Hopefully it won't cost $12,000 like the VideoTim, but, given how expensive it is to manufacturer cells, I doubt that this will be anything approaching affordable, even for those of us with good jobs/income.
Thanks for the info, but this isn't really related to Pro TOols, or even recording, so we should take this thread off list. Bryan On May 26, 2011, at 7:17 AM, <[email protected]> <[email protected]> wrote: > > Hello Everyone, > yesterday I was too hasty and its a completely other subject but I want to > react on the hyperbraille subject. > I went to the link Nickus posted and there was one thing which intrigued me. > that was the pixelmode of the display. > From what i could gather was that the display was able to display immages > and with the technique of the ipad and iphone you can draw immages the flash > moovie was too short to figure out all the details but I think it'll be an > enormous improvement when this display comes into > production. > As far as i know now its a project which has to be evaluated. > Thanks for the information Nickus. > With regards > Peter. > ----- Original Message ----- > From: "Jake" <[email protected]> > To: <[email protected]> > Sent: Wednesday, May 25, 2011 5:11 PM > Subject: Re: three questions about audio, protools and blind people... > > >> got to love Pepper one of my favorite albums of all time. >> >> Jake >> ----- Original Message ----- >> From: <[email protected]> >> To: <[email protected]> >> Sent: Tuesday, May 24, 2011 1:06 PM >> Subject: Re: three questions about audio, protools and blind people... >> >> >>> >>> Hello everyone, >>> there are more factors than the producing alone for instance if you are >>> w0orking with musicians and other things I worked in prostudios which had >>> a >>> good crew and a good building you can buy good stuff for a reasonable >>> price >>> but you can"t buy good pros who know their trade they have to work for >>> it. >>> Or you yourself must be good. >>> I read the whole item and i stand on the sideline but do not make >>> yourself >>> dependable on technique because that's only half of it. >>> You have to be creative. >>> Sergeant pepper was made on four tracks. >>> cheers and work hard every one. >>> Peter. >>> ----- Original Message ----- >>> From: "Jake" <[email protected]> >>> To: <[email protected]> >>> Cc: <[email protected]> >>> Sent: Tuesday, May 24, 2011 8:34 PM >>> Subject: Re: three questions about audio, protools and blind people... >>> >>> >>>> Wow guys just finished reading the thread and I am a bit depressed. The >>>> bright spot as I see it is there will always be Audiophiles who will >>>> insist on the quality recordings that only masters in the field can tern >>>> out. >>>> >>>> Jake >>>> ----- Original Message ----- >>>> From: "Bryan Smart" <[email protected]> >>>> To: <[email protected]> >>>> Sent: Tuesday, May 24, 2011 3:15 AM >>>> Subject: Re: three questions about audio, protools and blind people... >>>> >>>> >>>> Frank, no problem. This is on topic. >>>> >>>> Nickus, historically, the tracking or mix engineer receives income from >>>> either the studio that employs them, or else was contracted by a >>>> project's >>>> Executive Producer. In either case, upstream of those people, the money >>>> came from larger projects, such as producing demo or album tracks for an >>>> artist, work on a film or television project, music for commercials, >>>> etc. >>>> The studio was the music and sound factory, and the engineer was one of >>>> the technicians. >>>> >>>> 1. Music sales are profoundly low when compared to historical figures. >>>> The >>>> huge music markets of the 20th century are gone. Since people aren't >>>> buying like they used to, no one wants to invest the huge amounts of >>>> money >>>> to elaborately record artists. From small time to big time recording >>>> artists, album production budgets have shrunk to the bare minimum. This >>>> is >>>> the case in all media. Instead of hiring live musicians, most film and >>>> television music is now sequenced. When people are actually recorded, in >>>> many cases, recording is kept to a minimum. It is cheaper to edit than >>>> to >>>> spend lots of expensive time to get the great take. >>>> >>>> 2. Without the huge in-flow of large recording budgets, the money no >>>> longer is available to support most of the large recording facilities of >>>> just a few years ago. As the facilities close, that means less steady >>>> work >>>> for lots of people formerly employed by the technical side of the >>>> recording industry, including engineers. >>>> >>>> 3. Anyone with $1,000 can record a passable version of a song at home, >>>> and >>>> anyone with $10,000 and a few years of practice and study can do a >>>> competent job of recording and mixing an album at home. There are >>>> wonnabee >>>> producers and mixers under every rock, and there are so many that they >>>> work for little to nothing. They might not have golden ears and decades >>>> of >>>> experience, but even those that do have found it harder to insist on >>>> past >>>> pay when there is so much competition and less money available to pay >>>> them. Why rent studio time to cut a demo when your buddy can run >>>> GarageBand? Why pay someone to write and arrange music for a commercial, >>>> and book musicians and a studio to record it when someone can be >>>> contracted through a web site to throw together some loops with a few >>>> overdubs for a couple of hundred bucks? Everyone is trying to make their >>>> project happen for less money. >>>> >>>> So, in summary, there is less money available to support a larger number >>>> of people that are attempting to perform this work. It's important not >>>> to >>>> live under illusions when trying to turn this sort of work in to income. >>>> The day of the mega studio and the recording engineer in the traditional >>>> sense is pretty much gone, with a few exceptions. The big cities for >>>> recording in the US, such as New York, LA, Atlanta, and others still >>>> employ people for this sort of work, but the jobs are far fewer, and >>>> they're flooded with people with lots of experience in bedroom studios. >>>> >>>> I know just a few people that still routinely get work in large >>>> facilities. The others that I know that are still making money with this >>>> sort of work have pretty much given up on the old model, and have turned >>>> themselves in to craftsman instead of techies. By that, I mean that they >>>> find their own clients, work with them on an on-going basis, and sell >>>> themselves as experts in particular types of recording. Even so, they >>>> are >>>> usually being directly paid by artists, and so are making due on far >>>> less >>>> money than in days passed. >>>> >>>> There isn't megabucks in this anymore, except for a small few. If you do >>>> it, you should view it as an art that you'd like to pursue, and hope to >>>> make enough to sustain yourself. Focus on a niche. Become good at >>>> on-site >>>> recording of acoustic instruments, find those musicians, and promote >>>> yourself. Become good and fast with editing, and fight with the hordes >>>> of >>>> others competing for jobs online. Become fast at throwing together >>>> instrumental tracks and beds in short periods of time so that you can >>>> serve the low budget new media people. Moving to the US or UK probably >>>> won't help so much. You can hunt up work over the Internet as well as >>>> someone in either of those places. >>>> >>>> Really, though, you must absolutely love this sort of work, because >>>> getting anywhere with it today takes a huge amount of time and effort, >>>> and >>>> the rewards aren't commonly financial. >>>> >>>> Sorry if that's gloom, but it's how things are. On the positive side, >>>> pretty much anyone that wants to record can now record. It's not an >>>> elite >>>> club anymore, nor does it require a lot of money. Recording music is >>>> becoming something that people increasingly do for themselves, rather >>>> than >>>> depending on technical experts. We're not quite to the point where >>>> GarageBand has an auto-mix button, but I don't doubt that a feature like >>>> that will show up before too many years. Those with golden ears will say >>>> how auto-mixes are lacking in this way or that, but most people won't be >>>> able to hear, nor will they care. In that world, you'll be working to >>>> please the people that still do care. I think that it will be like >>>> painting portraits in a world full of digital cameras. Someone in that >>>> position must love to paint. >>>> >>>> Bryan >>>> >>>> On May 23, 2011, at 2:41 PM, Frank Carmickle wrote: >>>> >>>>> Hi Nickus >>>>> >>>>> On May 23, 2011, at 7:49 AM, Nickus de Vos wrote: >>>>>> On May 20, 10:06 pm, Frank Carmickle <[email protected]> wrote: >>>>>>> Hello Nickus >>>>>>> >>>>>>> On May 19, 2011, at 8:03 AM, Nickus de Vos wrote: >>>>>>> Snip... >>>>>>> >>>>>>>> you get experience if nobody gives you a chance, well in the last 6 >>>>>>>> months I have asked that question over and over but that's just how >>>>>>>> it >>>>>>>> is. It's not a easy industry to get in to. >>>>>>> >>>>>>> The industry as a whole is really suffering right now. There are way >>>>>>> to many people trying to do jobs that are disappearing. I understand >>>>>>> your frustration. My plan is to hang in there and do as much as I >>>>>>> can. >>>>>>> Music always seems to suffer the most during economic down turns. At >>>>>>> some point people will decide that they want to spend money on nice >>>>>>> recordings of good musicians actually playing music. The object is >>>>>>> to >>>>>>> be in a position to work when the work shows up again. For some of >>>>>>> us >>>>>>> we just enjoy recording. If I go blow $$$ on gear that I keep for >>>>>>> the >>>>>>> next 30 years then I can record for 30 years. That brings me great >>>>>>> joy. How much is it worth to you to make recordings? Or maybe you >>>>>>> don't buy gear but you rent studio time at place that has great gear >>>>>>> that you wouldn't be able to afford otherwise. Either way find a way >>>>>>> to record if that's what you love to do. >>>>>>> >>>>>>> Take care >>>>>>> --FCHi frank >>>>>> I know that the industry is taking a dip because of the economy but in >>>>>> South Africa it's worse than in Europe or the states. Thing is here in >>>>>> SA the industry isn't as big we don't have 1000s of live engineers and >>>>>> 1000s of studio engineers, most guys do both or whatever they can to >>>>>> make money. We don't have massive studios like your Abbyroads in >>>>>> England, most studios over heer is privately owned with guys working >>>>>> alone. With all these factors I haven't even mentioned the blind thing >>>>>> as that scares people they think I'm stupid or something so that's >>>>>> another negative for me. The only way for me would be to basically >>>>>> start my own studio which would cost me a lot of money which I don't >>>>>> have, my other option is to start doing live sound to get in to the >>>>>> industry which I also can't do because I can't go in to places, do set >>>>>> ups etc. I can do live sound in places like theters with installed >>>>>> systems but because of the experience factor and the blind thing >>>>>> people just don't want to hire me for big shows etc. I am basically >>>>>> screwed for now, luckally I still live with my parents who supports me >>>>>> but sooner or later they are going to start getting tired of me not >>>>>> working. The ideal for me would be to go to England or the US because >>>>>> it sounds as if there's more oppertunities but with imigration and >>>>>> visa regulations these days you have to have a job on the other side >>>>>> before you can go. Anyway that's my story in a few words and before I >>>>>> get kicked off the list for posting irevelent stuff let me stop. >>>>> >>>>> Well... Maybe Brian doesn't think that this is on topic but I do. I >>>>> think that the technical troubles are equally as hard to deal with as >>>>> the >>>>> lack of opportunity. I think it is very very important for us to talk >>>>> about how to the skills to pay the bills. That means we need to be >>>>> able >>>>> to use the gear, find and keep the clients, and everything in between. >>>>> I >>>>> think you are greatly mistaken about the industry and how it is in >>>>> other >>>>> places than your own. Some of us do live in Nashville, New York city, >>>>> or >>>>> Los Angeles, but the majority don't. Even if you do live in NYC you >>>>> still would have trouble finding work. I know sited folk in NYC who >>>>> are >>>>> trying to make it as audio engineers. Tom is correct in saying that >>>>> it's >>>>> all about persistence. Most people in NYC are recording in their >>>>> bedrooms. I really think it's unfortunate. people have decided that >>>>> they would rather spend money on a few crappy pieces of gear than to go >>>>> in to a studio. The quality of recordings is surely suffering because >>>>> of >>>>> this. I am also looking for the answers to a bunch of these questions. >>>>> In the mean time I'm going to record some projects and see if people >>>>> start noticing my work. If they do than maybe things will start >>>>> looking >>>>> up for me. I'm gonna keep trying. >>>>> >>>>> --FC >>>>> >>>> >>>> >>>> >>> >> >
