rid of muddiness from the ha;; reverb, and get the definition of round piano.
LOW : 100HZ BOOST +2
MID : 500HZ CUT -2
HIGH : 18K BOOST +6
SAXOPHONE: Roll off the low, take out the breath, 1.2k brings out more edge, and add some air at 10k.
LOW : 300HZ CUT -6
MID : 1.2KHZ BOOST +2
HIGH : 15K BOOST +9