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Tanya Thielke

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  1. Tanya Thielke

    Financial Opinion on collaborating with hobbyists?

    Just some thoughts. This problem has a technical response, for which I am liking the idea lawnjelly proposes quite a lot (the intake/proposal form). It also has an inner philosophical response. You know this already, but no one really talks about this so much. "Implied insults" are literally everywhere, and its easier to ignore those which don't hit so close to home. But are they inherently different? Not really. From the POV of the person with the next great idea, they HAVE to ask JUST IN CASE you might change your mind because their idea is so freakin awesome. (BTW I love how the guy projects profits from Project A to fund Project B! Hey, man, its a plan, right?) I think that is ignorance, and ignorance can be terribly annoying. You might lessen the impact of these annoyances and prevent them from becoming insults (which I think you correctly ascertained is the result of the sheer number of these over time) by positioning yourself as a teacher and schooling them a bit. Im not talking about being a smart ass or a "serial asshole". You can actually in just a few sentences explain what you explained to the guy you quoted with something along the lines of "My business depends on a careful balance of time investment and predictable financial returns on a month to month basis, and so I have to choose my projects accordingly. I always appreciate a person's enthusiasm for their ideas and their pursuit in taking them to the next level. I encourage you to find someone with the needed resources of time to help you do that. To help you succeed, I would recommend drawing up a proposal with some more specifics regarding your timeline (bla bla, technical words here). Best Wishes for your project" So you have 1) Made it clear how you operate and why. It can't be argued because it makes sense 2) Positioned yourself as a supporter of ideas and validated them. It doesn't matter if they deserve the validation or not 3) Given them concrete help and possibly save another person having their time wasted 4) sent them off with smile. I've had to do all these things when running an entertainment business for just about 25 years time. It makes you feel better to not have to give them your personal frustration which is none of their concern or their business. And I will tell you it WORKS. Interesting sidebar: I got to the point where I could tell if the person calling had the funds or not just by how they said "Hello". Not kidding. I'm not sure I can describe it. But I was able eventually to deploy something along the lines of the price structure and wiggle room without too many specifics earlier and earlier in the conversations which reduced time wastage dramatically. But I do understand exactly what you mean by you don't want to put them off at the start by being too rigid about pricing because you are in fact flexible. That was my exact situation and its definitely tricky. However that feeling of being insulted went away when I employed the methods I've described. Kept me sane on many an occasion!
  2. Tanya Thielke

    Looking for composition advices to improve tracks

    OK Im going to amend my response now and take back what I said about "bland". Its not the right word and it reflects my bias towards a more gritty sound, a more varied palette of sounds. Finally, it doesnt help you much as stated. Sorry about that. So, I've actually done A LOT of music that would stand up side by side with this palette wise, back when I was doing mostly midi based production for a stage show, and a lot of it had this whimsical energetic quality. However I also at times ended up with a sound that didn't satisfy my ears and it really had to do with the "slickness" of the all synth environment, in particular where actual instruments are being imitated, with mixed results. In your case if you are close to production ready with what you have, I would go with Nathans suggestions . I would add that most of your percussion riffs could pop a bit more and in general certain moments deserve a bit more or less presence, depending. Make some adjustments in where the "instruments" are located in the aural field. Imagine the actual ensemble, such as strings to your left, winds centered, low strings to right. Pan accordingly and see if that makes the mix breathe a bit more. I do recall having a lot of frustration with getting percussion to pop in an all midi environment and generally in getting a convincing mix all around. Frankly I just had no clue what I was doing back then. Working in audio and sound design made me realize why it was so hard. I would have had to make much more specific choices in the midi mix to make the sonic colors separate more. I was using an Alesis S4 _alot_. Loved it, but man, after a few years of using it I could not listen to any of its sounds ever again! I hope this was more useful feedback. Lots of great work. Just keep reaching for the sound YOU want. One thing I noticed over the years is if something I made didnt totally convince ME then pretty much I would get feedback confirming that. (assuming I let anyone hear it!) -T
  3. Tanya Thielke

    Looking for composition advices to improve tracks

    I second everything Nathan said. My take is there is a significant conflict between the creative quality of your musical ideas which is great in so many places, and the qualities of your sound palette, which are... rather bland. The dryness and missing warmth Nathan describes is part of it. Its almost like you have been forced into a particular sound palette or piece of gear. Have you? So, compositionally you don't really have a problem WHICH IS GREAT NEWS. Its really the sound palette that isn't matching the quality of your ideas to properly bring them to life. Its an interesting problem I don't hear a lot. Often a person will have dope sounds but their compositional ideas are unimaginative.
  4. Im using Cubase Artist 8.5. Coming back to Cubase after a long hiatus, and a legacy version SX3 of Cubase as my last reference point.So, new to me is the Media Bay and all its search features. I just discovered only the Pro version of Cubase has "libraries". While the way I use the audio I create doesnt require the use of a Sampler, or so I thought, I am wondering now if a sampler would solve the search and access workflow issue I can see looming before me. I have sounds I made a while back that are in folders aof exported audio that I had at one time organized on a hard drive and have pulled manually into some new projects. Thats ok and it works for now, but I am wanting to know what combination of features I already have in Artist 8.5 and maybe some other simple (meaning basic/inexpensive) sampler or similar software I could be using for better workflow.
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