Yes, another example might be the night the lights went out in Georgia? I know this was done in the early 70s so didn't have a lot of the modern conveniences that we now have.
Sent from my iPhone > On Nov 2, 2013, at 8:47 AM, Gordon Smith <[email protected]> wrote: > > Hi Josh > > I have moved this from Mac Access, since it no longer has a Mac or iOS > relevance. > > I know how to do this the hard way. I also know how not to do it the hard > way, if you get my point. What I’m saying is that there’s a right and a > wrong way of doing things like this. > > Let me give you an example. If you listen to a song such as Michael > Jackson’s “Got To Be There”, and pay attention to his vocal tracks. You can > clearly hear that these were done in real time and not particularly well > either. The song is excellent, but there are very slight deviations between > the two vocal tracks. I guess I notice this kind of thing but every time I > listen to that song, it hits me like somebody poured a bucket of cold water > over my head while I had a laptop on my lap. Yes, nasty! Nasty! Nasty!!!! > ;-) > > But seriously, there are other artists I’ve heard who have also done > double-tracked vocals and not done it quite right. But that song, “Got To Be > There” is just a shining example of how not to do things the hard way. > > Another band which used two techniques which sound quite similar were the > Beetles. The vast majority of Paul McCartney’s vocals were either > double-tracked or compressed. Compression is sometimes another technique > which producers use to kind of simulate double-tracking. So is reverb. A > very fast reverb setting can actually sound really good when applied to > vocals, as long as it isn’t overdone. > > Anyway, if you have that song in your collection, “Got To Be There” by > Michael Jackson, have a listen to it and pay attention to the vocals. Most > especially, listen to the high notes when he sings > “Sheeeeeeeeeeeeeeeeeeeeeee” and when he sings “I need her sharing the world > beside mere" > > Kind regards > > <--- Gordon Smith ---> > > <[email protected]> > > Information Technology Accessibility Consultant; > Providing Help & Support To Young People With Visual Impairment, plus Braille > Transcription services. > > > > Telephone: > > United Kingdom: Free Phone: > 0800 8620538 > > Mobile: > +44 7907 823971 > > Europe and other non-specified: > +44 1642 688095 > > Or: > +44 1642 941776 > > United States Of America And Canada: > +1 646 9151493 > Or: > +1 209 436 9443 > > Australasia: > +61 38 8205930 > Or: > +61 39 0284505 > > Fax: > +44 1642 365123 > > Follow Us On Twitter: > <http://twitter.com/maciosaccess> > > Skype: > <skype:mac-access-dot-net?call> > > ------------------------------ > > > > > On 2 Nov 2013, at 11:41, Josh Gregory <[email protected]> wrote: > > See, this is why this stuff has always been beyond me, I'm more of the how > does it work, how do you fix it person? The fact that you and other people > like you know how to do this stuff is amazing to me, not that I'm taking on > the blind people are totally amazing mantra, but just that I could never get > how to do any of this stuff. LOL. > > Sent from my iPhone > >> On Nov 2, 2013, at 7:33 AM, Gordon Smith <[email protected]> wrote: >> >> I happen to agree with this. An FX processor, no matter how good, will >> never accurately emulate the sound of a human voice even assuming you can >> get the pitch changes spot on. Dane’s Yamaha unit may not even be an FX >> processor, I don’t know. I too have an FX processor but it can only do so >> much. Actually, Sarah did hit the nail on the head when she spoke about the >> different chords or, to use the proper term, “Intervals” You see, I too >> have some musical training and background. >> >> But what has come out of this is actually a very positive discussion. So >> let’s not start taking things personally or making noises regarding what >> others write. This is merely a discussion which I started because I wanted >> to see whether anybody could come up with a technological solution. I know >> how this used to be done in the good old days of analogue. But now we’re >> all digital and I was kind of hoping there might be a short cut. Seems like >> there is not a short cut. So we’ll have to do this the good old fashioned >> way. The skill here, apart from hitting the correct intervals to create >> effective harmonies is to produce vocals with the same inflections on the >> same beat of each note. It’s going to sound pretty horrendous if, for >> instance, an “N” sound were to be elongated on one track and not on the >> accompanying track. That was always the skill of the musician in the good >> old days of analogue. I have done a little work in a studio environment. >> True, that was only a 16-track studio and not the 64-track recording studio >> type of setup. But all the same, when you listen to a band like, for >> example, Queen sing, or a musician sing in harmony with another musician, >> they always hit the same inflections. This is taking us way off topic. Bit >> it sounds to me as though the only solution to this problem which is >> available to me is going to be doing it the hard way. >> >> Again, ProTools is out of my price range just at the moment. Although >> perhaps some may snub them, there are other tools which can be used to >> produce similar results. Possibly not as seamlessly, but I’m sure it can be >> done. >> >> Kind regards >> >> <--- Gordon Smith ---> >> >> <[email protected]> >> >> Information Technology Accessibility Consultant; >> Providing Help & Support To Young People With Visual Impairment, plus >> Braille Transcription services. >> >> On 29 Oct 2013, at 21:41, Christopher-Mark Gilland >> <[email protected]> wrote: >> >> Keep in mind though, a yamaha effects unit is only as good as the person who >> configures it, same goes with other plugs. Not only this, but most of those >> things are going to be used more as a vo-coder. Not as something that keeps >> the original human sound of the voice. It just sounds extremely artificial. >> Trust me. >> >> <--- Mac Access At Mac Access Dot Net ---> >> >> To reply to this post, please address your message to >> [email protected] >> >> You can find an archive of all messages posted to the Mac-Access forum at >> either the list's own dedicated web archive: >> <http://mail.tft-bbs.co.uk/pipermail/mac-access/index.html> >> or at the public Mail Archive: >> <http://www.mail-archive.com/[email protected]/>. >> Subscribe to the list's RSS feed from: >> <http://www.mail-archive.com/[email protected]/maillist.xml> >> >> As the Mac Access Dot Net administrators, we do our very best to ensure that >> the Mac-Access E-Mal list remains malware, spyware, Trojan, virus and >> worm-free. However, this should in no way replace your own security >> strategy. 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