<html><head></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; ">Second and third that<div><br><div><div>On 2012-08-11, at 1:04 PM, Wolfgang Gil wrote:</div><br class="Apple-interchange-newline"><blockquote type="cite">Sounds great, reminds me a little bit of Fennesz.<br><br><div class="gmail_quote">On Tue, Jul 17, 2012 at 9:07 PM, AP Vague <span dir="ltr"><<a href="mailto:apvague@gmail.com" target="_blank">apvague@gmail.com</a>></span> wrote:<br>
<blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex"><div><a href="http://soundcloud.com/bluebirdrecordings/sir-baar-test-master-of-march" target="_blank">This</a> is my first test with using "straight" sine waves to activate a snare head. The sound is entirely sine wave beeps in rapid succession (from a laptop synth) played through a guitar amp aimed at the snare side of a snare drum. The mic is a cardioid dynamic mic pointed at the snares, away from the speaker to capture the resonant frequencies of the drum. This recording is six tracks, each recorded in the same manner, mastered by <a href="http://sirbaar.bandcamp.com/" target="_blank">Sir Baar</a>. Has anyone else experimented with this? Is there a better way to isolate the drum's frequencies from the speaker?</div>
<div>Hope you like it.</div><span class="HOEnZb"><font color="#888888"><div>~A</div>
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<br></blockquote></div><br><br clear="all"><div><br></div>-- <br><p><a href="http://www.wolfganggil.com/about" target="_blank">http://www.wolfganggil.com</a></p>
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