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Fun Stuff => BAND => Topic started by: Touch Me Im Sick on 13 Jul 2009, 14:09
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OK, you know how, say, Girl Talk isolates one part of a song? How does someone do that? Is it just really intricate EQing or something else entirely?
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Can you explain in more detail what you're asking?
Do you mean taking out one part of a multi-track recording?
http://en.wikipedia.org/wiki/Multitrack_recording ?
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If you're talking about taking just one particular part of the song, like the drum line or whatever, as far as I know that's pretty much impossible without insane amounts of jiggery-pokery with EQ and all that. When we're talking about remixes and all that, most likely whoever's doing the remixing has gotten a capella or stripped-down versions of the parts of the songs and worked from that, or alternatively they cunningly hide the bits they don't want in their mix with creative wizardry and musical tomfoolery. I think a lot of the time what someone like Girl Talk is doing is just taking the cleanest parts of songs and putting them in with whatever they want to mix it up with.
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Suppose we have this predicate interpretation:
Domain: Animals in the zoo
a: Albert
Fx: x is fierce
Gx: x is a gorilla
Hxy: x is heavier than y.
Translate the following into the language of predicate logic:
(i) There are some gorillas
(ii) There are at least 2 gorillas
(iii) Some gorillas are fierce
(iv) All gorillas are heavier than Albert.
What I particularly liked about this sample question is that it made the actual exam was pretty easy because we had a professor who disliked exams and he made the exam question exactly the same but with different variables.
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Can you explain in more detail what you're asking?
Do you mean taking out one part of a multi-track recording?
http://en.wikipedia.org/wiki/Multitrack_recording ?
This pretty much, didn't really know how to explain it. Like isolating like one track out to use pretty much.
and lol @ Oli's post
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There's a reason most mash-up people work with pop music.
Hint: Karaoke CDs.
Also, with the way remixing works as a cross-promotional tool nowadays, people are giving this shit away. If you have some cachet as a producer labels will be bombarding you with remix kits containing neat, stripped instrumental and vocal tracks. Girl Talk probably can't move for all the shit he gets sent. Even if you don't have the cachet, it is not impossible to get hold of these kits, especially for big name pop artists.
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There's a reason most mash-up people work with pop music.
Hint: Karaoke CDs.
Also, with the way remixing works as a cross-promotional tool nowadays, people are giving this shit away. If you have some cachet as a producer labels will be bombarding you with remix kits containing neat, stripped instrumental and vocal tracks. Girl Talk probably can't move for all the shit he gets sent. Even if you don't have the cachet, it is not impossible to get hold of these kits, especially for big name pop artists.
Never thought of that (the karaoke CDs thing)
and you mean like with "Love Lockdown", where the stems were released for free?
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Yeah in my limited knowledge you can do a lot to isolate certain parts of songs simply fucking around in a wav editor although even after reading a detailed explanation of how to create an acapella in Audacity I still don't really know how to do it, and as far as I can tell, unless the vocal line or whatever you're trying to isolate is pretty distinct, you still have to the hide the traces of the removed sounds in other samples.
Paging Dovey to this thread can bring your knowledge
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The main problem in creating a cappelas is generally the percussion, and any instruments that have a similiar pitch to the vocals (I don't know if pitch is the right word, I know nothing about music except how to make it). You can quite easily turn the percussion down to a warbly murmur though, and then bury that. I might be speaking out my arse here, but one of the things I've started to do, which really helps with the sampling, is to whack a very low, almost subsonic white noise oscillator under the entire track, like quiet, even record hiss. It works in kind of the same way as a wild track for doing film audio; stops samples jumping out of silence at you and buries background noises. Another thing that works sometimes if you're just interested in the vocals is whacking on a certain (fairly small) amount of reverb, which won't affect vocals as much as it will other sounds. I mostly work with non-music samples and drum-loops though, and as I have said, my theoretical knowledge is laughably small. I just press the pretty sound buttons.
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Paul Hodges should also have considerable knowledge in this area. Try a PM to him.
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Do you mean a Break?