Brandon Burke

Nope. Submissions are recieved by email.

I don't think Pedro tossing Zimm like a club bouncer was justified. Granted, in a situation like that, when you've got dudes coming at you from all angles, the natural reaction is to not give a damn and look out for #1. So I understand it from that angle for sure. That's just a primal thing. Anyone who's been in a fight before knows this. But all he really needed to do was simply get out of the way and usher Zimm along like a matador does a bull. Again, though, I wan't in the middle of that melle so I can't talk. When shit's real.....it's REAL so who knows how I would have reacted. Then again, I likely wouldn't have started anything with Posada from the mound either.... I'm both excited and worried about my Royals in 2004. The Beltran thing is a major concern, obviously. How long will they keep him? Will they get anyone for him? What about Randa? What about Ibanez? Etc. I'm confident that the starting rotation will have their act together by then, though. Affeldt will likely remain in the bullpen and Greinke looks very promissing. So that's comforting. Bring on Jayhawk hoops.......!

Folks have mentioned CD Architect before and it sounds like what we want. If it's just a basic birning program than we may go for that. The last thing we need is another altogether different editing/mixing program (a la Sound Forge, Peak, Cubase, etc.).

* Larry Young - Mother Ship * Jackie McLean - Action! (thanks to whoever started that thread!) * Jimmy Smith - House Party * Duke Pearson - Wahoo * Piltdown Ensemble - [untitled demos] * Joe Maneri - Paniots Nine * Brigitte Fontaine & AEoC - Comme a la Radio * The Clientele - The Violet Hour * Matt Suggs - Amigo Row * The Kinks - The Kinks are the Village Green Preservation Society * Outkast - The Love Below * Carlton & the Shoes - Love Me Forever

Absolutely right. Gladden really goes at it full-steam-ahead on this one and (understand I haven't heard much of the later BN Larry Young, so this could be par for the course but) I've never heard a B-3 played like Cecil Taylor before. Those solos are wild. I never really caught up with the LT series titles so this RVG was a new one for me. It's easily my fave of the lot. Those filled-in letters on the cover really bug me, though......

The Austin Film Society -- you ARE a member, right? -- is hosting a great kung-fu retrospective right now. I'm most excited about the 36 Chambers films, which show this Tuesday and the following Tuesday. Check the Chronicle or the official AFS site

Why not make individual tracks, select zero seconds gap between tracks and burn them Disc At Once? This way you won't have interruptions and you can access each track directly (I'm not sure if that would be possible with indices). That's a good point (and it's what I ended up doing today) but in the future I need something less time-consuming. My client wanted a track separation every 1 or 2 minutes, which is a serious pain in the ass when picking and dragging with a mouse. The idea, as far as I'm concerned, is to assign tracks every [x] minutes with a simple formula. Like a database situation. Masterlist CD did this. In other words, something I can do on a keyboard instead of highlighting 00:00-1:59, 2:00-3:59, 4:00-5:59 with my mouse ad nauseum. I've got a ton of stuff to crank out. My only limitation is time so I need this process to be much faster. If I act quickly we have the funding for new software so I'm up for suggestions. Please understand that we're processing everything in Pro Tools LE. As such, we won't be purchasing anything like Sound Forge, etc. All we need is a straight burning/mastering program with tracking insertion capabilities. I'll check out Exact Audio Copy but we're in a university situation here, which means that our funding sources tend to frown upon shareware. It's a liability/copyright issue. Thanks for the replies, everyone. Brandon

I need something along the lines of Masterlist CD that will allow me to insert track numbners into an alreay existing piece. Example: I have a 58-minute oral history interview I digitized from reel tape and my client wants me to insert track numbers every, say, couple of minutes as a way to assist researchers. More of an indexing situation than individual *tracks* but I think you know what I mean. The piece still needs to play through uninterrupted. I read that Digidesign has discontinued Masterlist CD and, to the best of my knowledge, I can't do this in Toast. Suggestions.....?

I'm reading three books right now: * John Fahey - How Bluegrass Music Destroyed My Life * The VICE Guide to Sex, Drugs & Rock n Roll * Cult Baseball Players, Danny Peary (Ed.)

I have a blue and white BLP-4218 Liberty with an uninked promo embossment on the top left corner of the front cover. The catalog number suggests mono but I haven't listened to it in a while. (Ridiculous, because it's one of my favorites!) Vinyl is thicker than I remember Liberty pressings to be. Back of the jacket includes both mono and stereo catalog numbers but the front cover and disc label are 4218. Also, for what it's worth, my back jacket is W 61st St. Don't know if that helps......

This is EASILY my favorite post-'VOL. 1 & 2' Blue Note Powell date. It blows the others away. I'm happy to see it come back to life. "Duid Deed" has been on many a mixtape over the years....

Interesting, Jim. This not only means that Soul Jazz produced a comp of unlicensed material but it also means that....Black Jazz is still a functioning company?! News to me. I have some problems with the whole Soul Jazz/Universal Sounds thing but I never imagined they were pulling a BYG on us. That's too bad. Up until now they've bugged me simply because they've somehow become the bastion of all things reggae, soul jazz, funk, etc. In my opinion, most of thier reggae comps are VERY mediocre and I think one could make a strong argument that the only reason they've become so popular is because they have neat looking covers and the advertize HEAVILY. 'STUDIO ONE SOUL' was kind of a joke. There's much better Coxsone-produced U.S. soul covers out there. And the 'STUDIO ONE STORY' comp was just flat out weak. Plus, I don't want to hear about reggae, jazz, and funk from a label that also issues wimpy synth-pop like A Certain Ratio. Gimmie a break..... On the other hand, I'm looking at those releases as a vinyl buyer and almost everything they issue is still in print in Jamaica. The Jackie Mittoo stuff, the Studio One records, the 'ROCKERS' material, etc. It's just not very hard to find that material, man. And the original full-lengths are amazing! If you ask me, CD buyers should stick with the reissues on Heartbeat and Blood & Fire. Those guys have it all covered, they take chances by issuing less marketable titles, and they're legit. I get the impression Soul Jazz simply rides the tides of fashion.

Sure. You'll need to get some equipment, though. I have two different situations where I do this and both are on Macs: 1) AT WORK - We have Pro Tools LE with the Digi 002 rack as our A/D converter, a Thorens TD-160 turntable and a G4. All you do is route your turntable into the PT rack and treat it like it was a microphone. Mix it down (or don't) and burn it off in whatever CD-R burning software you've got (Toast, etc.). 2) AT HOME - I bought a Philips dual-tray burner with analog recording capabilities and use it exactly like I would a cassete deck were I recording LPs onto cassette. It's very easy. The Philips has a setting where it looks for 3 second breaks in sound and inserts a 'new track' marker but I don't trust it. You never know when surface noise will trigger it to keep going. Fortunately, it has a remote with a 'skip track' button so you can assign the tracks on the fly (and from across the room) while you do something else. This is especially helpful if you're digitizing an LP with tunes that run into one another without a break. From there I burn and finalize the CD-R in the Philps and then load it into iTunes. You'll want to do this because those Philips recorders are consumer grade and the CD-Rs they require are okay but not something I'd store information on for a very long time. Plus, if it's already in iTunes you can burn another copy whenever you want or incorporate any of the individual tracks into a mix. BTW: I bought my Philips burner on eBay for about $100. They go for about $500 new so be sure to look at eBay as well. Lots of folks are dumping perfectly good ones on eBay since iTunes is so popular but they're obviously people who never needed the analog capabilities and don't realize what they're getting rid of. Hope this helps.

It's great. On another note, I rented 'READ MY LIPS' tonight after someone kept bugging me about it for months. Better than I expected and it gets better as it goes along. I also finally got around to seeing 'BREATHLESS' last week. Wow.....

I'm also a big fan of the Latin Playboys. When Los Lobos recorded 'KIKO' in 1992, David Hidalgo, Louie Perez, (engineer) Tchad Blake, and (producer) Mitchell Froom recorded some extra tracks that evolved into another project altogether: the Latin Playbos. Much more angular and experimental than Los Lobos. Basically like 'KIKO' or 'COLLOSAL HEAD' but more psychedelic and engineered in the same vein as the mid/late-80's Tom Waits records. I prefer the self-titled one but they're both really good.

Well, if you've seen the film then you should know what to expect. If you haven't seen the film then I advise you to do so APAP. Very....er....'deliberatrly paced', but that kind of stuff doesn't bother me. If you know anything about Jim Jarmusch then you already understand this. Beautiful high-contrast b/w featuring cameos by Iggy Pop, Billy Bob Thornton and Gibby Haynes (of the Butthole Surfers). He basically revisits his 'DOWN BY LAW' formula--'DBL' featured Tom Waits, John Lurie and Roberto Bengini--in a Cormac McCarthy-inspired setting (a la 'BLOOD MERIDIAN', etc.). 'DOWN BY LAW' is among my top five films of all time and last year's Criterion DVD looks great.

I love these records. It's amazing they got Geffen to issue this stuff, with no mention of XTC anywhere in the packaging and VERY limited sales potential.

Agreed. Frank Butler is very impressive as well.

A World Series split b/w Fenway and Wrigley would be absolutely amazing. Any self-respecting fan of the sport and it's history should welcome it with open arms.

This week: Goddard's Breathless, Spirited Away, I am Kurious Yellow/Blue, The Larry Sanders Show (Season One), Sports Night (Complete Series). Laugh all you want about that last one but there's something very endearing about that show and I don't know what it is. Either way, I like it.

Interesting. Hadn't heard about this one yet. I'll email Chris and ask him what's up.....

In graphic design circles Reid Miles was famous for mixing fonts. He called it something like "the liberation of type". Interesting you say that, Chuck. My brother is a graphic designer and we've had arguments about this topic for years. Certainly there are a number of examples of him (Reid) mixing fonts. I guess my point goes back to the whole Photoshop thing. Patrick mixes fonts in a manner I associate immediately with graphic design software. This is probably because a lot of Patrick's go-to fonts are too modern and too crisp to have ever appeared in a 50s/60's design.

That is true but there are FAR more titles available through Get Back's LP series than there are by Fuel 2000.

Affinity, huh. That's all I need to know. Thanks.

Let me say again that your 9-16-03 10:21 post (quotes don't include graphics on this site) is really good. Just for the record......