. . . size is a word that I remember from back when our children were younger, although in our defense, we really didn't feed them very much fast food. But the term came to mind when considering the substantial edit I made to the music in the video Dotted Line since the video stopped way too short of the audio. It worked out alright. But I thought I would now present Dotted Line in its complete length as performed that day. . .
I am never at a loss for amazement at technology, although granted, the capability of the video camera utilized in the making of the video below is far from new, I find the ease, simplicity and user-friendliness in relation to the high quality, both audio and video, which it produces to be simply mind-boggling. When I consider the sound quality of my childhood 'record-player' or transistor radio, or the early video cameras and video cassette players, not to mention the heavy, metal telephone we had from which we communicated with extended family via a 'party line'. . . the size, weight and sheer capability of current a/v products is nothing less than . . . mighty.
My latest solo offering, No Frills, is now available at - No Frills
(To Access all Ray Jozwiak - Gonzo Piano music you can copy-and-paste this URL directly to
your browser: http://http://www.cdbaby.com/Artist/RayJozwiak)
(from wikepedia.com)
". . . Despite not being able to play a musical instrument or write notation, (Joe) Meek displayed a remarkable facility for writing and producing successful commercial recordings. In writing songs he was reliant on musicians such as Dave Adams, Geoff Goddard or Charles Blackwell to transcribe melodies from his vocal "demos". He worked on 245 singles, of which 45 were major hits (top fifty). He pioneered studio tools such as multiple over-dubbing on one- and two-track machines, close miking, direct input of bass guitars, the compressor, and effects like echo and reverb, as well as sampling. Unlike other producers, his search was for the 'right' sound rather than for a catchy musical tune, and throughout his brief career he single-mindedly followed his quest to create a unique "sonic signature" for every record he produced.
At a time when many studio engineers were still wearing white coats and assiduously trying to maintain clarity and fidelity, Meek, was producing everything on the three floors of his "home" studio and was never afraid to distort or manipulate the sound if it created the effect he was seeking. Meek was one of the first producers to grasp and fully exploit the possibilities of the modern recording studio. His innovative techniques—physically separating instruments, treating instruments and voices with echo and reverb, processing the sound through his fabled home-made electronic devices, the combining of separately-recorded performances and segments into a painstakingly constructed composite recording—comprised a major breakthrough in sound production. . .
. . . In 1993, former session singer Ted Fletcher introduced the Joemeek line of audio processing equipment. The homage to Meek was due to his influence in the early stages of audio compression. The name and product line were sold to the American company PMI Audio Group in 2003. The current product line includes a microphone series called "Telstar", named after Meek's biggest hit. Meek's reputation for experiments in recording music was acknowledged by the Music Producers Guild who created The Joe Meek Award for Innovation in Production in 2009. MPG chairman Mike Howlett said the award was "paying homage to this remarkable producer's pioneering spirit". The winner of the inaugural award in 2009 was producer and musician Brian Eno. Meek was ranked the greatest producer of all time by NME. . ."
OHO's "Ocean City Ditty," the CD single is now available at http://www.cdbaby.com/cd/oho4
(and, if you're in town, at Trax On Wax on Frederick Rd. in Catonsville, MD) OHO is Jay Graboski, David Reeve & Ray Jozwiak
My latest solo release, '2014' of original, instrumental piano music, can be downloaded digitally at:
(or you can copy-and-paste this URL directly to
your browser: http://www.cdbaby.com/cd/rayjozwiak4)
(from wikipedia.com)
Even after getting the signal converted to bits, it is still difficult to record; the hardest part is finding a scheme that can record the bits fast enough to keep up with the signal. For example, to record two channels of audio at 44.1 kHz sample rate with a 16 bit word size, the recording software has to handle 1,411,200 bits per second.
For optical disc recording technologies such as CDs or DVDs, a laser is used to burn microscopic holes into the dye layer of the medium. A weaker laser is used to read these signals. This works because the metallic substrate of the disc is reflective, and the unburned dye prevents reflection while the holes in the dye permit it, allowing digital data to be represented.
The number of bits used to represent a single audio wave (the word size) directly affects the achievable noise level of a signal recorded with added dither, or the distortion of an undithered signal. The sample rate is even more important a consideration than the word size. If the sample rate is too low, the sampled signal cannot be reconstructed to the original sound signal.
Slough of Despond
By OHO [Jay Graboski, David Reeve & Ray Jozwiak]
(original tracks recorded at Blueball Studio, Stewartstown, PA)
OHO's
"Ocean City Ditty," the
CD single is now available at http://www.cdbaby.com/cd/oho4
(and, if
you're in town, at Trax On Wax on Frederick Rd. in Catonsville, MD)
My latest solo release, '2014', can be digitally downloaded at:
(or you can copy-and-paste this URL directly to
your browser: http://www.cdbaby.com/cd/rayjozwiak4)
Like this weekend, I have discovered that my Canon ELPH can be easily used to take videos (I knew it could but never thought it through for music promotion). But the problem herewith is the audio. You know how the old recordings on 78rpm records always sounded like they were recorded in a rainshower? Well that's what the audio sounds like on my Canon videos. So I got the brilliant (my word) idea that I could record the audio portion in glorious, high-quality digital format with my Zoom H2 portable digital recorder, then sync everything together in Garageband for a fine video. Well, necessity is the mother of invention you know. What I didn't take into account was the file trail (and file naming etc.) task that would be required to keep it all straight. For example, if I flubbed a take and chose to plow forward without stopping either machine, I had to remember how many false starts were on each take. Attempting to record more that one song only complicated matters. Then I also learned that since Garageband is specifically designed for audio, I could not edit the beginning of a video the way I could stop it at the end anywhere I wanted. At least I haven't figured out how to do it. So I re-recorded several pieces and edited the beginning on the Canon before uploading it to my laptop.
It's a lot of boring information granted. But it's how I spent most of my weekend. I did learn a lot about the process and now know how to avoid some of the earlier pitfalls. I'm not too ashamed of the outcome though. . .
What
do YOU think?
http://www.rayjozwiak.com/guestbook.html
You can NOW download
your
very own copy of Ray Jozwiak's
newest release:
AMBIENCE & WINE
Maybe it's me, but I don't like TV. Mind you, I think the technology involved is simply mind-blowing and it has developed in technological brilliance exponentially during the past sixty some years. But despite the glorious three-dimensional, high definition, digital 5.1 surround-sound audio, the quality content that one may very well expect to be delivered through this miraculous invention seems to be about as scarce as snow in July.
Louie C.K. though. . . pretty interesting.
What
do YOU think?
http://www.rayjozwiak.com/guestbook.html
You can NOW download
your
very own copy of Ray Jozwiak's
newest release:
AMBIENCE & WINE
