I was recently looking for audio stuff for testing audio track mixing in Orion. I tried to test how to mix studio live session kind recordings in Orion. I found this movie project and the teaser of it. They have released the video and audio stuff of the teaser for remixing under the Attribution-Noncommercial-Share Alike license.
The whole Remix Pack is available in
http://www.ironsky.net/site/?page_id=26.
It's a quite huge package, 650MB, and the audio package is part of it. It took for a while to download it but it was worth it.
The audio package includes the song - Under the Iron Sky - (by Adamantium Studios) with vocals and instruments in separate audio tracks. It's partly ready produced stuff (the tracks are not completely dry as there are little reverb and background sounds and noise there). The drum track is fully ready produced.
I imported Wav files to Orion and made the following mix. It's more a remaster than a remix. It was a first time to do this kind of stuff to me (I mean there is only audio tracks in the mix). It was a quite challenge to get it all in balance but it was really fun.
http://www.mikseri.net/artists/?id=113412&displ_lang=en
----> Iron Sky movie teaser song remix (MP3)
It would be even more fun if some one out there would try the same thing and make a good sounding remaster(remix based on the original stuff of this remix package with Orion. If everybody has the original wav tracks downloaded, then only thing to do is to share the tiny sfs Orion file. Here is mine:
Iron_Sky_Teaser_Song_Remix_By_Boreal_Experimental.sfs
http://koti.mbnet.fi/baroque/demoroom/I ... mental.rar
Note, the original wav tracks are not included, you have to download them from
http://www.ironsky.net/site/?page_id=26.
After downloading the remix package place the sfs file to your iron_sky_teaser_remix_packaudio folder, and when Orion asks the wav files, locate that folder.
Testing audio track remixing in OrionModerators: Christophe, Mark
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Testing audio track remixing in OrionLast edited by baroquerion on Tue Aug 11, 2009 11:02 am, edited 1 time in total.
Testing audio track remixing in OrionAny comments on this...?
Testing audio track remixing in OrionNo offence B, but it sounds like Shirley Bassey doing a James Bond theme? It sounds great, and well arranged.. But I kinda kept expecting Dieter Mier to start narrating, and Boris Blank to punctuate it with a Fairlight Brass Stab and priceless expression.
I think I'd have more fun with the 'Yello ReMix Party Pack'.
Testing audio track remixing in Orion
:biglol: Thanks for your comment Dungeon. Well, it's the only remix package I've found so far from the net. Any other hints for this kind of testing packages? Are you serious with this 'Yello ReMix Party Pack'.... :smile3:
Testing audio track remixing in OrionOooooooooh Yeeeeeaaaah!
I'm not serious, but I think Dieter and Boris should seriously consider it. They've been out of the loop for too long, and what a way to bring them back. The royalties and licencing alone from ad agencies to radio and video would make The Rolling Stones vs. The Verve look like peanuts. Hey Dieter - give ME your gold! :superlol: Not up on the remix stuff myself B. But you did well with it in OP I must say.
Testing audio track remixing in OrionWait a minute, what's up with The Kraft Demo and Elevator Music?
Yanni Meets Florian? Nice stuff - but what the hell is happening to us? I'm noodling away on some old Quinn Martin TV show, and you're redoing Electric Cafe and 'Subliminial Spa Relaxation Background Music'? You know Canadians love their Kraft macaroni and cheese dinner. Anythng with Kraft gets our attention. Change the line to 'Cheddar Non-stop, Drain the pot' - I might have a ad for you. :rofl:
Testing audio track remixing in Orion
Maybe it's the age ... ld: :biglol: . I've heard so much music in my life, so it's no wonder, if every kind of stuff pops up from my memory and subconscious. :music: You know, Brian Eno had made Music for Airports. Actually I've never heard these records, but I got this idea to make music for elevators. Skyscraper elevators were in my mind, you know, hundred floors left and this music on the background... :sleep64:
I just wanted to show that it is possible to achieve the sound very much like Kraftwerk with Orion. 'Kraftwerk' is german and it means 'power station' in english, I guess. There is also Jarre demo of mine ...:smile3: :smile4: Last edited by baroquerion on Fri Aug 14, 2009 3:37 am, edited 1 time in total.
Testing audio track remixing in OrionOh I hear you B. Eno did a lot even BEFORE music for airports. Evening Star and No Pussyfooting with Robert Fripp. 45 minutes of just weird noises and guitar riffs. Long before George Harrison and Lou Reed I believe. Then 'Discreet Music' where he just fed a rendition of Pachebels Canon through a messed up EQ, plus some other 'ambient things' on the flipside. Then he did 'Music For Films' - which surprisingly did get used in a few movies and TV shows. He definately set the pace for a lot of what we know today... Right down to the MS opening/closing themes.
And Kraftwerk indeed. I was just thinking today, when I got my first mono synth; I was lucky if I could just do that 'whoosh' sound to Autobahn. I'd have friends over and make them wait as I set up the knobs, and then work that PB over and over again till they screamed 'Yeah okay man, we get it!' Then when groups like Depeche Mode and Trio came out - hey, they got a CS synth, KPR77 and a VL Tone just like me! So not only could I play 'Just Can't Get Enough' in a minimal way, I had the beat to go with it - and 'Da-Da-Da' FTM. Yet I always dreamed of becoming succesful enough to get that Fairlight CMI or Synclavier = to heck with the pimped out Rolls Royce and house in Beverly Hills. But as you proved, one can not only do just a Kraftwerk sound - but everything in OP. The beats, the vocoders, the automated voice. And yes, your Jarre stuff is great too. But EVERYTHiNG they did in OP for like 0.1% of what I'm sure it costed them back in the day. Mind you, they also made a LOT of money off it when all was said and done. It's remarkable that for us to eminate a band or person that spent hundreds of thousands to express themselves 'electronically' 20-40 years ago, we can do on a laptop for a a miniscule fraction. Yet, for one that wants to 'rock out' like Jimmy Page or Angus Young - they still got to get the expensive guitar, the Marshall amp, the boutique pedals and rack gear for as much, if not more than those guys paid. It's friggin incredible artiscally and economically.
Testing audio track remixing in Orion
After hearing records by Carlos, Tomita, JMJ and Kraftwerk, I just had to get a synthesizer of my own. My first synth was Yamaha CS-5. It's amazing thing that those records by Carlos and Tomita were produced without sequencers and played by hand (with multi track tape recorders of course. JMJ probably used some kind of sequencer from the really beginning..?) It must have taken hours and weeks and months. BTW in the very fast parts Carlos used a half speed recording (Les Paul invented that technic, I guess). The synth gear could hardly placed on one room, it was so big on those days. Like I said, my very first one was Yamaha CS-5. I still got it. I remember when I first time got out that 'whoosh' sound, it did sound so cool! And there was the wind and the sea shore wave sound etc., even helicopter and all. And of course, as a musical instrument it still sounds amazing (but, no MIDI support ). And that all with the one oscillator and lfo! I made some cool things with CS-5 by using ping pong over dubbings with my two track recorder. After having my second synth Roland Juno2 and four track recorder, I tried hard to make synth instrumentations like Carlos's. But because I didn' have any sequencers, it took hours and hours to learn the parts. It was very frustrating and my keyboard technic was too limited, even when using half speed redording. So I gave up. Until Orion came up. Now with Orion I can do anything I want, and that all with my laptop. Nowadays anyone can do things like this Bach with the Wasp . Last edited by baroquerion on Sat Aug 15, 2009 4:31 pm, edited 1 time in total.
Testing audio track remixing in OrionWe're pretty similar then - my first synth was the CS10 We're you in on Krim's Omaha synth? I thought Krim did really good on that CS sound, and basically modelled from a CS-5. Certainly brought back memories for me. (Think I even did a Autobahn bass preset for it. )
And a toast to Les Paul - died the other day at 94. I'm not sure if he streamlined what experimentors were doing 'musique concrete' on, or inspired them to make even wilder tape recording contraptions? But he was definately the man that said 'multitrack should be essential in a good recording studio'. A pioneered the 3 track recorder. I actually had one too, and that's how I started out in my early days. Such a fantastic man, and without him I don't think we'd know the likes of Jimi Hendrix or Wendy Carlos or the success of The Beatles possibly? It's so odd though that today with the computer revolution, I think more people are apt to try and make 'perfect music' on it, than to wildly experiment? Sure, we all want good sounding stuff tht doesn't sound like it's coming through a pillow underwater on someones stereo or iPod (though, that would be a interesting sound.....?) And many are happy that a synth can arpegiate, or another can do rythmic rave chords to a 909 beat just by pressing a key. With all my hardware years back, I wanted to sound as good as New Order, Depeche Mode, My Bloody Valentine, Stereolab. I went out to emulate them - but wound up with this different sound constantly. Yet people loved what I was coming up with. Now with OP, I figure I'm really pushing the boundaries, going BEYOND the future - and people say 'Oh, you sound like Aphex Twin, Boards of Canada, doing a little Psycho-Trip-Dub I see....' So then, like you - screw it! I'm going back to Paul Simon, The Clash, Streets Of San Francisco. :rofl: But as you say, to do it from a laptop - really amazing. Not to diss your notable musical talents, but your Bach To The Wasp - is that some .MID file off the net you fed into it? Incredible either way, if found or played. That's the funny thing though, I listened to Les Paul before he died recently on AM740, and certainly seen enough of Wendy Carlos pictures of eclipses recently. But I don't recall either commenting on how or if they feel responsible for the advancement of modern music, or if they can even compete with it anymore regardless of talent? I think Jim Paulson (another great man dead now) asked Les a year or so ago somewhat of that question, and Les kinda laughed and said 'Well, kids will be kids. I was happy what a 3rd track did for me. But 96 tracks today... Wasn't my idea.' :rofl: It'd been interesting to hear what Wendy's thoughts on your Bach To The Wasp piece would be - be it a .MID file or self played. Would she be more a tuned to the precision of play, or the texture of the sound, or both? And the fact if it is sloppy, how easily it can be fixed in OP - sound and perfomance. It'd be more interesting than Frost vs. Nixon I'm sure. Last edited by Dungeon Studio on Sat Aug 15, 2009 5:46 pm, edited 1 time in total.
Testing audio track remixing in Orion
Steven, the mid file was grabbed from the net (www.midiworld.com, there is a lot of free classic stuff there, though quality is not guaranteed...). I do have music scores of classical music in my bookshelf and I'm usually sequencing stuff from those scores. But sometimes it is easier to have ready made stuff and do some quick experiments. The quality of the classical mids grabbed from the net varies a lot. The best mid for production is a plain non live recorded mid file with static tempo. In every case the mid is only the skeleton which serves as a starting point for the production process. You have to bring the life to it by choosing the right synths and samplers for the tracks and by making the final timings, dynamics, velocities, panning, balancing and mixing in the piano roll and the mixer of Orion. Here is the longer version of the 'Bach to Wasp demo': Brandenburg Concerto No.3 1st and 3rd movement. It sounds a quite good, if I may say so.. I listened to the audio samples of the Carlos's records in amazon.com and I must say, Brandenburg Concerto # 3, especially the first movement, sounds better with the Wasp . *** I recently watched the myspace site of Vangelis. There was a documentary video stuff about him. I thought: O' gosh, those old guys still are working in a same way as on their old glory days? Vangelis was surrounded by old vintage gear. And he was recording live in his studio, not by sequencing! Also Carlos in the photos is sitting in front of the mountain of vintage gears. But, I saw a computer screen there Is she using it for sequencing or is she using computer only as a multi tracker? I bet the whole 'Switched on Bach' stuff could easily be remaked with the Wasp in Orion. But naturally by sequencing and using the piano roll. It would be real time wasting to play it in by live midi/audio recording. *** I'm using for orchestral stuff a note sheet software Note Worthy Composer. I really like it, it's simple, effective and economical. For complicated classical style harmonic compositions a sheet software is good. The best thing in NWC is that I can ride the synths of Orion with it (I'm using Midi Yoke as a virtual midi port)! After finishing the sequencing in NWC, I export the song from NWC to midi file and bring it back track by track with midi import of Orion. Then I'm doing the final timing and actual mixing with the synths. The piano roll editing is much more precise and sensitive with rhythm and dynamics, especially with classical music. *** Don't get me wrong. I've nothing against real instruments and live playing. Nothing beats a real people playing real instruments live on the stage. And besides, some instruments just can't be simulated properly by synths or samplers. During the years I just got sick tired of hassling with the recording gear, humming wires, live recording with errors and thousand retakes because of mistakes in playing.:rage: And there was all the time more and more worse sound quality along with the over dubbings and even mastering. (That's why the pro analog gear did cost so much, it did bring a good sound quality that could be only achieved by expensive pro gear). I almost gave up the whole thing until I bought Creative pci 128 soundcard to my new PC. The GM instruments did sound so real and good, not a toy like at all. At same time I found NWC and I started to make GM stuff. For a little time I had Roland JV1010 module borrowed from my friend, it was outstanding. Orcestral instuments of it were really good as other GM sounds too and there was a lot of expansion stuff. For rhytmical electronic stuff I used Impulse Tracker until I finally found Orion. *** The younger generation may wonder us older quys and our endless admiring the current digital computer virtual DAW systems. As unbelievable as it was, those were the days when Moog(or Yamaha CS-5) was the really new instrument, and it had to be recorded live without MIDI or sequencer, just like any other instrument. And then later, when the really good sequencers and samplers came up, they did cost fortunes, far beyond ordinary guy's budget. *** I was finishing the 'Bach for Wasp' yesterday and suddenly thought by myself: Here am I, sitting in the middle of the dream, that have come true. Thanks to Orion! *** BTW I was watching Woodstock film on finnish TV recently. Boy, Santana and Hendrix had a really good gig, among others. Those were the days, the rock without computers, a really good music played by musicians with the real instruments. And it all really did rock and swing in a really human fantastic way... :music: .. Maybe after seventies or eighties nothing really significant has happened in the history of pop music really...ld: O' except the Orion . ... Bach was the greatest. Last edited by baroquerion on Sun Aug 16, 2009 11:12 pm, edited 1 time in total.
Testing audio track remixing in Orion
You are right Steven. Orion could be a really useful tool for even any composer of 'serious' modern music. With Orion one could do hings like Karlheinz Stockhausen's Gesang der Jünglinge or maybe even wilder really experimental stuff just by using Wasp alone. Not to mention other native synths and endless number of every kind of VSTis and soundfonts and other sample stuff available in the net.
For them the recording studio itself was an innovative 'instrument' to play. Now we have that studio in Orion, in our laptops.
Testing audio track remixing in OrionAmazing the .MID files. About 15 years ago I was scoring this lame TV show as the 'musical director'. One of the things was a Star Trek meets Gilligans Island spoof ( I did say lame, right?) So I thought 'piece of cake, I'll just download the MIDI file to Gilligans Island and away we go.' For all the time wasted in finding and negotiating for a simple floppy disk with 20kb of music data on it. I played and fashioned it myself I think much better. Nowadays, anyone with a cel phone can do some video, download the actual theme .WAV, bend it with Melodyne or whatever, and have the video and music up on YouTube without flack in no time.
I'd like to get some more various stuff up on YouTube myself - serious works, comedy bits, whatever. And everyone I know is still stuck in the TV/Film world... "You have to do it on Beta VHS to be worthy, you have to get clearances and proper credits, it should be submitted to ACTRA and SAG... " It's friggin' YouTube guys! We're kids back in the basement just trying to get a nod of approval. If someones going to sue because we used some Rolling Stones in the bit - bring on the publicity! But who's got time to keep up with it all? Carlos is really cool though, and Vangelis FTM. I think Vangelis is more into his CS80 and the analog stuff still. Wheras Carlos got into FM and the Synclavier soon as they came out. (Even has a SY77. ) I was kinda surprised her contributions to The Shining was so minimal and (hate to say) dull. Of course, the opening theme is as memorable as Mike Oldfields use of Tubular Bells in The Exorcist. But then her 'Rocky Mountains' was so dull and droning. (Mind you, if you ever heard her Sonic Seasonings - that's the worst in boredom!) But, considering she did Switched On Bach, the soundtrack to Tron et al, and definately knows her shit more than Phillip Glass on his best day - gotta give her :respect: And too, like you say looking at CS synths priced from $750 to $2000 when a good used car was $550. And a good delay box or pedal was another $200 to $500, and a good amplifier or reel to reel could be another $150 to $800... All that for 1 note playability, and one effect. And any type of overdubs would label you a genius amongst local musicians. It's remarkable today for that type of money, a person could get a Inspiron laptop, OP, VST emulations of a 2600, a Mini Moog, and a CS80 - plus Krim's Omaha thrown in for free. Prees a 'W' on their keyboard, and there's the intro theme to Blade Runner. And even myself, I'm like 'pshaw - boring!' when I dial through the patches with my mouse. And yet if I was at a CS80 with a patch book and spent 2 hours setting that sound up - I'd think I was king shit and boast to everyone. It's like we're given all these coluors to paint with, and all these numbers where they should go. Using MIDI is no harder than using Google now, and even if you think you're the most cutting edge after 18 days of playing and mastering, some Nelson Muntz is going to come out and say 'Ha-ha! You sound like Kayne West...' It's pretty nutty! I feel like I'm with The New Dinosaurs. :pfanne: Last edited by Dungeon Studio on Sun Aug 16, 2009 5:07 pm, edited 1 time in total.
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