ENGLAND, UK – STAINSCAR PRODUCTIONS
The new album from StainScar, Gynoid Heart for a limited time only, get your digital copy with 50% off retail price using discount code supportstainscar at checkout and support independent music today. Gynoid Heart by StainScar is licensed under a Creative Commons Attribution-ShareAlike 3.0 Unported License.
Click here to go to bandcamp and buy the album.
I purchased a piece of software a long time ago called Calendar Snooze (which can be downloaded from google play for free) but you purchase the key to unlock all the features.
It seems the developer of the file has removed it.
In this case I feel it is only fair to share the key file to anyone else who has purchased it but cannot for any reason re-install it.
I recently reformatted my phone when I upgraded to Lolipop, so I lost my key.
Here is com-bitfire-development-calendarsnooze-key.apk
And also here is a link to the VirusTotal scan of the file, here.
If you are the developer of this, and would like me to take it down, please leave a comment, or contact me with the Contact feature of the website.
My 4th album, Gynoid Heart is now available from bandcamp!
This album is released as a CreativeCommons Sharealike 3.0 licence.
More details to follow. For now, enjoy the new album from StainScar Productions.
StainScar productions have been involved with the ITV Fixers Project headed by Charles, (Furbz91). We produced the audio mix and master of the project called “Everybody’s Challenged” together. Charles as Project Coordinator and Song writing/Arrangement, and me as the Mixing Engineer. We unfortunately were not credited in the live broadcast, however I hope we will see the full interview on the website.
Downloads and more information will be available here after the broadcast.
As a musician, I’m often asked what my stance on piracy is. Firstly you have to understand a few key concepts, one of which is “DRM” or Digital Rights Management – this is a method of ‘content control’ which an artist or producer can use to restrict their work so that it is limited and cannot theoretically be copied. These DRM’ed versions of tracks do not help content producers protect their rights at all, and hinder the efforts of people that have actually purchased their product.
1980s Anti Piracy Campaign
See, if I owned a vinyl, I could copy it to tape or CD freely, or pass it to a friend to listen to. With DRM content, it is only hurting the end consumer who actually purchases the product as they cannot listen to the music they own unrestricted.
The real kicker for me with DRM is a simple one. If it can be played, it can be broken. It only takes a little while before an expert coder or bedroom hacker to find a method to break it. All the technology that makes DRM is written by humans, so can be beaten, by humans.
Second, the thing about music, is it is different to any other medium, you need to get your music played and for people to like it so that fans want to buy your tracks to support you to make more. That’s one reason I use Bandcamp, they share most of my philosophies. So the more people that listen to your music and like it, the more likely you are to find a fan, who will actually buy or donate to you.
Third, there is no money in streaming. Pandora, Spotify etc. The royalties for a million plays on Spotify is about $0.09, where as a fan sale could be $3.
Fourth, Free Distribution. People often forget, that data is an expensive thing to send, store and process. If people like your stuff and are willing to share their bandwidth to introduce other people to it, and increase your listening audience, that should be the goal.
Me, as StainScar Productions, while I don’t fully support piracy, I realise that for the above reasons, it is impossible for me to control my content fully once it has been released, and I’m happy with that. I don’t restrict my MP3 downloads, because you could just rip them from Bandcamp or Soundcloud easy as pie. I have the FLACs of my paid content on Bandcamp and my free content on my servers.
One dedicated fan, regardless of how they have found your music or video is worth their weight in gold, as they will want to support you and help you out.
I tried to capture the live feel, and keep the rise in energy as present in the original track stems provided. I’m a recent CMT graduate. I have removed one of the stems (the audience shotgun cardioid, as the original was distorted, and reduced the overall quality of the mix ).
I mixed this in the style of similar rock/blues tracks.
Big Head Todd and The Monsters have been a mainstay on the blues scene since their founding in the mid 1980s. From guitarist Todd Park Mohr’s prowess on the guitar to the down home grooves of the whole group, their music is attuned to the sounds and the tradition of American music. Their new album Black Beehive was self-released on February 4th.
Now, Big Head Todd and the Monsters, Telefunken and Indaba Music want you to mix the live performance of “Hey Delilah”, which was recorded at the Telefunken Studios. Whether you’re using Pro Tools, Logic, Cubase, or other, show us what you can do.
After many years experimenting with music, trying to get the ‘right’ sound out of digital equipment, when I truely enjoy the sound of vinyl, I have discovered the plug-ins and preferences I prefer, and would like to share them with you.
My media player of choice is Winamp v5.65
Firstly, I enable “Replay Gain”, in Playback Preferences.
Then I load Multiple DSP, and enable iZotope Ozone as the first plugin in the list, followed by iZotope Vinyl and finally Compressor & Wider, all at 100% strength.
In iZotope Ozone, the first page displayed is EQ.The first two markers I leave where they are. The 3rd I put at +0.8dB at 1242hz, and q set at 0.3. The 4th I move to -7.5dB at 20,000hz with q set at 0.5.
On the Room Simulation page, I set room size to 0.47, damping to 0.10, Dry/Wet Mix to 8.3%, room width to 1.65, speaker widening to 0.71 and cutoff to 220hz.
On the first panel of the Tube Amplifier is Bass Compression. I click advanced, set cut off to 153.8hz, Gain to 8.1, threshold to -30dB and ratio to 25.0. The next panel is Tube Limiter which I set Threshold to -3.8dB, margin to -3.8dB and release to 101.4ms. The final tab, Tube Saturation, I set the amount to 9.3dB, cutoff to 10339hz and mix to 68.6%.
Finally, I set output gain to 3.3dB
Next, I setup iZotope Vinyl (which does not save settings between Winamp reloads, so you may want to disable it). I set mechanical noise to -13.7dB, wear to 0%, electrical noise to -30dB, Dust to 6.7dB, Scratch to -60dB, warp depth to 0%, dust amount to 40%, year to 2000 and RPM to 45. I leave input gain and output gain set at 0, and the stereo flip switch on.
The final plugin in my chain is Compressor and Wider, which I set Stereo width to normal, treble enhance to 0, Max amplification to 10.0x, amp raise to 5665ms, amp reduce to 3.8ms and threshold to -0.1dB.
These settings are subtle, but quite effective for most types of music, but feel free to tweak and find your own settings that you like. I hope this has proved useful 🙂
With AOL’s announcement of discontinuing Winamp, I thought I’d upgrade to their last version 5.66. However, it appears a new company has overtaken development, but I thought I’d compile a list of known working (and useful plugins with this version)
After installing the new version, I reinstalled my plugins and Winamp wouldn’t start. It would crash launching the Setup Wizard for configuring how you’d like Winamp setup on your user account.
After going through and removing every single plugin I could find, I eventually got Winamp to start up, and play a .sid file. I thought I’d fixed it, but just to make sure, I closed it down and started it up again. Same problem.
After much tweaking, uninstalling and clearing the junk in my registry, I thought I’d try a version that I’ve downloaded in the past, in this case, Winamp 5.65, the version released just before the final version.
I installed my plugins, and so far have not had a single problem. The following is a list of plugins I have found to be compatible with v5.65
Download Links Winamp 5.65 (Pro Version) Chipamp 1.1 - Plays various chiptune formats. Compressor & Wider for Winamp v1.1 - Compressor/Limiter CDG Plugin - Karaoke Plugin Winamp Essentials v5.65 - Essential Winamp Plugins (Time Restore/WavPack+Additional Formats) iZotope Ozone for Winamp - Music Enhancer / Compressor / EQ / Analogue Modeling Multiple DSP Stacker v1.6 - Load multiple DSP plugins at once Winamp Colour Themes v2.3 - Extra colour schemes for Modern and Bento skins. Winamp Icon Pack v2.3.4 - Higher resolution file icons iZotope Vinyl v1.0 - Vinyl Modelling / Audio Destruction
If you are the developer of any of these downloads, I have just uploaded them unmodified. If you would like me to take them down, send me a message through the “Contact” page. If you would like to add your plugin here, also message me (as long as it is compatible with v5.65)
I also have hosted a mirror of the original AOL Winamp website here.
If you are curious as to how I have these plugins setup, see my specially written article “How I Listen To Music“
It appears that the world has been taken by storm by a phone game called “Flappy Bird”, even more so after the developer “Gears Software” decided to pull the plug.
I felt that the game lacked music, so I have written a composition I feel would go well with the game. Here is a piece I have written.
I hereby release this composition to the world under a free licence:
Flappy Bird (8-Bit-Try 9,900,099) by StainScar is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
Well, thank Gaia 2013 is over! Here at Camp StainScar, I’ve been busy away, getting more stuff together for the 2014 album, as well as doing various other bits to keep the project going.
So to report on the new album, I have gotten most of it tracked out, and I’m now in the arrangement process. I’ve also completed my mastering work on a super secret project, which may be coming to a TV network near you.
Here is a sneaky screen-shot of how the album looks so far.
Also, for the next 5 days, catch a preview download of the track with the working title “No Need For Money” at
Keep posted for updates.
Jx
