The bassline itself obviously rules and Levin has fantastic pocket, but the tone, oh my god, the tone, it's so thick
Also really, really gotta hand it to Manu Katché's drumming
Famously, Surat/Assyrian Aramaic is a semitic language while Farsi/Persian is an Indo-European language. They are not related. However, not only do they sound very similar, but share plenty of vocabulary. How did this happen? Is that a Norman conquest influence on English type situation where so much Farsi influenced Surat or vice versa that they each just contained a large part of each other, or what happened?
Swallow and hold is really dangerous, there are much better ways to change your vocal resonance, no need to try to directly control your larynx. Mimic voices you like, freely explore your voice just messing around with it, and generally develop vocal flexibility and coordination like singers do, that'll help you much more
This has been a PSA to all the lovely trans people here who heard stuff about larynx height and bogus methods to change it, I love you, please don't do something dumb and hurt yourself
I was looking for a direct translation of "tranquilize" to another language and Google Translate suggested I change the source language to Chinese S, despite, as far as I know, no Chinese language having direct loanwords from English, let alone in the Latin script
I love OpenDRT. It's so in-depth and full of parameters that can radically transform images and create amazing looks. But I dislike the fact that you can either just completely use drop down lists to pick presets, without further control, or you can have the stick shift version, getting full control but no presets, not even as a starting point. I'm not sure if DCTL even has that feature, but I wish you could pick some parameters and then tweak them. And idk how to contact the devs to make that feature request. Neither of them seem to have a publicly available email address or social media accounts where you can address them for non-professional purposes
To anyone who knows for sure - or better yet, operated an actual optical printer - how were dissolves done in the film days? I assumed they were on an optical printer, in two separate exposures on the same final reel of film, from two different rushes. One had the printer lights gradually dimmed or something, and the other one had them gradually un-dimmed in the same speed. So the compositing was additive. But in this short BBC doc from the 60s the colour of the suit in one shot really seems to darken the other shot, so it looks like there's something subtractive going on. So what's happening here? What exactly did they do in the opticals to realise this dissolve?
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Venjent (I was trying to remember the stage name of the producer that sampled a door creaking in a DnB track)
YouTube recommended this video to me and it really fascinated to me. I have yet to try and implement this myself but it seems really cool and I hope this technique really does turn out to be good enough to be used in production
Early 80s computer-animated short from the New York Institute of Technology's Computer Graphics Lab (1975-1992), much of it made from scraps of their attempt to make a fully computer-animated feature film in the early 80s, titled The Works. A teaser for The Works is included in this short as well
The first intro the series ever had that was almost entirely (except for the photos of Sylvester McCoy) computer-generated. Unfortunately the series would be cancelled in 1989, and this would be the final intro of the original 20th century run of the series, having launched in 1963 and lasted 26 seasons.
Computer animation created by Cal Videographics. Music by Keff McCulloch, arranging a theme by Ron Grainer
Second ever Doctor Who intro (after the one used from 1987 to the first cancellation back in 1989) to be mostly computer-generated, and evidently the first one ever rendered in an HD resolution
Tell me if this is a question for a different sub, but do movie mastering facilities aiming for like theatres use any published algorithms to measure the loudness of their audio? I've been getting the impression that they tend to use BS.1770, but somehow that seems too broadcast-oriented for that sort of thing. Anyone have any knowledge of that?
Anyone know that vocal fattening trick from like the 80s or the late 70s, where you send a vocal into two Eventide H910s (specifically H910s or some other pitch shifter that gets a bit glitchy and inconsistent; I have a plugin of that already), set one to shift one cent up, the other one cent down, and then in the downmix the two resulting channels are panned hard to each side? I tried it, but one major issue that I'm running into is that it's not very mono compatible! You introduce any kind of correlation between what your left ear gets and what your right ear gets, you're in phase city. How do you tackle that in our modern DAWs? Do you go in a mid side processor and completely mute that in the mid, and then mix that with the dry vocal that's already centre panned? or what do you do?