ZOOM R8 detailed track sequencer view, and notes about manuals
This one is a first for me as it's a true real-deal 1080p video presentation. Yes, I finally got a camera that can record in that resolution.
The video I made is an addendum to my last video about the R8, but zoomed in tight and in 1080p resolution so what I'm doing can be seen better.
I have received a few communications that yes, people want something better than what the ZOOM R8 manual has to offer, so I will be writing up a book on it.
Is it ZOOM's fault that the manual isn't detailed enough?
No, not really, because the same over-simplified manual style also happens with the Tascam DP-008 (which I also owned at one point).
The problem with manufacturers who make multitrack audio recorders is that they write manuals that tell you what the functions are, but not what their purpose is nor how to use them in practice.
Going back to the past for a moment, my first multitrack machine was a first-generation Tascam 424 (the light gray model), and it came with a manual that was under just under 60 pages. The absolute best part of the manual was the section on "ping-ponging" tracks, because it had absolutely nothing to do with any specific feature of the unit, but rather described a recording technique.
Tascam used to put stuff like this in their multitrack system manuals of the past, and they would even explain why you would record using certain techniques in plain English, which was a very nice touch.
What's needed is a reference manual
There are two main types of manuals when it comes to instructing the user (you) how to use something.
The first is the user's guide, which is a small document written with the specific intent on instructing the user how to use the whatever-it-is quickly.
The second is the reference manual, which is a much larger document written to describe intermediate to advanced usage techniques for the whatever-it-is.
For a long while now, companies have completely stopped offering any kind of detailed documentation for what they make. All you get is the user's guide and no reference manual.
Concerning a product like the ZOOM R8, a reference manual is desperately needed, yet it doesn't exist (or won't until I write one, which is coming soon.) The R8 looks like something that's fairly easy to use. And to be honest, it is easy, but for someone who has never used a standalone multitrack recorder for, it's very intimidating. Why? Because the R8 is absolutely loaded with features. Features are great, and having a lot of them is also great, but if you don't know how to use them, that's not-so great.
My intent with the reference manual I'm writing for the R8 will be to make it much less intimidating to use, simply by describing what does what and why you would use particular features that it offers.
Will I describe every single thing in the R8? No, because that would end up being several hundreds pages long, and you don't have the time to read through something that large.
What I will do is write up something that gives you a much better understanding of how the R8 works, with practical examples. In other words, a reference manual in plain English that's actually usable and good.
That manual will be coming soon. I'll announce it here when it's finished. [Update]: Yes, it's finished, get it here.
7 things I would do if I won the lottery
What I would do if I won the lottery is probably not what you would expect.
Before I get into that, a few words about lotto first.
In America, there's just about every type of lottery draw game you can think of. Some jackpots are small, others are large, and then you get the super-large stuff.
What qualifies as large is anything over $1 million dollars. The super-large is when it goes over $10 million.
Some years back, lottery organizations banded together to offer multi-state games, and that's where the super-large games started happening. The two that are recognized the most are Powerball and Mega Millions.
Powerball at the time I write this has a drawing this Saturday of $203 million, and Mega Millions has a draw next Tuesday of $15 million.
However...
There are a few US states that have state-run lotteries in super-large territory, and Florida, the state I live in, is one of them.
Florida first started offering lottery sales in 1988, and the state-run game that commands absolutely insane money is a draw game Florida Lotto. That game paid out its first $100+ million prize in 1990. Total prize was $106.5 million and there were 6 winners.
This Saturday's drawing at the time I write this is for $44 million.
How bad does one get screwed winning the jackpot in Florida?
Before listing off what I'd do if I won the Florida Lotto jackpot, here's a few interesting things about what you actually keep as a winner.
Let's say I play for Saturday's drawing and win the $44 million.
Do I get the entire $44 million? Nope. Not even close.
First, I would opt for the cash option, which most people call a lump sum. You get a huge whack right there off of what you win.
After that, there's a 25% federal withholding that is automatically taken out.
And after that, there's 14.6% left in federal income tax to pay on those winnings. And no, it does not fall under capital gains, so you have to pay the full monty.
Why 14.6%? Because the highest possible federal income tax rate is 39.6%. Take 39.6, subtract 25 and you have 14.6. And yeah, it is required to hire a tax attorney to figure all this crap out. But fortunately, Florida currently has no state income tax, so there's no more tax after that.
Why doesn't Florida just take out the entire 39.6% to begin with? I have no idea. I'm sure there's a reason why FL does 25% and not 39.6%, but I've no clue what that reason is.
In the end, after the cash option whack and the federal tax whack, the winner keeps about 34% of the original prize money. That means from the original $44 million, you end up with roughly $15 million.
Granted, $15 million is a ton of money and obviously is a set-for-life figure. But still, to start at $44M and end up with under $15M... yeah. Talk about getting screwed.
Anyway...
Here are the 7 things I'd do with my winnings.
1. Buy several million-dollar insurance policies
It's a sad and very weird state of affairs when an insurance policy is actually worth more and is more acceptable than real cash, but that's the way the modern world works.
From health to dental to vision to auto to homeowner's and everything in between, having expensive "covers everything" insurance policies not only protects and insures but also allows me to buy more than I could with straight cash.
Small example: These days, when you go to any vision place, they expect you to pay using nothing but insurance. When you pay on plastic, they give you a funny look as if you're a man from Mars. And if you dare pay in straight cash, they really give you a funny look, as if to say, "What are those green pieces of paper with numbers on them? That's what... cash? What's cash? I don't know if we can accept that.."
2. Buy a Volkswagen Jetta with extended warranty
When people dream about winning the lottery, sometimes the thought of buying fancy cars comes to mind.
I may buy a few fancy cars, but the first car on the list is the Jetta. Yes, the Jetta is a boxy, plain-jane car that obviously wouldn't get me laid. But it's a sedan that's comfortable, designed well, isn't a high target for theft, gets good gas mileage and has a real, usable trunk.
See, here's the thing. As a millionaire, I still have to drive and get around because I'm not about to take a limo everywhere when I can just get in a car and drive somewhere myself. That, and going to the supermarket in a limo is pretty stupid. I'm not about to take a $60,000+ BMW to the Publix parking lot where it's sure to get door-dinged and probably keyed by someone. Better to just get a Jetta and blend in.
3. Buy a vintage Fender Jazzmaster guitar
This is something I would only buy as a millionaire. They run between $4,500 to $6,000.
If you know vintage Fender electrics at all, you know that's actually quite a bargain for a real-deal mint condition 1960's Fender electric guitar. The reason they're so "cheap" is because most guitar guys don't like Jazzmasters.
I would probably also buy a vintage 1960's Fender amplifier to go along with it, just to "have the set," so to speak.
Do I need the guitar? Nope. It's like I said, it's something I would only buy as a millionaire just because I had the cash to spend.
4. Become a snowbird
A snowbird is a Florida resident who only lives in Florida during the winter months, while during warmer months lives elsewhere in America.
For me, I'd own two houses. One here in Florida and the other somewhere in southern New England. Probably Rhode Island either in or near the town of Narragansett, which is without question a snowbird town. I'd fit right in.
I would keep my primary residence in Florida, but I figure that I'd be in RI from May until November, then be in FL from December until April. Five months FL, seven months RI. I wouldn't set that in stone, but that would be the basic idea.
5. Go on "photo runs"
This is where I'd really pile the miles on the Jetta.
I like photography, and I would buy some seriously good camera equipment. As for what I'd do with that equipment, I would travel all across America taking photos everywhere I could in the most scenic areas.
An example of this is the Blue Ridge Parkway. I've never been there and one day want to go. When I do, I want some seriously good camera gear along for the ride.
Another thing I'd like to do is a Route 66 run. Lots of stuff to see, and I'd take full advantage of it.
Every state in America has something worth seeing, and I would like to try to photograph it all. It would take years to do, but I'd obviously have the time.
6. Hire a private jet to go somewhere
Companies like JetSuite do this. I would never own the jet because that's stupid, considering I don't know how to fly or even where the park the thing. But as a millionaire I'd like to hire a jet to go somewhere at least once so I could have the experience.
As for where I'd fly to, I've no idea. Somewhere fun. Find a girl, take her on a date, then just ask all nonchalant-like, "Would you like to take the private jet?" Yeah, I'm pretty sure that would get me laid. That makes up for the Jetta not getting me laid. :)
7. Visit other countries
The top 3 on my list to visit first are Canada, Tasmania (yes, I know Tasmania is technically a state and not a country) and New Zealand. After that comes Australia, England, Scotland and Ireland.
Do I want to visit anywhere else? Not really, being I only speak English.
What would I do in those countries? Same thing I do in America. Go on photo runs.
I have been invited to other countries by fans of mine. The only reason I don't take them up on their offers is because I can't afford the trip. But as a millionaire, then I could afford it.
(Bonus) 8. Put on a few large music performance concerts
Ruth Eckerd Hall in Clearwater is the place I'd go to do this. I could put the word out that I'd need a few musicians, put together a show and just outright rent the place. I've been to that hall a few times, and it's a classy house that I'd love to perform in.
It's probably true that any concert I perform there would make no money, and that's fine. I'd just like the experience of being able to play there, even if I had to pay for the whole venue myself.
My favorite concerts I've attended have always been the kind that are in places like REH. It is a traditional hall where the acoustics are incredible and there's pretty much not a bad seat in the house.
REH has 2,180 seats total. That's big, but not gigantic. And I don't want gigantic. Even with 2,000+ seating, you get a good sense of intimacy when seeing shows at REH. That hall was definitely designed right, and that's why I'd love to play there.
How to bounce, loop, trim and sequence on the Zoom R8
There is a video I released recently showing in a basic way how to record, bounce, loop, trim and sequence tracks using the ZOOM R8.
In the video I also say that I'm entertaining the idea of writing a book on how to use the R8 (edit: BOOK AVAILABLE NOW), mainly due to the fact the manual is so-so at best. What I mean by that is that the manual is good, but for some may not be enough to figure out how to really get good use out of the R8.
After posting the video, I received some comments on YouTube from those that said yes, they'd like a better manual. Or at least something that's a well-explained "cheat sheet" or sorts, so I am considering putting a book together for it (edit: BOOK AVAILABLE NOW).
What's the best data protection for digital music projects?
I've been seeing a lot of pushy sales schlock recently for products that supposedly "protect your music data". And the products are junk because they don't offer any better physical data protection at all.
However, there are legitimate ways that do offer proper music data protection that actually work.
1. Use memory cards made for digital cameras and camcorders
What makes something like Samsung 64GB PRO better than a regular card?
A few things.
First, it's built to have the crap kicked out of it. Digital cameras and camcorders - particularly camcorders - absolutely kick the crap out of memory cards with the constant reading and writing of data. File integrity must be good, else anything you record will encounter file corruption and be useless. Cards built for camera/camcorder abuse make for excellent use in a music recording rig no matter what kind it is.
Second, pro-grade memory cards for cameras/camcorders are built to withstand things like x-ray scans at airports. If you didn't know, it is possible for a memory card to have its data corrupted by an airport security scanner. Pro-grade cards are billed as being x-ray proof and being magnetic proof as well. In a studio environment (even if just a small home studio,) using memory cards with that kind of protection built-in is good to have.
Third, pro-grade cards handle data streaming data a lot better than regular cards. In a multitrack session where multiple streams can be going on from multiple files, this will serve to your advantage. A card that can't handle streaming data properly can lead to a whole project corrupting itself and you'll lose many hours of work.
2. BACK UP YOUR STUFF
It's incredible how many musicians don't back up their music project data. They just let data sit there on one hard drive, don't back it up, then cry when that hard drive breaks later. And yes, it will break.
Back up your music project data. I don't care how you back it up. Memory card, internet cloud storage, DVD, whatever. Back that stuff up. Don't think about it. Just do it.
3. Use RAR with recovery record for an extra layer of data protection
Buy a copy of WinRAR. When you go to create the RAR archive of your music project, use the Recovery Record feature. What this does is make your RAR archive 2% larger with a recovery record.
That 2% extra is a "backup for your backup", so to speak. And all it takes is checking a box when you go to create the archive. If when extracting the archive later it fails due to corruption of the file, you can click the big "Repair" button within WinRAR that will most likely be able to reconstruct most if not all of the data as long as most of the archive is in tact.
Why go through all this crap?
Believe me when I say that one of the worst feelings is having a music project disappear due to data hardware failure.
However, the worst of the worst is when you can only recover some but not all of a music project's files. You'll have bits and pieces of it, but that one part that made the whole song work is corrupt and you'll never get it back. It's a huge insult. The data is there, right in your face, it doesn't work, and there's not a damned thing you can do about it.
That one time you need it...
As long as you back up your projects routinely, use media that can take a beating and use a backup method that offers some kind of recovery record option, you'll be in good shape.
The recovery record is the most important thing on the list above. You may never need it, but if in the event you do and your data is recovered, you'll thank your lucky stars you were smart enough to use it.
5 reasons why you can't finish recording a song
If you've tried and tried to finish recording a song but just can't seem to do it, there are 5 simple reasons why you haven't.
If all you have is a little multitrack recorder, a guitar, a bass guitar, one cheap distortion pedal, one microphone and nothing else, that's all you need, if you take the right approach.
1. Are you overcomplicating things?
Do you need a guitar solo in the song? No. Do you need drum fills? No. Do you need crazy amount of audio effects? No.
To get a recording done quick and clean, simplify. Use the absolute bare minimum necessary to get sound recorded and skip anything that's a solo. Just get the damned song recorded so you have at least a working demo of it.
2. Are you messing around too much with settings while laying down initial tracks?
Whether using a standalone multitrack or software, don't mess around with EQ, effects or any of that stuff. Just get the track laid down and move on to the next one. Anything recorded can be fixed later with digital editing.
3. Are you foolishly trying to get everything done in one take?
It amazes me how many players don't use a feature that's been around for close to two decades called punch in/punch out.
You're recording digitally, right? Right. That means you can use punch-in/punch-out. This is a stupidly basic feature. Learn it and use it. If you don't, you'll waste hours trying to get "the perfect take." Perfect takes almost never happen, so don't bother trying to get them. Record piece by piece and punch in/out when necessary.
4. Are you palm-muting everything?
You'll notice in many of my songs, there's very little palm-muting. That's because most of the time, palm mutes sound like crap when recording. When you palm-mute, most of the time it ends up being a nasty, "thuddy" mess. So when you don't need to do it, don't. Let the guitar strings ring out.
5. Do you set deadlines and stick to them?
Example deadline: "This Saturday, I will finish that song."
So do it. Get it recorded and get it done. You have the equipment. Make it happen.
Will it come out exactly the way you wanted? No. But you will have a working demo of your song, which is a lot better than a half-finished thing sitting in a multitrack session or nothing at all.
To recap:
- Simplify.
- Don't mess around with settings other than basic volume levels during initial recording of tracks.
- Use punch in/out.
- Don't palm-mute unless absolutely necessary.
- Stick to a deadline.
Keep it simple, easy and worry about tweaking the song later in post-production. Just get the damned song recorded first.