Hi Corky,
Just curious, are you doing music or voice over work for the TV/Radio people?
Cheers,
Dave
Music . I work with a few studios around. Mostly jingle type commercials. They contract me for the music, then they add voice overs and singers. Most of the voice overs are done at the TV and Radio stations. Singers at the studios. Big market here for lawyers and car dealerships. I started doing Radio jingles and bumper music in the early eighties, and just kinda fell into that market. It doesn’t pay that well anymore, and there is less work now. Gives me something to do…especially now with Covid…
Most ads here just use library crap and are done by radio stations in house. Have done one jingle in the last 10 years I think (and it was a knock off of Eye Of The Tiger) lol
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I did a ton of bumper music for talk radio networks, but they got wise and bought cheap CD compilations. All these “accident” lawyers want a catchy tune with their phone number. They flood the local market with ads, and are very competitive. Still, it is a tough gig to get. The wife of a bandmate does full time voice over work at the national level, and has supplied a few ad gigs for me. Still nothing much to make it worthwhile…just a time killer.
I wish I still had a copy of the Eye Of The Tiger ad. It sounds great. Well, apart from the singer, he was just adequate but I didn’t pick him. We did it maybe three years ao and I just started hearing it on local radio last month; had forgotten about it!
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Thanks Corky,
I’m glad you got something to break up the confinement and didn’t know you did jingles, too cool. I have stayed busy in the studio, both mixing and tracking the last few months and I have really enjoyed it but I have longed for something to break it up a little, we’ll have to see what happens. Oh and again I wanted to say thanks for the track you made us I really enjoyed it, stay safe. 
Dave
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If it sounds like your Glass Hammer albums I’m sure it does, they are excellent! 
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Thanks! This was one of those deals where we had to change just enough notes to avoind a lawsuit for the client (car dealer) but have it still obvious to the average person what the song was. I was proud of the drum and guitar sounds; I thought I nailed it. 
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“Eye of the tiger is itself” a bit of a rip off of the tempo delay riff from from “Another Brick in the Wall” is it not?
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I suppose a bit… I’d lump it in more with stuff like Edge of Seventeen. U2 really took the triplet tap echo and ran with it.
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That and some triplet tremolo on synth parts…and a lot of 1/8th tremolo on synth parts. The more I dissect their stuff the more I see (hear) these along with the guitar delays. I did a remake of Beautiful Day sans guitar just to use it as a virtual band to see if I can still play guitar with a band at a credible level, and I identified I think fourteen distinct synth voices in that song…insane…and most are modulated one way or another. BTW, the arpeggiated sounding part in the break is actually a simple scale like sequence with a sync’d delay on it. Being a non-synth person I was quite proud of myself for figuring out how to get that one credible!
On a side note, I never did like U2 that much in their heyday because their stuff that made it to air play didn’t really resonate with me so I never listened to the rest of their tracks. Then wifey decided we needed to take the kids to the Joshua Tree tour in 2017 and I was finally properly introduced to their music and loved it. So I managed to scrounge their entire library on used CDs for $32 total and have gotten to enjoy all of their music for the first time all these years after they recorded it, along with my kids who are in middle and high school and also love it.
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The Edge’s most common delay setting is dotted 8ths, methinks… Think “Streets” or “Still Haven’t Found”, etc. Triplets only very rarely as a somewhat weird effect (e.g. in Bullet the Blue Sky). The cool thing about dotted 8ths (3/16) is that when you play straigth 8ths, the delays fall right in the middle between them. That’s what gives e.g. “Streets” its cool texture…
I think that is also the “Gilmour delay”. I’ve also seen stereo delays where you have a dotted 8th one side and a 1/4 delay the other side which gives quite a trippy sound.
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Yeah, that’s the Gilmour “Run Like Hell” delay - but I’m not sure if he’s running them stero in parallel or serially (the 3/16 into the 1/4). Gilmour certainly is a fan of complex delay/reverb spiderwebs…
But nuff of that nerdy guitar stuff; back to the usual scheduled program on this channel - @Corky, what’s new on the organ front? 
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Hi. @Torsten
Really not much going on. I constantly look for updates or new candidates. Since IK B3-X came out this time last year, the other clones became silent. I don’t know if the IK “Hammond/Leslie” license scared them away, or Covid stopped development, or they are secretly trying to out race IK. I’ve sent many emails since B3-X appearance, but no replies. Their social media links are basically silent as well.
There is, however, rumblings of more tonewheel sets for B3-X on the horizon, which would be cool if true. Since I’ve slowed down from my summer projects, I am creating some more presets for posting again…maybe a few weeks out.
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Well that and a Herdim blue. Picking with the texture portion is a huge part of the sound (intro and exit). I bought some for the obvious reason and absolutely love them for blues solos. Adds a whole new dimension that really works for that genre imo.
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Thought I would briefly add to this debate:
This from Gilmourish.com (everything Gilmour from interviews, gear pics, Gilmour guitar techs, and gear makers):
MXR digital delay
– time 370ms (mains)
– time 440ms (Another Brick 1/ Last Few Brick)
– time 380ms (Run Like Hell)
Note: This seems to be the typical times for the delays, normally with 5-6 repeats and volume at 30%. I have listed below where the feedback/repeats are increased.
Run Like Hell
studio
Fender 1955 Esquire (Telecaster), bridge pickup, drop D tuning
Fender VI Baritone
– rhythm/lead & fill-ins (4 tracks); Booster (mild OD), Electric Mistress and delay
Note: David had two MXR DDLs set in time with each other, one in 3/4 and the other in 4/4.
live
Fender 1955 Esquire (Telecaster), bridge pickup, drop D tuning
– rhythm/lead & fill-ins; Electric Mistress and delay (380ms)
I started playing guitar on Run Like Hell about 4 years ago. Here is my setup in Bias:
1st Delay
2nd Delay
Works just fine!
Yup, I’m a fan of that site. The only gripe I have is that he only shows ms values for delays - I’d prefer musical values. 380 ms works out to (roughly) 3/16 for Run Like Hell; 440 for Another Brick is also roughly 3/16 (454 would be precise for a 99 bpm tempo) - but they don’t hit the notes values exactly
Not sure about the reason for the “rough” values - is this because the MXR doesn’t allow more precise setting or does David deviate from the “exact” values on purpose to make things a bit more organic. Or is this just “good enough” - given that live tempo isn’t an exact science (unless playing with a click track)?
I think it is “good enough” in a live situation. I’ve heard several live versions, all of them different tempos. His beginning riffs help establish the tempo…something I had to learn, and very hard for other bandmates to adjust to. I don’t think click tracks were ever a part of their show. I DO KNOW Brit Floyd is all about click tracks, so it is precisely dialed in on their show. Mine stays where I feel comfortable. Bandmates are used to me setting tempos anyway, so not a big thing anymore.
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We used to do Run Like Hell with no click (only one of two songs in the set), but the drummer would never keep the tempo, which meant he always got THAT look from the guitar player (who was an amazing Gilmour clone). Pete, the guitar player, said that they had only ever had one drummer in the band who could play like a metronome once he had the beat from the guitar riff. Last drummer would start fine, but he would just slowly run away with the tempo after each fill until the delay just didn’t work which frustrated the heck out of Pete.
So we clicked it in the end (Pete had a pedal to start the click once he had done all the weird shot at the start) and it was much better for it, and of course I had a great tempo synced light show, Pete put in the second guitar on the backing track and we also had the sound effects in the middle breakdown all nicely timed.
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