Software Review: Propellerhead’s Record

Propellerhead’s Record

Propellerhead’s Reason 4 is a robust and quite complex DAW that lacks the ability to record outside audio sources.  Until now…

 

Propellerhead’s Record

  

Finally, you can add vocals, guitars, and other non-synthesizer instruments to your Reason 4 compositions.  Record add audio channels for outside audio sources, and they can be treated as “clips” in the sequencer.  Which means, you can splice, rearrange, add effects, and automate a wide assortment of controls to alter them during playback.  So now you don’t have to use a sampler to use the vocoder to its fullest potential.

 

Package Options

  

Record comes in two flavors: for people who already have Reason 4 or a package bundled with Reason 4.  Technically, you could buy Record alone (it has a few but limited built in instruments) but you would be missing out on all the features that Reason 4 has to offer.  The cost for Reason 4 owners is only $149 plus shipping.

 

Time-Stretch Feature

  

One of the biggest surprises of Record is its algorithm for time-stretching audio clips.  You can change the tempo, either faster or slower, and the audio clips sound as sharp and clear as if they were never altered.  No grainy artifacts, pops, or phasing.  It’s extremely handy if you want to record a complex piece: You can play the part at a slow tempo, then speed it up at a faster tempo to sound as if you were really that good of a musician.  Cheating in the studio?  In short, yep.

 

The Mixing Console

  

The mixer is modeled after the SSL 9000K mixer.  It brings a new level of professionalism to the final mix.  It makes Reason’s simple reMIX component seem like a toy in comparison.  There are several levels of EQ features, effect returns, and each channel can have its own Mastering Suite.  Entire posts could be devoted to the mixer alone.  I am still learning all it has to offer.

 

VST Plugins?

 

For those who love VST plugins, I am sorry to say that neither Reason 4 nor Record supports them, other than those that can be controlled by Propellerhead’s ReWire program.

 

Piracy Control

 

One issue that has become somewhat controversial is the new anti-piracy feature for Record.  The demo of the software (which you can download by clicking on the Record icon in this post) is fully-featured except you cannot open files nor export audio that has been saved.  Once you purchase Record, you can access the complete program with all the features by logging into Propellerhead’s server.  Once the software is shipped to you, it comes with a USB dongle that needs to be registered online.  Many people do not like the fact that a spare USB port is needed for the dongle.  But this is how Propellerhead is protecting their new program, like it or not.

 

Home Studio

 

People are divided up into two camps: Those who love Propellerhead’s programs and those who prefer other DAWs on the market.  But if you are on a tight budget and want to create a home studio, I would definitely recommend the Reason4/Record combination.  Its expandable mixer makes my 4-track recorder look antique.  Plus the sound quality is superb.

 

Learning Curve

 

If you are new to Propellerhead’s software, it can seem very overwhelming and complicated.  There is definitely a learning curve, and tutorials, tips, books, and DVDs are coming out all the time to teach users to take advantage of all Reason 4/Record has to offer.  If you already use Reason 4, Record will be much easier to work with than for a beginner.

 

Final Analysis

 

Despite all the competing DAWs on the market, I will always go back to Reason 4/Record for my computer drums, synthesizers, samplers, and recording needs.  If you are skeptical, please give the demo a try.  Once again, just click on the Record icon in this post and it will take you to the site to download the demo.

Best wishes!

Shannon

Movie Review: “Salo, or the 120 Days of Sodom (1975)”

Before I begin this movie review, I must warn you: This is probably the most psychologically and emotionally damaging film I have ever seen.  And I have seen some pretty disturbing films before, but “Salo, or the 120 Days of Sodom” is by far the most repulsive and morally bankrupt film I can recall.

Here is the IMDB’s basic plot summary: “Four fascist libertines round up 9 teenages [sic] boys and girls and subject them to 120 days of physical, mental and sexual torture.”

And that pretty well sums up the movie in a nutshell.  Scene after scene of brutality and humiliation all in the guise of an “art” film.

But Is It Art?

This is far from any form of art as I view it.  It is nothing more than a disgusting exploitation film filled with examples of humanity at its most vile and cruelest forms.

Based on the circles of Dante and stories of De Sade, the movie goes through four phases: The rounding up of the young, underaged victims, the Circle of Manias, the Circle of Shit, and the Circle of Blood.

Without going through a scene-by-scene summary of the film – partly because I do not want to relive the experience – I can best compare the subject matter to watching NAZIs torturing Jews or the Japanese invading Nanking.  The only difference is this film gleefully depicts Italian Fascists performing acts of depravity on young orphans – A cinematic “snuff” film of sorts.

The Death of the Director

Ironically, the director, Pier Paolo Pasolini, was murdered not long after the making of this movie.  Whatever the motive was, it was a brutal murder, with Pasolini being repeatedly run over by a car.  Some speculation has it that this film may have been funded by the mafia, but that has never been officially proven from everything I have read.

Final Analysis

What is the purpose of this film?  It certainly was NOT entertaining, and there is no redemption or justice in the end.  There is no moral, no artistry, no point to all of it.  It was only approximately 90 minutes of watching young teenagers being abused, tortured, and killed while the Fascists derive pleasure from the horrific acts before them.  No art.  No entertainment.  And no reason to subject yourself to this disgusting and revolting piece of cinema.

Do yourself a favor: Avoid watching it at all costs.

Review: “DIG!” (2004)

DIG! DVD Cover

Review: “DIG!” (2004) Winner of the Grand Jury Price – Sundance Film Festival

Rating: 5/5 Stars

“DIG!” is a seven year film project by Ondi Timoner covering two extremely talented bands, The Dandy Warhols and Brian Jonestown Massacre, which came from similar surroundings, but the former found moderate success while the latter struggles relentlessly.

The Bands

The Dandy Warhols (“Not If You Were the Last Junkie on Earth,” “Bohemian Like You,” “You Were the Last High (with producer Nick Rhodes from Duran Duran)”) managed to cooperate together as a cohesive whole throughout the years, only losing their original drummer due to personal reasons. While never finding a major fan base stateside, they succeeded in breaking into the European market.

The Brian Jonestown Massacre (BJM) (“When Jokers Attack,” “That Girl Suicide,” “Nothing to Lose”), however, has had a very rocky and volatile past. The founder – and control-freak – Anton Newcombe, is a major self-saboteur, with drugs, alcohol, violence, and a hatred of the recording industry being obstacles to his success. The band line-up changed frequently due to his antics.

But this is not to say BJM isn’t without talent. Despite all of his demons, Newcombe is a phenomenal songwriter, musician, and singer. His method of recording music was well documented in “DIG!”

Conflict

Although The Dandy Warhols and BJM started out as friends, “DIG!” reveals how the two bands diverged over time, becoming rivals. Newcombe would made “joke” death-threats to the members of The Dandy Warhols. BJM even recorded an insulting song about the band titled “Not If You Were The Last Dandy on Earth.” There is even more to the story, but I will let viewers of the documentary make their own discoveries.

Two Bands, Two Stories

What makes “DIG!” successful is that it manages to blend both stories of the struggling bands, unifying it into a solid film. Their methods to writing and producing music could not be more diverse. But both create wonderful, solid songs worthy of any collection. And “DIG!” briefly (too briefly in my opinion) showcases their work.

While Courtney Taylor-Taylor of The Dandy Warhols does the narration, there is plenty of film footage covering BJM. Each group member is given the opportunity to speak his or her mind regarding the music process… and each other.

I feel that EVERY upcoming new band should be required to watch “DIG!” and learn that the music business is not as glamorous as depicted on television. It’s a hard, grueling, thankless process in which only a few survive.

Update #1

Until recently, one could download the entire BJM music catalog legally for free on their website. Now that they are signed to a label, their music must be purchased.

Update #2

I’ve had brief contact via e-mail with Anton Newcombe since posting in regards to the movie/documentary “DIG!”  Without going into details, I will leave you with this quote from Newcombe:

I think what I would like people to understand is just that I am not a film, but rather a person in search of who or what I am…and anyone that tries to controvert this statement is basically fucked on principle. They have no sense and are way deep in the dark end of the pool of life and the life guard is off duty.

A very understandable position, given the fact that were invited into his life through the movie…

Do you have any questions about the bands and their music, or about the documentary “DIG!” itself? Please feel free to leave me a comment and I will do my best to answer it.