lowdown

5 hours ago, Beedster said:

Folks, I've been asked to produce essentially a video podcast from an interview I've already recorded but for various reasons I'm going to need some background music. I'd normally record a simple instrumental track but this needs to be done PDQ and I'm up against it anyway so will need to use commercially available track (I'm looking at a track from the Oceans 11 soundtrack at present that fits the bill). How do I go about doing this legally?  

If you don't want to write you own track or have little time, as said above, library and production/stock music companies are the way to go. There are dozens of them about and most with excellent standards in quality.

Sync prices vary from very little to quite pricey, but this depends on usage. It means you will have to troll through a lot of music, but with all the various filters on these sites,

it's not as difficult as it sounds to find something to your taste. Most of the tracks come in varying time lengths per track, so editing is usally a breeze to fit your needs.

One thing though. Make sure it is Royalty free so there are no further rolling payments required. 

Although it sounds like it might be expensive, it can actually be very cheap for podcasting. Some of these companies are virtually giving tracks away these days.

Writing for Library music companies is a lot harder these days, well selling the cues is, because there are so many of them about.

I've been involved with library/stock music for over 20 years and know of quite a few companies. If you get stuck for time I will post up a few more links.

I know you are on a budget, so try Pond5 first...You can get (royalty free) tracks for as little as $5:00...

https://www.pond5.com/royalty-free-music/

Double Post. 

My only niggle with Basschat - You can not delete posts (unless, I'm missing something?).

Good on 'em for still going strong at their age(s). They are still massive crowd pullers, so I should imagine the album will do very well.

I quite liked the video and do like the Stones, but with this track, nah, not for me. I was pretty bored musically after a couple of minutes.

46 minutes ago, Alien said:

Another thing from back then...
They did a version of a C90 tape with an extra 3 minutes on each side, so overlength albums would fit onto one side, meaning you didn't have to pick your least favourite tune to lose!

 

A C90 that goes up to eleven?

9 hours ago, Hellzero said:

Adam O'Farrill sounds like a huge fan of Paolo Fresu. 😉

Ahh, right...

I only discovered Paolo a couple of years ago during the lockdown, and I have not really listened to his Trumpet playing that much.

What I have heard sounds lovely, also he's a wonderful Flugal Horn player with a smashing tone.

There's nothing not to like about Hiromi (especially with AJ) and all is good on this video. But I must say, the Trumpet player Adam O'Farrill, is a bit special.

32 minutes ago, Richard R said:

He's making light of it, and it is quite incongruous, but incredible skill to play!

Indeed...

He has always liked to push it a bit, but this is mad, even for him.

Albums that were released in 1985 that I bought and I played a lot...

Yellow Jackets: Samurai Samba

Scritti Politti: Cupid & Psyche 85

Dave Grusin & Lee Ritenour : Harlequin

Tribel Tech: Spears

Tania Maria: Made in New York

Although released late 1984, I played this album lot.

Al Jarreau: High Crime

43 minutes ago, Buddster said:

Found it! In my local garden centre

(well, not really) 

 

 

Has it been defretted?

Not sure what the fuss is all about.

It's a silly little thing, but it would probably make a good Lapel Badge. **

I know people will always talk about his Bass playing, but Welton was also very accomplished Tenor player, with a nice feel and soulful tone on the Instrument.. Always played from the heart...

21 hours ago, lowdown said:

I can do without this everytime I open up Basschat...

 

 

 

 

 

 

I cool for me now. What ever was going on for a couple of days has vanished.

👍

I can do without this everytime I open up Basschat...

11 hours ago, Piers_Williamson said:

Belgium...........

 

 

 

And the great 'Toots', of course:

Iceland.

A few I listen to, or have listened to over the years:

Mezzoforte, Ólafur Arnalds, Hildur Guðnadóttir, Jóhann Jóhannsson...

And of course Björk.

4 hours ago, 2pods said:

Don't remember Jim in the AWB "classic" years (Show Your Hand, AWB, Cut the Cake, etc)

Maybe it was later on, but he made a fine noise with his Morrisey Mullen band.

Very funky

I think it was mostly gigs and/or tours later on.

And of course, there was this live album below. Both Morrisey and Mullen are on it.

1977
"AWB is chosen to form the nucleus of Atlantic’s All-Stars at The Montreux Jazz Festival. The live album from the festival is released later that year; the highlight being a big band version of 'Pieces' arranged and conducted by Arif Mardin, The all-star line-up includes Randy and Michael Brecker, Don Ellis, Herbie Mann, Sonny Fortune, Jim Mullen, Richard Morrisey. (Phil Collins commissioned the same arrangement from Arif Mardin in the late nineties for his big band Montreux appearance).   

Jim Mullen is great...He has played in a few excellent bands over the years.

Oddly enough, only yesterday I was listening to the Morrissey Mullen album 'It's About Time'. Richard Niles was the producer.

1 hour ago, TimR said:

 

Yes. That's what I was saying. Circle of 5ths for Gb shows:

 

Db  Gb  B  Cb

Bbm Ebm Abm

 

IV I V

iii iv ii

 

Sorry, I couldn't help it. **

3 hours ago, jrixn1 said:

 

Then you say that playing an E is going to clash - but if anything that will sound quite good, because you're creating the first inversion.  An example is in "Dancing Queen", when they sing "You can dance, you can jive, having the time of your life" - on the word "life", Rutger on bass plays D# when the chord is B7.  Sounds great, and leads to the next chord (D) really nicely.

In your example it works nicely and sounds unusual/different because it's leading you somewhere different to the norm.

Most common times in the key of 'A', it would/could lead to an E(7), or any chord with an E in the Bass for that matter.

When I say different, in context, it's not really (although it's not a regular scale note). The D# Bass is part of a decending line to get back to the key centre (A). 

Although you probably know all that, but some may not (I'm not being condescending, by the way).

Learning this kind of theory is not just about where you put your fingers on a fretboard, it's a great aid for ear training.

Hearing a Circle of 4ths/5ths can aid you in hearing chord progressions away from an Instrument.

"The circle of fifths can be a very useful tool for ear training, especially for training the ear to recognize chord progressions and key changes.

By listening to the way chords progress around the circle of fifths, you can learn to recognize the patterns that are common to many different types of music."

I like this vocal reference for relating to the Circle of 5ths.

"Round, like a circle in a spiral, like a wheel within a wheel - Windmills Of Your Mind".

If you can get past the first minute of this blokes irritating introduction, there are some good examples:

One of my favourite Dylan covers...

If she is playing the Tambourine on 2 & 4 with her foot, she needs to work on it...**