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0:14
Hello, and thank you very much for listening to this episode of The Billy Newman photo podcast.
0:23
And this is a photograph that I took on my birthday in 2012. In the Yosemite Valley, it’s a really cool shot. I like it a lot. I think this is looking south, just round sunset. But it’s you know, it’s near that time in late November where census needs to be around 330, at least anywhere, anywhere where there’s tall mountains next to it. And that’s kind of what we were getting here is like maybe 334 o’clock and you’re really getting to the last ends of the day, like anybody in the winter knows, it seems like anytime after two o’clock, it’s sort of like getting close to sunset as it just kind of sweeps in around five o’clock or so. This was a really cool spot love this. And what we did here is we had a cut this as a panorama. So what you’re looking at is really five pictures, maybe four pictures that I stitched together in Photoshop at the lodge and Yosemite that night, and I was really proud of myself, I did a lot of work on each of these to kind of get it to fit and stitch together correctly. And that was pretty cool. It was it was one of the I think first projects I did to make a panoramic stitched image. While only working with a 50 millimeter lens. I think my effort was to just try and get flexibility so I could get types of photographs made while still using really basic glass. And it worked out really well. It was a good experiment. And this is really where I had a lot of latitude with a 50 millimeter lens. Turning the sideways shooting pan is stitching it together. I really liked this one it was it was on my birthday. It was one of my favorite photographs at the time.
1:52
You can see more of my work at Billy Newman photo comm you can check out some of my photo books on Amazon. I think if you look at Billy Newman under the authors section there and see some of the photo books on film on the desert, on surrealism, camping, and cool stuff over there. My name is Billy Newman, I’m a photographer based in Oregon, I do a lot of landscape work. And this image was taken in California on a trip that we did to Mount Shasta, to the east side of Mount Shasta, it was just kind of a really cool spot. It’s kind of interesting near the town of Mount Shasta near the town of McLeod, if I remember right, there’s a lot of good stuff over there a lot of good camping, too. There’s a lot of, I think it was the Shasta Trinity national forest that stretches out over there. So there’s a lot of public land that that’s developed enough and accessible for for a number of things you can do for summer recreation, it was pretty cool. I remember going up to a lookout tower up there, checking out some stuff, I think there’s a fire lookout tower, some old timer was up there too. But this image was taken on government camp road in the evening as the sun was setting and this is kind of looking up to the I guess it’s the East face of Mount Shasta on the east side. And it’s a really beautiful spot but I kind of love the angle of it there kind of the sweep that the mountain had. And I tried as hard as I could to sort of to sort of square that up the way I wanted and match that up with the trees and the grass and the shadows and get some of those towns but this was shot on that nav film camera, some of my best images from one of the cheapest most I don’t know just common cameras that are out there. Really cool stuff and I love that I got it. It was really fun. reminds me a lot of great stuff.
3:46
You can check out more information to Billy Newman photo comm you can go to Billy Newman photo comm forward slash support. If you want to help me out and participate in the value for value model that we’re running this podcast with. If you receive some value out of some of the stuff that I was talking about, you’re welcome to help me out and send some value my way through the portal at Billy Newman photo comm forward slash support you can also find more information there about Patreon and the way that I use it if you’re interested or feel more comfortable using Patreon that’s patreon.com forward slash Billy Newman photo
4:26
about these different features related to Logic Pro 10.5. So I think it’s like a general overview. There’s one specifically about the live loops feature that I was mentioning is is one of those premier new new interface features that’s now part of Logic Pro 10.5. In addition to that, I think they’ve created a step sequencer a new sampler, I think they have a quick sampler now and they have a full sampler where you can go through and make your own samples to make your own loops. So you can really be producing your own music and I think that’s I think it’s really Cool the kind of stuff that you can do, that’s a big update that they’ve done, I think they talk about like, what is the s e s x 2427, something like that. It was this old sampler, this old sampler software that was probably some third party plugin that ended up being bought and then ended up being integrated into logic that speculation that the way that it looks, it just doesn’t look like Apple it ever designed it. This is how it’s like, it’s this crazy looking kind of silver software with a ton of buttons and knobs instead of it looks like it was supposed to be some, some real object, you know, like, like, if they made some, some actual pedal board, it looks like a drum machine or something. But it’s laid out in as a software in front of you. And it’s just impossible, it seems to me to use so. So apples gone through and updated that, that kind of legacy piece. Some people are happy about it, some people are mad about it, I see some people writing in forums Long live, the ESX sampler. And then everybody are plenty of people saying they’re they’re happy to see it go that they’re happy to see it replaced by a more modern piece of a more modern utility. So there’s a lot of cool features. And that’s to where you can, you can really get into recording and making your own samples or taking a piece of music that you’ve already recorded. And having the sampler go through and auto select these regions of it. So you can go through it with your like your keyboard, and you can trigger those regions with your keyboard to play that to play that sound out. It’s really fascinating the kinds of sampling that you can do with it.
6:28
Gosh, I mean, there’s just so much production you can do with it. So as it goes for podcasting, I wonder if I’m going to use logic, I think I think logic, really honestly, like most of the audio production stuff today would do even to a small degree which me onyx OS got, it’s really nothing I could do this on my phone. Or not nothing on my phone is great, but just, I’m not doing anything. Right. So. So I might, you know, I stopped using sonar because it was kind of overkill to do the multitrack and stuff. For just a podcast for some audio or mastering stuff, it seems like I have a grip of how to do the editing in logic maybe a little better than I do in audition. Even though I’ve been using audition for yours. I can’t have the same the same process and stuff. But there’s there’s sort of a way that this is something I don’t understand yet. And if someone that actually understands logic as listening to any of this, they should tell me about it. But it seems like an audition. When you have an audio file like a WAV loaded into the program and you’re looking at it and editing editing it if you were to apply see an EQ effect or a compressor. Once you have those settings and then you apply it it’ll render that change to the wave. And you have to wait for it you have to wait like 20 seconds when you apply. When you apply an effect like a hard limiter or compressor, a de Esser and it’ll change the full waveform that you’re seeing there in in logic, it seems, I guess, more like a non destructive editor where you have your original waveform in your track. And then over in the mixer, you can apply sense or you can apply these effects is a stack that you can turn on and off and it’ll it’ll kind of live mix that section of audio that you’re hearing. So you can you can stack on a compressor first change those settings and stack on an EQ and then stack on a de Esser and then stack on a limiter or something at the end of that or a limiter on your your master output something I don’t know, I think that’s how you’re supposed to do it. So you can do that. And then you can change those settings and you’re not really adapting the original waveform you’re not doing you’re not doing that at a stage where if if you turn one on or one off, that you’re you kind of rendering the whole file in advance. I don’t know if I have that totally right but that’s something I’m trying to figure out. So some things that you notice from that is audition or programs that kind of bake in the setting effect that you’re you’re making a change to seem to operate a lot faster I think is the track is sort of is sort of rendered and frozen and is that the process is not having to do any live rendering of added effects on top of the file that’s already trying to have to have to grab that file and play that file and then add another layer of digital processing to it that you selected through changing settings and then render those settings to the WAV file as it plays it without much latency. And it just sounds like a lot of tasks to do so I guess when you have like a bigger logic project with 24 instrument tracks, all with compressors and limiters and and whatever other effects changes there are on it. I apparently it’s just really processor intensive and it I’ve already noticed like even just with a few of the smaller demo projects that they have installed with it, and even with my computer being okay, it’s it’s already like hit like a CPU overload a few times and logic. Logic producers have talked about this a ton of times there’s a bunch of videos out there on like how to stop your CPU overload messages. So It’s talking about changing your buffer size. So it’s talking about selecting tracks and freezing them. Or there’s a process called freezing tracks, sort of similar to what we just talked about with addition where you’re kind of baking in or rendering that track out so that the processor doesn’t have to worry about it anymore. And then from there on, you can just kind of mix on the single track that you’re you’re working on at that time, if you’re working on a multitrack project, you select the like the guitar, but then you can freeze all the drums so that whatever mix that they whatever mix state they were in, the computer doesn’t have to worry about processing, it only worry about processing the live effects on that single guitar track in the sense that you’re you’re making changes to it’s cool. The few different features and stuff you can do to it. And it’s interesting how all these these different digital audio workstation controls have come up over the years. I think like for this logic stuff, you know, this is what they’re trying to sell Mac Pro’s for. I’m sure like even a Mac Mini would be a killer logic workstation for a studio. But But yeah, that like that new Mac Pro, that gnarly one with, you know, 128 cores, I think one of the things they were trying to demonstrate with that is, you know, with, with a massive, massive amount of core and what is it probably like eight or 12 or something for the more standard one.
11:17
I think that are the whole background of getting, you know, a ton of RAM and a ton of processor space and a ton of cores was to do some of these larger studio mixes of logic projects, you know, I say if you have a symphony, or you have like a full orchestra, so that you’re trying to do a mix of you have these live effects and compressors running on every track. And you could have up to, you know, 100 or 1000 tracks or something running with these live these live effects that have to be processed on it. And so the idea was, and I heard this at other times that that larger students will take will take Mac pros and run them in tandem, so that they would have as many tracks as that individual Mac Pro could have, and then that would be bust down. That’d be bust down into another mixer, where they would have all of those is that making sense? Yeah, they would have, let’s say like, I would say 100 tracks would be on Mac Pro one. And then they would have 300 tracks in total. So they’d have Mac Pro two and three. And each of those would have 100 tracks that it was responsible for operating in logic, and then it would run in tandem, and then be mixed out to a bus. So you’d have all those tracks rendered down into the 300 onto their, their channels. And it’s it’s crazy stuff, but it’s kind of just like reduction process. They don’t need to do that anymore, apparently, because the I don’t know as what they’re trying to sell, you know, these, the newer Mac pros are if you max out a computer to its fullest, you can kind of handle some of these larger processor intensive projects like that. In response to that, man, I remember in 2003, using cool Edit Pro to do 24 track multitrack projects on a computer with 800 megahertz and I didn’t really have a problem with it. So I’m not really quite sure what I’m understanding about logic, or about audio production stuff in that and that capacity seems like there’s some other some other tools or other utilities around not tools, but just some of the concepts, right? That that allow you to do stuff without some of the limit some of the processor limitations. That’s always kind of frustrating when the technology kind of gets in there to fight with you. But But I’m sure that the intent of it is that you do more live processing, that means you have to you have to do less rendering time on each individual track. And, man, the mixing process can be really frustrating if you have to render out a million different variations of changes, which is kind of different projects that I’ve gotten stuck in over the years. So man, I don’t know, we’ll see how it goes. But it’s cool. Yeah, been trying out Logic Pro 10.5 in the studio staff learning some keyboard controls, learn how to run some live loops, but trying to mess around with some different mixes and stuff. It’s cool, yeah, you just grab those loops there, I mean, I can make, what I’ve been trying to do is make like a drum bass and sort of textures sound loop that kind of has a couple changes in it. And then I can take a guitar, plug it into the audio interface, set effects that are built into logic, you can pull up like a pedal board and logic, and then have that adapt the sound of your incoming real instrument. And then run that into a track or even just play live into a track. And then have those live loops kind of running on the side of it. So you can kind of create like, you know, like a jam loop or something you know, you don’t have a band to play with. So you can kind of create a couple other instruments that have pieces, and then that are going to key that are going to repeat. And then you can kind of find whatever it is in the guitar that you want to to kind of work out an idea or work on playing through something. So it’s kind of cool. I’ve been trying that out a bit too. And then once you do have an idea, it’s really easy to just kind of lay that down and do it Drag and create a demo out of it. Thanks a lot for checking out this episode of The Billy Newman photo podcast. Hope you guys check out some stuff on Billy Newman photo comm a few new things up there some stuff on the homepage some good links to other other outbound sources. some links to books and links to some podcasts. Like this blog posts are pretty cool. Yeah, check it out at Billy new Ninja photo.com. Thanks for listening to this episode and the back end