A VOCODER (from VOice enCODER) works in a very simple way.
It takes a signal called CARRIER, that may be a constant one, or a variable (like the sound of a musical instrument) and modulates it in amplitude, with the electric signal generated by a voice.
The process is very similar to the AM Modulation in a Radio Transmitter, or more precisely, it is similar to a DSB (Double Side Band) or SSB (Single Side Band), because when the voice ceases, also the carrier is not available. Indeed the effect is made by a Balanced Modulator.
In other words, the envelope of the voice, modulate in intensity the Carrier. So that: if you're shouting, the carrier will be porweful, if you are whispering, the carrier will be soft and if you shut-up, the carrier will cease.
If as carrier you use a 50-100 Hz constant signal, the result you have, it is a robotic Voice.
That's very simple principle.
What I did with Nuendo?
I generated a .WAV signal, quite constant, creating the carrier.
A opened a second track and I recorded my voice that tells:"one two three vocoder")
At this point I opened the controls into the carrier's channel and I activated the automation R. So that it reads the position of a digital and automatic potentiometer.
Good. At this point I enhanced the view of the channels in order to see what I was doing
I just manually recreated (copied) the envelope of my voice, into the Potentiometer Control, reproducing quite closely the whole file "one two three vocoder".
At this point, I put in Play the Carrier's channel. As result of the envelope's modulation, "something comprehensible" was reproduced :-) And I got a robotized voice that was telling "one two three vocoder".
Because the carrier is suppressed, it is necessary to extract the extreme high frequency from the Coal Signal in order to rebuild some important consonant: dental consonant, like "s" and "t".
I extracted this spectrum and I added this to the "vocoded" track.
Here the example I created. i know the quality is not excellent, anyhow consider please that I did it manually ;)
http://audioboard.interfree.it/Vocoder_Modulated_Carrier.mp3
Tuesday 30 August 2011
Friday 19 August 2011
For Musicians: how to behave and ... REQUEST OF PROFESSIONALISM
It's not only for musicians, but also for who activates a new activity as "promoter" in the music sector.
I would like to report here, what I found HERE. I found it very interesting and drammatically TRUE! Excpecially in a world where many many many bluffers are attending the market, damaging/obscuring the activity and the image of REAL Professionals.
moreover, there is a behavior to adapt and to change, byboth sides: Promoter/Producer etc and Artist!
I really hope the content of this Blog, will help you.
I'm sure I'm not violating any Copyright rule because I'm taking it from a public Blog, citing the Author, the Origin etc etc etc. And this is a public Blog as well.
The contained information are so clear and useful that I'd like to spread it out!
Anyway at the end there is some my comment. I expect your ones as well :)
_____________________
New Rules For The Music Industry
(from the Blog of TUNECORE)
By George Howard & Jeff Price
(follow George on Twitter)
FOR THE MUSIC INDUSTRY:
1) BE TRANSPARENT – No more hiding behind complex royalty calculations. Man up. Be honest. Provide clear and accurate accounting. The digital world makes it easier than ever to do this.
This applies to labels, distributors, ASCAP, BMI, SESAC and anyone else you can think of. They can all be transparent if they choose to be. Right now they choose not to be.
2) PAY ON TIME! – No more artificial royalty accounting periods. Returns and co-ops are a thing of the past. Pay out and account on one way no return sales that you have been paid in the same month you get them.
The only reason to hold on to the money is to make bank interest on it. If this is what you are going to do, see #1, BE TRANSPARENT and tell artists you are doing this.
3) NO MORE SUGARCOATING AND HIDING REALITY – Seriously. Stop promising things you know you can’t deliver. Not everyone is going to be a star. Be honest, tell the truth,. Let the musician and artist know the realities of the market so they can have a better understand of what needs to be done to succeed or why things are not going the way they want them to.
4) ACKNOWLEDGE YOU WORK FOR THE ARTIST, NOT THE OTHER WAY AROUND – Without the artist none of us will have jobs. They are the ones with the talent. They create culture and write songs that have an impact on the world. They are allowing us to serve them, not the other way around. This philosophy and culture must permeate everything you do. Turn this industry from one that “exploits” the artist to one that serves the artist.
5) ONLY OFFER SERVICES YOU CAN ACTUALLY DO – No more asking for rights or income from things you can’t contribute towards. If you are a label and want more money from other areas (i.e. merchandise, songwriter income, gig income etc) you actually have to provide a service that does something to earn that right. There are others out there that are specialists in these areas, can you do what they can?
6) UNDERSTAND THE ARTIST NOW HAS CHOICE – Unlike the old days, artists can now succeed without you. Labels have gone from a “must have” to a “might need”. Be clear in what you have to offer and create a fair and equitable deal in exchange for the services you are offering.
7) COMMERCIAL RADIO AND MTV NO LONGER SINGULARLY BREAK BANDS – It used to be that print, commercial radio and MTV were the three ways to break a band, no longer. Fans themselves have this power via social networking. Find ways to speak to fans directly and don’t use a middleman. Empower and excite them and they will follow.
FOR THE ARTIST
1) STOP ASKING FOR BIG ADVANCES – Understand that the economics of the business have changed for both the artists and the labels. The goal for artists and labels must be the same: create sustainable working relationships for both parties. Disproportionate advances only add tension (economic and otherwise) to an already tense dynamic. Create financial working relationships based on realistic expectations of ROI.
2) EDUCATE YOURSELF – It’s no longer acceptable (or charming) to be the un-informed artist who doesn’t know the difference between a mechanical royalty and a mechanic. You can’t claim that you’ve been taken advantage of by anyone at this point; the information you need is out there, and it’s not that hard to find. Learn it, once you have this knowledge you can then make informed decisions and decide if the other entity is doing its job. Not to mention, the labels etc already know this info and so should you.
3) TAKE RESPONSIBILITY – Stating that there is any person or thing standing in the way of you and success is a cop out. No longer can you say, “If only my records were in stores, people would buy them,” or, “If only people could hear my music they would love it.” The gatekeepers have vanished; the gates are open…go through them.
4) TAKE ACTION – Waiting for a booking agent before you tour? Waiting for a producer before you make a recording? Waiting for a label before you distribute or promote your music? Guess what, someone else isn’t waiting for anyone, and he or she is leaving you in the dust. The worst thing you can do is nothing.
5) SELL – Get over the fact that you’re the artist, and asking people for money in exchange for your art is awkward. The reality is that if your work is good, people will want to compensate you for it. You must not only give them the opportunity to do so, but make it easy for them. Be clear and transparent, and tell your customers that your music is valuable, and that if they want to ensure that you are able to keep creating the music that they enjoy, that they must pay for it. Then give them a wide variety of things to buy at different prices.
6) GIVE WITHOUT ASKING FOR ANYTHING IN RETURN – It’s not all selling, of course, and we are all in this together. Look for ways to help other artists. Share information, share resources. This is not a zero-sum game; the overall pie can expand, and we will all benefit proportionately when it does.
7) DEMAND ANSWERS – if you don’t understand something, ask. If the person you ask can’t give you a clear, understandable answer then he or she is either clueless or trying to hide something. Demand a clear, understandable answer or walk away from the deal.
8) MARKETING DOES NOT ALWAYS EQUAL SUCCESS – The major labels spent hundreds of millions of dollars marketing and promoting bands. Only 2% of them succeeded, the other 98% were deemed failures. If marketing = success, they would have had a 100% hit ratio. The reason an artist succeeds is because the music caused reaction.
9) LEAD TIME FOR STREET DATES MATTER LESS – It’s not like the old days where you only had a limited time for prime real estate in a retail store and if the CDs did not sell they would be returned. In the new model you can release music today, and market later, with little detrimental impact.
10) IT’S ABOUT A CONSTANT STREAM OF MUSIC AND MEDIA, NOT A ONCE A YEAR ALBUM RELEASE – The new world moves fast. The best strategy is to roll out songs, videos, pictures, blog postings, tweets and anything else you can think of on a constant basis. This keeps your fans engaged and stops you from losing momentum and going stale.
11) IT’S GLOBAL – The new music industry is a global one. At the click of a button your music is available to buy, share, stream and download around the world. Keep this in mind when you think about where your money is being held, generated and how to get it.
12) YOU ARE NOT POWERLESS – Music is not food, shelter or clothing, but everyone likes it and needs it. The music industry currently generates around $30 billion dollars a year. The entities and people getting this money is shifting from the legacy companies to you. Within another five years the collective power of you will be bigger than any of them. You have the power to change things, and you already are.
As just one example, in the past two years, TuneCore Artists have earned over $170 million in gross music sales and have sold over 400 million songs by paid download or stream. TuneCore Songwriters have earned over another $120 million dollars.
As you sell more, they sell less.
13) DEFINE YOUR GOALS – Know what it is you are tying to accomplish. Are you looking to be the next Vanilla Ice or just sell some music without touring? Is your goal corporate sponsorships or having others cover your songs? Whatever it may be, have a goal in mind and then work towards accomplishing that objective. With that one conquered, you can move on to the next.
DON’T EXPECT SOMETHING FOR NOTHING
It’s going to take work to make things happen. Either you need to do the work or you must hire someone else to do part, or all of it, for you. If you understand your rights, how money is made, and how much you should make, you can make educated decisions.
Got more rules? Post them here!
__________________________________________________________________________________________________________________________
George Howard is the former president of Rykodisc. He currently advises numerous entertainment and non-entertainment firms and individuals. Additionally, he is the Executive Editor of Artists House Music and is a Professor and Executive in Residence in the college of Business Administration at Loyola, New Orleans. He is most easily found on Twitter at: twitter.com/gah650
________________________
MY OPINION:
Some my thoughts:
"4) TAKE ACTION – Waiting for a booking agent before you tour? Waiting for a producer before you make a recording? Waiting for a label before you distribute or promote your music? Guess what, someone else isn’t waiting for anyone, and he or she is leaving you in the dust. The worst thing you can do is nothing."
really? Do we are Rockfeller ? (or, nowaday: Berlusconi ? :-)))) ) Where do you think is possible to get money without asking for them? In order to create a Tour? Perhaps in US certain things are working out fine and for free. Not at all in EU!
A Stage costs, the service: costs, the resources: cost, the taxes to make all things: cost ... everything is asking money and we have not such "factory" :-) so: we have not to ask what's necessary to make things ????
"5) SELL – Get over the fact that you’re the artist, and asking people for money in exchange for your art is awkward. The reality is that if your work is good, people will want to compensate you for it. You must not only give them the opportunity to do so, but make it easy for them. Be clear and transparent, and tell your customers that your music is valuable, and that if they want to ensure that you are able to keep creating the music that they enjoy, that they must pay for it. Then give them a wide variety of things to buy at different prices."
Wait a second: how many times you propose and they, at the end; don't pay at all even if it was excellent ? All the excuses are valid! As" we finished the money", "the budget is suddendly changed", "the grandma is in hospital", "I'm too busy now we will see each toher in one year!" (and then he/she disappears) etc etc etc. Is it due crisis? NOT AT ALL! Those kind of facts are on the world since 25-30 years at least in EU.
And the last:
"DON’T EXPECT SOMETHING FOR NOTHING"
That's the minimum required :)
I would like to report here, what I found HERE. I found it very interesting and drammatically TRUE! Excpecially in a world where many many many bluffers are attending the market, damaging/obscuring the activity and the image of REAL Professionals.
moreover, there is a behavior to adapt and to change, byboth sides: Promoter/Producer etc and Artist!
I really hope the content of this Blog, will help you.
I'm sure I'm not violating any Copyright rule because I'm taking it from a public Blog, citing the Author, the Origin etc etc etc. And this is a public Blog as well.
The contained information are so clear and useful that I'd like to spread it out!
Anyway at the end there is some my comment. I expect your ones as well :)
_____________________
New Rules For The Music Industry
(from the Blog of TUNECORE)
By George Howard & Jeff Price
(follow George on Twitter)
FOR THE MUSIC INDUSTRY:
1) BE TRANSPARENT – No more hiding behind complex royalty calculations. Man up. Be honest. Provide clear and accurate accounting. The digital world makes it easier than ever to do this.
This applies to labels, distributors, ASCAP, BMI, SESAC and anyone else you can think of. They can all be transparent if they choose to be. Right now they choose not to be.
2) PAY ON TIME! – No more artificial royalty accounting periods. Returns and co-ops are a thing of the past. Pay out and account on one way no return sales that you have been paid in the same month you get them.
The only reason to hold on to the money is to make bank interest on it. If this is what you are going to do, see #1, BE TRANSPARENT and tell artists you are doing this.
3) NO MORE SUGARCOATING AND HIDING REALITY – Seriously. Stop promising things you know you can’t deliver. Not everyone is going to be a star. Be honest, tell the truth,. Let the musician and artist know the realities of the market so they can have a better understand of what needs to be done to succeed or why things are not going the way they want them to.
4) ACKNOWLEDGE YOU WORK FOR THE ARTIST, NOT THE OTHER WAY AROUND – Without the artist none of us will have jobs. They are the ones with the talent. They create culture and write songs that have an impact on the world. They are allowing us to serve them, not the other way around. This philosophy and culture must permeate everything you do. Turn this industry from one that “exploits” the artist to one that serves the artist.
5) ONLY OFFER SERVICES YOU CAN ACTUALLY DO – No more asking for rights or income from things you can’t contribute towards. If you are a label and want more money from other areas (i.e. merchandise, songwriter income, gig income etc) you actually have to provide a service that does something to earn that right. There are others out there that are specialists in these areas, can you do what they can?
6) UNDERSTAND THE ARTIST NOW HAS CHOICE – Unlike the old days, artists can now succeed without you. Labels have gone from a “must have” to a “might need”. Be clear in what you have to offer and create a fair and equitable deal in exchange for the services you are offering.
7) COMMERCIAL RADIO AND MTV NO LONGER SINGULARLY BREAK BANDS – It used to be that print, commercial radio and MTV were the three ways to break a band, no longer. Fans themselves have this power via social networking. Find ways to speak to fans directly and don’t use a middleman. Empower and excite them and they will follow.
FOR THE ARTIST
1) STOP ASKING FOR BIG ADVANCES – Understand that the economics of the business have changed for both the artists and the labels. The goal for artists and labels must be the same: create sustainable working relationships for both parties. Disproportionate advances only add tension (economic and otherwise) to an already tense dynamic. Create financial working relationships based on realistic expectations of ROI.
2) EDUCATE YOURSELF – It’s no longer acceptable (or charming) to be the un-informed artist who doesn’t know the difference between a mechanical royalty and a mechanic. You can’t claim that you’ve been taken advantage of by anyone at this point; the information you need is out there, and it’s not that hard to find. Learn it, once you have this knowledge you can then make informed decisions and decide if the other entity is doing its job. Not to mention, the labels etc already know this info and so should you.
3) TAKE RESPONSIBILITY – Stating that there is any person or thing standing in the way of you and success is a cop out. No longer can you say, “If only my records were in stores, people would buy them,” or, “If only people could hear my music they would love it.” The gatekeepers have vanished; the gates are open…go through them.
4) TAKE ACTION – Waiting for a booking agent before you tour? Waiting for a producer before you make a recording? Waiting for a label before you distribute or promote your music? Guess what, someone else isn’t waiting for anyone, and he or she is leaving you in the dust. The worst thing you can do is nothing.
5) SELL – Get over the fact that you’re the artist, and asking people for money in exchange for your art is awkward. The reality is that if your work is good, people will want to compensate you for it. You must not only give them the opportunity to do so, but make it easy for them. Be clear and transparent, and tell your customers that your music is valuable, and that if they want to ensure that you are able to keep creating the music that they enjoy, that they must pay for it. Then give them a wide variety of things to buy at different prices.
6) GIVE WITHOUT ASKING FOR ANYTHING IN RETURN – It’s not all selling, of course, and we are all in this together. Look for ways to help other artists. Share information, share resources. This is not a zero-sum game; the overall pie can expand, and we will all benefit proportionately when it does.
7) DEMAND ANSWERS – if you don’t understand something, ask. If the person you ask can’t give you a clear, understandable answer then he or she is either clueless or trying to hide something. Demand a clear, understandable answer or walk away from the deal.
8) MARKETING DOES NOT ALWAYS EQUAL SUCCESS – The major labels spent hundreds of millions of dollars marketing and promoting bands. Only 2% of them succeeded, the other 98% were deemed failures. If marketing = success, they would have had a 100% hit ratio. The reason an artist succeeds is because the music caused reaction.
9) LEAD TIME FOR STREET DATES MATTER LESS – It’s not like the old days where you only had a limited time for prime real estate in a retail store and if the CDs did not sell they would be returned. In the new model you can release music today, and market later, with little detrimental impact.
10) IT’S ABOUT A CONSTANT STREAM OF MUSIC AND MEDIA, NOT A ONCE A YEAR ALBUM RELEASE – The new world moves fast. The best strategy is to roll out songs, videos, pictures, blog postings, tweets and anything else you can think of on a constant basis. This keeps your fans engaged and stops you from losing momentum and going stale.
11) IT’S GLOBAL – The new music industry is a global one. At the click of a button your music is available to buy, share, stream and download around the world. Keep this in mind when you think about where your money is being held, generated and how to get it.
12) YOU ARE NOT POWERLESS – Music is not food, shelter or clothing, but everyone likes it and needs it. The music industry currently generates around $30 billion dollars a year. The entities and people getting this money is shifting from the legacy companies to you. Within another five years the collective power of you will be bigger than any of them. You have the power to change things, and you already are.
As just one example, in the past two years, TuneCore Artists have earned over $170 million in gross music sales and have sold over 400 million songs by paid download or stream. TuneCore Songwriters have earned over another $120 million dollars.
As you sell more, they sell less.
13) DEFINE YOUR GOALS – Know what it is you are tying to accomplish. Are you looking to be the next Vanilla Ice or just sell some music without touring? Is your goal corporate sponsorships or having others cover your songs? Whatever it may be, have a goal in mind and then work towards accomplishing that objective. With that one conquered, you can move on to the next.
DON’T EXPECT SOMETHING FOR NOTHING
It’s going to take work to make things happen. Either you need to do the work or you must hire someone else to do part, or all of it, for you. If you understand your rights, how money is made, and how much you should make, you can make educated decisions.
Got more rules? Post them here!
__________________________________________________________________________________________________________________________
George Howard is the former president of Rykodisc. He currently advises numerous entertainment and non-entertainment firms and individuals. Additionally, he is the Executive Editor of Artists House Music and is a Professor and Executive in Residence in the college of Business Administration at Loyola, New Orleans. He is most easily found on Twitter at: twitter.com/gah650
________________________
MY OPINION:
Some my thoughts:
"4) TAKE ACTION – Waiting for a booking agent before you tour? Waiting for a producer before you make a recording? Waiting for a label before you distribute or promote your music? Guess what, someone else isn’t waiting for anyone, and he or she is leaving you in the dust. The worst thing you can do is nothing."
really? Do we are Rockfeller ? (or, nowaday: Berlusconi ? :-)))) ) Where do you think is possible to get money without asking for them? In order to create a Tour? Perhaps in US certain things are working out fine and for free. Not at all in EU!
A Stage costs, the service: costs, the resources: cost, the taxes to make all things: cost ... everything is asking money and we have not such "factory" :-) so: we have not to ask what's necessary to make things ????
"5) SELL – Get over the fact that you’re the artist, and asking people for money in exchange for your art is awkward. The reality is that if your work is good, people will want to compensate you for it. You must not only give them the opportunity to do so, but make it easy for them. Be clear and transparent, and tell your customers that your music is valuable, and that if they want to ensure that you are able to keep creating the music that they enjoy, that they must pay for it. Then give them a wide variety of things to buy at different prices."
Wait a second: how many times you propose and they, at the end; don't pay at all even if it was excellent ? All the excuses are valid! As" we finished the money", "the budget is suddendly changed", "the grandma is in hospital", "I'm too busy now we will see each toher in one year!" (and then he/she disappears) etc etc etc. Is it due crisis? NOT AT ALL! Those kind of facts are on the world since 25-30 years at least in EU.
And the last:
"DON’T EXPECT SOMETHING FOR NOTHING"
That's the minimum required :)
Friday 12 August 2011
Why to click on "I LIKE" to the Artistic Pages on FACEBOOK?
Well, I got several argumentation that has generated the title and the meaning of this topic.
Because many people, as me, once they get some friend in Facebook, they invite her to visit their Artistic Page (it's my case and the case of several other musicians), and to click the button "I LIKE".
Some people thinks (wrongly!) that it's to increase the "numbers of friends" in order to collect more and more.
But, as I said: it's wrong.
Some other just laughs because she's not clear the meaning of that.
Some other thinks that's a "psychological obligation" to click on "I LIKE", violating any "ego rules" (no-ones likes to have imposed something from somebody else ... ) and she refuses to do it.
I'm aware that in certain case this may be the true. But its not in all cases and it's not in the majority of the cases.
I'm going to explain something that's not very known, especially to who's not IT and/or doesn't pay attention to some details.
Who's Musician and/or Producer and/or Composer, 80% knows the existence of websites like Reverbnation and MySpace (even if this last one lists a lot of his popularity due: not requested improvements that damaged many sites and its very very slow download speed! Mortally slow!)
Well, a site like Reverbnation is much more useful and interesting for what concerns Artistic Activity, then it's chosen by many of them (me included).
It takes in consideration also the friends on MySpace, on Facbook. It has tools to send to all friends on FaceBook and MySpace notifications of events/ concerts/new CDs or MP3s etc etc etc ... bla bla bla ...
GOOD! COOL! GORGEOUS!
BUT there is a "BUT"!
With Facebook: a site like Reverbnation, literally IGNORES the friends!!! it doesn't care how many friends/colleagues you have!!
It really ignores any your effort, creating some difficulty more.
Is it the only one that behaves so? NOT AT ALL!!! It's very common use!!!
What it's caring is: how many friends of you clicked on "I LIKE" into your ARTISTIC PAGE.
Nothing else than this!
So that: if a friend of you likes your music, and would like to be updated by you when you give Concerts or new CDs etc, well ... in the reality she doesn't receive ANY notification, if she has clicked on "I LIKE" on the link of you posted in her Board or private Message!
Indeed, it doesn't count at all!!
She has to click on "I LIKE" INSIDE the Artistic Page linked by you! ...
It means:
FIRST click on the given link, visiting the page;
Listen to the music the Artist is proposing
If it's liked: she must click on the BUTTON "I LIKE" at the top of the page.
So that it's much easier for the Musician to write just a newsletter OR to insert into the Calendar the event/concert etc and automatically to notify to all the friends the event, without having the issue to replicate several times the same information everywhere.
The issue is: people they DON"T KNOW that: only the button should be clicked!!
Then what to do? To write each one a message long like this blog in order to try to explain the reasons? being sure that no one will fully read it ?
Or just indicating clearly to click on the BUTTON: I LIKE ?
The second one is the best.
Anyway everybody is enough adult to decide, afterwards, to click on I LIKE if they like really or not.
Thus: any complains about the indication given: is useless and time consuming.
If it's true that each e-mail produces several CO2, I ask myself why people managing these websites, obliges to replicate the same things several times, when with only 1 (one) click, it's possible to cheap a lot of CO2.
Byez -.-
Because many people, as me, once they get some friend in Facebook, they invite her to visit their Artistic Page (it's my case and the case of several other musicians), and to click the button "I LIKE".
Some people thinks (wrongly!) that it's to increase the "numbers of friends" in order to collect more and more.
But, as I said: it's wrong.
Some other just laughs because she's not clear the meaning of that.
Some other thinks that's a "psychological obligation" to click on "I LIKE", violating any "ego rules" (no-ones likes to have imposed something from somebody else ... ) and she refuses to do it.
I'm aware that in certain case this may be the true. But its not in all cases and it's not in the majority of the cases.
I'm going to explain something that's not very known, especially to who's not IT and/or doesn't pay attention to some details.
Who's Musician and/or Producer and/or Composer, 80% knows the existence of websites like Reverbnation and MySpace (even if this last one lists a lot of his popularity due: not requested improvements that damaged many sites and its very very slow download speed! Mortally slow!)
Well, a site like Reverbnation is much more useful and interesting for what concerns Artistic Activity, then it's chosen by many of them (me included).
It takes in consideration also the friends on MySpace, on Facbook. It has tools to send to all friends on FaceBook and MySpace notifications of events/ concerts/new CDs or MP3s etc etc etc ... bla bla bla ...
GOOD! COOL! GORGEOUS!
BUT there is a "BUT"!
With Facebook: a site like Reverbnation, literally IGNORES the friends!!! it doesn't care how many friends/colleagues you have!!
It really ignores any your effort, creating some difficulty more.
Is it the only one that behaves so? NOT AT ALL!!! It's very common use!!!
What it's caring is: how many friends of you clicked on "I LIKE" into your ARTISTIC PAGE.
Nothing else than this!
So that: if a friend of you likes your music, and would like to be updated by you when you give Concerts or new CDs etc, well ... in the reality she doesn't receive ANY notification, if she has clicked on "I LIKE" on the link of you posted in her Board or private Message!
Indeed, it doesn't count at all!!
She has to click on "I LIKE" INSIDE the Artistic Page linked by you! ...
It means:
FIRST click on the given link, visiting the page;
Listen to the music the Artist is proposing
If it's liked: she must click on the BUTTON "I LIKE" at the top of the page.
So that it's much easier for the Musician to write just a newsletter OR to insert into the Calendar the event/concert etc and automatically to notify to all the friends the event, without having the issue to replicate several times the same information everywhere.
The issue is: people they DON"T KNOW that: only the button should be clicked!!
Then what to do? To write each one a message long like this blog in order to try to explain the reasons? being sure that no one will fully read it ?
Or just indicating clearly to click on the BUTTON: I LIKE ?
The second one is the best.
Anyway everybody is enough adult to decide, afterwards, to click on I LIKE if they like really or not.
Thus: any complains about the indication given: is useless and time consuming.
If it's true that each e-mail produces several CO2, I ask myself why people managing these websites, obliges to replicate the same things several times, when with only 1 (one) click, it's possible to cheap a lot of CO2.
Byez -.-
Monday 30 May 2011
Laser Harp
I saw this wonderful instrument the first time, played by Jean Michel Jarre.
With the years I became NewAge music composer, and I found a really great idea to play it.
In 2010 I started to looking for who, in the world, was really producing this instrument.
Browsing in Google, it was very difficult to find somebody.
The main reason: it is full of blogs of self-builders, or empty pages or some not well defined products that's looking like a toy.
As musician I needed something that's a product, that's an instrument with certain peculiarities that no links/website was offering.
Thus at that time there were not Laser Harps at all around the world, I mean: crafted ones by Companies that are selling it.
I was already to the point to give definitely up when at once, I found this site: http://www.kromalaser.com
They are building and commercializing Laser Harps! Wow, it was what I was looking for.
I no wanted things from China, so I was looking who/what is Kromalaser. I discovered it's a Western European Company.
Ok, I was extremely wondered when I found it lies in Italy. God: we are talking the same language.
I contacted them in order to get more information about their Laser Harps, and they answered quickly and with all details.
For me, that's great. Because I finally found a Laser harp that's not a toy, and a company that's answering correctly, completely and without "turns of words".
I decided to get their littler model the KL-450.
It was delivered perfectly on time.
Once received I was amazed. This laser harp: compact, very portable, and rugged.
I opened it and the elegance and simplicity of the controls has astonished myself.
I started immediately to play in order to get some confidence with. Great!!
Just I connected my USB/MIDI Interface to the MIDI out of the Laser Harp, the other top of the USB cord to the PC, I started Kontakt, loaded the library of Jean Michel Jarre and I was already playing!
Being my career in the technical environment, I was very curious to watch how this instrument was made. I wrote to kromalaser asking if I could. Of course they informed me that the warranty goes to expire and I was risking my eyes with Lasers.
I worked with lasers in my life, to align optical systems (telescopes) so that I got some confidence, and about the warranty: I got the risk.
I opened the Laser Harp.
I was astonished! It seems it is made in Germany or Switzerland, so good the whole structure and circuitry is made!!!
I couldn't avoid to call kromalaser back expressing my congratulations. I clearly told them that my Warranty was expired but I wanted to see in what manner the interior was. And I was not touching anything else.
After the talk, the owner told me that if I really didn't touched anything, I could consider the warranty again valid.
I had care really do not touch anything: any trimmer, any mechanism.
I felt myself really well treated. My money where spent in a very good way.
The little bag in which the Laser harp is crafted, is very elegant and robust, internally it's very strong and can really resist to heavy duty.
No "kits" not "self-built" not any little box that flies away when you are sneezing.
After a while a friend came to my place to watch and test this jewel.
he went away with it!!! He just payed me the whole amount and went to his place with it :D
So that I had to buy another one!
The lasers of the kromalaser Laser Harp are in two colors and this is an invention of kromalaser. They wanted the Red beams for the chromatic notes and the green for the diatonic.
At least I can orient my self on :where I am when I'm playing.
Indeed, to have all the lasers green, I didn't liked at all. Nevertheless, this laser harp, can have also all lasers green and all red. It's just a setting that's very easy to be activated.
The kromalaser Laser Harp come with a little pedal board. GREAT! because all the toys I found in internet they have or some pushbutton here and there or "dip-switches"! gents! I need to play! Not to surgery a person! When I 'm on Stage aI need to find immediately the set-up.
Indeed with this Laser Harp, taking example from Guitar players that are working with Pedals in a very very very good manner (I'm guitarist as well! So I know what I'm telling!), I found that solution simply: GREAT !
Covering 6 Octaves, it is more than sufficient for my needs. NewAge music is centered on the three central octaves and I can play this Laser Harp of kromalaser very easily.
I opened a project and I will make a CD with it. I'm really enthusiast about this Laser Harp.
thank you kromalaser ;)
I know they invented in 2010 also an ILDA Controller in order to drive also all the Laser Projectors. It was named KL-ILDA, now they changed the name in KL-KONTROL and it follows the same philosophy of the KL-450. It's very good for DJs also. It will be my next step when I design big concerts in open space ;)
With the years I became NewAge music composer, and I found a really great idea to play it.
In 2010 I started to looking for who, in the world, was really producing this instrument.
Browsing in Google, it was very difficult to find somebody.
The main reason: it is full of blogs of self-builders, or empty pages or some not well defined products that's looking like a toy.
As musician I needed something that's a product, that's an instrument with certain peculiarities that no links/website was offering.
Thus at that time there were not Laser Harps at all around the world, I mean: crafted ones by Companies that are selling it.
I was already to the point to give definitely up when at once, I found this site: http://www.kromalaser.com
They are building and commercializing Laser Harps! Wow, it was what I was looking for.
I no wanted things from China, so I was looking who/what is Kromalaser. I discovered it's a Western European Company.
Ok, I was extremely wondered when I found it lies in Italy. God: we are talking the same language.
I contacted them in order to get more information about their Laser Harps, and they answered quickly and with all details.
For me, that's great. Because I finally found a Laser harp that's not a toy, and a company that's answering correctly, completely and without "turns of words".
I decided to get their littler model the KL-450.
It was delivered perfectly on time.
Once received I was amazed. This laser harp: compact, very portable, and rugged.
I opened it and the elegance and simplicity of the controls has astonished myself.
I started immediately to play in order to get some confidence with. Great!!
Just I connected my USB/MIDI Interface to the MIDI out of the Laser Harp, the other top of the USB cord to the PC, I started Kontakt, loaded the library of Jean Michel Jarre and I was already playing!
Being my career in the technical environment, I was very curious to watch how this instrument was made. I wrote to kromalaser asking if I could. Of course they informed me that the warranty goes to expire and I was risking my eyes with Lasers.
I worked with lasers in my life, to align optical systems (telescopes) so that I got some confidence, and about the warranty: I got the risk.
I opened the Laser Harp.
I was astonished! It seems it is made in Germany or Switzerland, so good the whole structure and circuitry is made!!!
I couldn't avoid to call kromalaser back expressing my congratulations. I clearly told them that my Warranty was expired but I wanted to see in what manner the interior was. And I was not touching anything else.
After the talk, the owner told me that if I really didn't touched anything, I could consider the warranty again valid.
I had care really do not touch anything: any trimmer, any mechanism.
I felt myself really well treated. My money where spent in a very good way.
The little bag in which the Laser harp is crafted, is very elegant and robust, internally it's very strong and can really resist to heavy duty.
No "kits" not "self-built" not any little box that flies away when you are sneezing.
After a while a friend came to my place to watch and test this jewel.
he went away with it!!! He just payed me the whole amount and went to his place with it :D
So that I had to buy another one!
The lasers of the kromalaser Laser Harp are in two colors and this is an invention of kromalaser. They wanted the Red beams for the chromatic notes and the green for the diatonic.
At least I can orient my self on :where I am when I'm playing.
Indeed, to have all the lasers green, I didn't liked at all. Nevertheless, this laser harp, can have also all lasers green and all red. It's just a setting that's very easy to be activated.
The kromalaser Laser Harp come with a little pedal board. GREAT! because all the toys I found in internet they have or some pushbutton here and there or "dip-switches"! gents! I need to play! Not to surgery a person! When I 'm on Stage aI need to find immediately the set-up.
Indeed with this Laser Harp, taking example from Guitar players that are working with Pedals in a very very very good manner (I'm guitarist as well! So I know what I'm telling!), I found that solution simply: GREAT !
Covering 6 Octaves, it is more than sufficient for my needs. NewAge music is centered on the three central octaves and I can play this Laser Harp of kromalaser very easily.
I opened a project and I will make a CD with it. I'm really enthusiast about this Laser Harp.
thank you kromalaser ;)
I know they invented in 2010 also an ILDA Controller in order to drive also all the Laser Projectors. It was named KL-ILDA, now they changed the name in KL-KONTROL and it follows the same philosophy of the KL-450. It's very good for DJs also. It will be my next step when I design big concerts in open space ;)
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