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Thanks Stinkie
OXI? you mean NO?
Once again I'm facing a logical problem.
What's the question?
Still missing a clear question you see.
Edit:
If I have to answer "is anatomy important in sculpting?" :
My answer is definitely NO!
Frankly, I never regret for the NO replies. I certainly regret for a lot of YES.
@unknownuser said:
and I wish he sets up some webinars.
My pressure, any ideas? How?
Such sessions should be for free of course,
However, I don't quite understand the essence of all these.
Should be about sculpting, whatever the software is?
Should it be about blender and sketchup communication?
All these are very interesting subjects.
After all a unification of all these 3d packages is our dream, right?
@majid
It isn't a surprise.
You sir have a deep sense on what drawing, sculpting means.
A pleasure to follow your posts.
Two studies. All in blender dynamic topology sculpting mode / cycles renders.
( ~ 1M faces)
Very very nice !!!!
Great skills, expected from you.
Welcome to the club (of digital sculpting)
You should post on blenderartists forum too.
An easy way to ask for any help.
BTW, blender modeling is very powerful too.
You should try cycles rendering.
Modern producers and sound technicians should be shamed
Have a look here. you better get a SACD or download a HiDef audio file.
"
A historic record recorded just 4 years removed from the dawn of the analogue tape era!
Praise for the Analogue Productions LP version of Masterpieces:
"Most highly recommended (the record is now on the QRP presses). It's one of my 'Records to Die For' in the February 2015 Stereophile. You won't have to die to get a copy. $30 will do and it's well worth the money. A true classic both musically and sonically and a historical work of art you can now own." ó Music = 11/11; Sound = 11/11 ó Michael Fremer, AnalogPlanet.com. Read the whole review here.
"The best album ever made by Duke Ellington, which is to say, one of the best albums in jazz ó is also one of his least known. ... now, a leading audiophile record label, Analogue Productions of Salina, Kansas, has brought it out on pristine vinyl (itís also, despite its vintage, one of the best-sounding jazz albums ever), and the time has come to take notice. ... the new, remastered Analogue Productions LP, which is to the CD as a high-def television is to a circa-1980 Trinitron. Played on a good sound system, itís a sonic time machine, hurling you into Columbiaís 30th Street Studio with the Ellington orchestra. Horns sound brassy, drums smack, cymbals sizzle, you hear the air pass through the woodwinds. When saxophones play in harmony, the overtones bloom like a sonic bouquet; when the musicians take a quarter-note pause, you hear them breathe in." ó Fred Kaplan, Slate, Dec. 9, 2014 Read the whole review here.
"Mood Indigo," "Sophisticated Lady," "The Tattooed Bride" & "Solitude" recorded at Columbia's 30th Street Studio on Dec. 19, 1950.
Masterpieces By Ellington shines from an astonishingly brief period of history that gave the recording industry 2 of its greatest achievements ó the introduction of magnetic tape recording & the 33 1/3 LP, or long-playing record.
Four years. That's all it took to go from the discovery by Americans, of German advancements in the field of sound recording, to the marketing of tape decks in the U.S. by the Ampex company, to Columbia's unveiling of its 12î LP, & the 1st long-playing record to be sold to consumers.
The 4 selections contained here catapulted the Maestro Ellington into the LP era, as the great composer/arranger/pianist & his matchless orchestra took full advantage of the possibilities afforded by magnetic tape recording & the still-new 33 1/3 RPM LP to, for the 1st time, capture uncut concert arrangements of their signature songs.
Duke was joined for the 4 originally recorded tracks by a virtuoso supporting cast: Duke Ellington, Billy Strayhorn (piano). Russell Procope, Paul Gonzalves, Johnny Hodges, Jimmy Hamilton (saxophone). Nelson Williams, Andrew Ford, Harold Baker, Ray Nance, William Anderson (trumpet). Quentin Jackson, Lawrence Brown, Tyree Glenn (trombone). Mercer Ellington (horn). Sonny Greer (drums). Wendell Marshall (bass). Yvonne Lanauze (vocals).
BONUS TRACKS:
On "Vagabonds" the personnel is Francis Williams, Harold Baker, Willie Cook, Clark Terry, Ray Nance (trumpet). Quentin Jackson, Britt Woodman & Juan Tizol (trombones). Willie Smith, Russell Procope. Jimmy Hamilton, Paul Gonsalves, Harry Carney (saxophone & clarinet). Duke Ellington, piano. Wendell Marshall (bass) Louie Bellson (drums). Recorded at Columbia's 30th Street Studio on Dec. 11, 1951.
On "Smada" & "Rock Skippin' At The Blue Note" the personnel is Nelson Williams, Harold Baker, Ray Nance, Andrew Ford (trumpet). Quentin Jackson, Britt Woodman, Juan Tizol (trombones). Willie Smith (alto sax, soprano sax). Russell Procope (alto sax, clarinet). Jimmy Hamilton (tenor sax, clarinet). Paul Gonsalves (tenor sax). Harry Carney (baritone sax). Billy Strayhorn (piano). Wendell Marshall (bass). Louie Bellson (drums). Recorded at Columbia's 30th Street Studio on Aug. 7, 1951. Note: The reverb heard on these 2 selections were in the original recordings.
This album wouldn't have been possible without a chain of events starting at the end of World War II. Recorded in December 1950, just 5 years after Germany fell to the Allies, revealing the Germans' advances in magnetic tape recording, Ellington's master work holds its wonder still today & the recording quality hands-down betters the sound of many modern-day albums.
1944-45: Magnetic tape for sound recording spread to America after an American soldier, Jack Mullin, serving with the U.S. Army Signal Corps in the final months of WW II, received two suitcased-sized AEG 'Magnetophon' high-fidelity recorders and 50 reels of Farben recording tape that had fallen into American hands via the capture of a German radio station at Bad Nauheim. German engineers had perfected the technique of using Alternating Current bias ó the addition of an inaudible high-fequency signal (from 40 to 150kHz) ó to improve the sound quality of most audio recordings by reducing distortion and noise.
1947: Mullin became an American pioneer in the field of magnetic tape sound recording, after working to modify and improve the machines. He gave two demonstrations of the recorders at Radio Center in Hollywood in October 1947. A later demonstration for singer/entertainer Bing Crosby led to the use of magnetic tape for recording Crosby's radio programs. Crosby became the first star to use tape to pre-record radio broadcasts.
1948: Crosby invested $50,000 in local electronics firm, Ampex, and the tiny six-man concern soon became the world leader in the development of tape recording. Ampex revolutionized the radio and recording industry with its famous Model 200 tape deck, developed directly from Mullin's modified Magnetophones. Units marked serial No. 1 and 2 were delivered in April 1948 in time to record and edit the 27th Bing Crosby show of the 1947-48 season. A 200A at the time retailed for $4,000 ó nearly as much as a standard single-family home.
Crosby gave one of the first production tape decks to musician Les Paul, which led to Paul's invention of multitrack recording. The first production model 200A recorders are delivered to ABC and placed in service across the country. This marked the first widespread professional use of magnetic tape recording. Working with Mullin, Ampex rapidly developed 2-track stereo and then 3-track recorders. Mullin and Ampex developed a working monochrome videotape recorder by 1956.
Here's where it gets really interesting, as The Duke and history made matchless audiophile magic. It took Columbia Records until December 1950 ó two years into the LP era, and the transition from disc to magnetic tape recording, to get Duke Ellington and his orchestra into the recording studio to cut a long-playing record.
June 1948: Vinyl LPs had taken over as the standard for pressing records by the 1940s; in 1948 Columbia Records introduced its 12-inch Microgroove LP or Long Play record, which could hold at least 20 minutes per side. The first classical long-playing record, and the first 12" LP of any kindó catalog no. Columbia Masterworks Set ML 4001ó was Mendelssohn's Concerto in E Minor for Violin and Orchestra, Op. 64, played by violinist Nathan Milstein with the Philharmonic Symphony Orchestra of New York, conducted by Bruno Walter.
December 19, 1950. Masterpieces by Ellington recorded at Columbia's 30th Street Studio. Released in 1951. Recording engineers Fred Plaut and Harold Chapman. Recorded on an Ampex 200, using 3M-111 magnetic tape running at 15 inches per second. (3M-111 tape was also introduced in 1948, the year the Model 200 debuted).
Suddenly, for the first time in his career, Ellington was able to forgo the 3 minutes-and-change restrictions afforded by the short running time of the 78 RPM disc. He and his band rose to the occasion with extended (11-minute plus) 'uncut concert arrangements' of three of his signature songs ó ìMood Indigo,î ìSophisticated Lady,î with evocative vocals by Yvonne Lanauze, as well as ìSolitude.î Masterpieces was also notable for the debut of the full-bodied, surprise-laden ìThe Tattooed Bride,î and for the swansongs of three Ellintonian giants of longstanding: drummer Sonny Greer, trombonist Lawrence Brown and alto saxist Johnny Hodges (the latter two would eventually return to the fold).
Masterpieces is a revelation and a throwback to a golden recording age. So much history and so much luck combined make this album truly special.
"Even in this august company, 'The Tattooed Bride' is a swinging virtuoso piece that, as everyone present must have known, couldn't possibly have been captured in this manner in any era before this session ó this was also one of the last sessions to feature the classic Ellington lineup with Johnny Hodges, Lawrence Brown, and Sonny Greer, before their exodus altered the band's sound, and so it's a doubly precious piece (as is the whole album), among the last written specifically for this lineup." ó AllMusic.com
Remastered by Ryan Smith at Sterling Sound from the original analogue tapes
Recorded originally on an Ampex 200, using 3M-111 magnetic tape running at 15 inches per second
Note: The Bonus Tracks presented here were recorded with additional personnel at subsequent sessions
Tracks:
Mood Indigo
Sophisticated Lady
The Tattooed Bride
Solitude
Vagabonds
Smada
Rock Skippin' at the Blue Note
Musicians:
Duke Ellington, piano
Billy Strayhorn, piano
Russel Procope, saxophone
Paul Gonzalves, saxophone
Johnny Hodges, saxophone
Jimmy Hamilton, saxophone
Nelson Williams, trumpet
Andrew Ford, trumpet
Harold Baker, trumpet
Ray Nance, trumpet
William Anderson, trumpet
Quentin Jackson, trombone
Lawrence Brown, trombone
Tyree Glenn, trombone
Mercer Ellington, horn
Sonny Greer, drums
Wendell Marshall, bass
Yvonne, vocals
"
Not quite funny.
Democracy by all means
The funny part is, I was thinking to leave my country, now I'm thinking to leave the planet.
There is a very efficient and practical way to do it. You know.
The developer of this already great addon will fix the UV issues soon.
May be more complicated though, something with the indexing of vertices.
As a workaround, it's easy, just go on top view (7) ortho/ edit mode / select the faces and UV unwrap (project from view). In the UV editor resize and place accordingly.
However, UV unwrapping better take place in blender.
Blender UV editor is one of the most advanced around.
I'm impressed now.
Here's the well known Ancient Rome SKP file imported in blender
A 2.5 Millions faces model.
Just added a sun and rendered fast.
No video, not yet.
You don't really need any.
Just import the Sketchup file, add lights and render.
Some weird behavior on some faces in solid mode blender preview. (may related to wrong normals or non manifolds)
However, when in texture mode, all are fine. And in render mode all well.
In the cycles node editor you have automatically generated shader set up with one texture node (with the SUp UV coordinates correctly), a diffuse shader (BSDF) connected to output. This is more than enough as you can't assign glossy or bumps or glass in SUp. These will be done in cycles. SUp transparency is actually useless for a render engine. Here you will probably use glass, transmission, refraction, there are SSS, translucent, anisotropic etc etc shaders.
You will probably also use the sapling (tree generator) plugin and of course grass. (hair-particles system).
I almost missed it.
All these days trying to help my cousin,
She used a lot of IKEA models…
A nightmare, I tried my old podium too, not much luck.
However, this plugin + cycles did it.
It saves me a lot of work. (it is a paid work right?)
Of course I add much more work in blender modeling and texturing, great to get as much as possible from SUp though.
I also do a lot of cleaning in SUp before exporting (she's a silly girl… you see)
I'm not sure if anyone else mentioned it.
Here's the link
http://blenderartists.org/forum/showthread.php?360406-Sketchup-(SKP-importer
I tested it a lot.
It works…
It supports cycles, so just add lights and render.
Well, almost. Some more work on the materials, however textures and UVs are there alright.
If you are familiar with blender navigation and have a basic knowledge of cycles, here you are, a free physically correct render engine.
24 Brilliant New Words That Must Be Added To A Dictionary
The beautiful thing about language is that it changes to reflect the times. Sometimes we even have to coin our own words and phrases for new things!
Demilked (www.demilked.com)
ALAC or FLAC for downloads.
What about high resolution audio?
You need some equipment to play it right of course.
http://www.hdtracks.com/music/hires
I never use iTunes on the mac.
Audirvana plus is a cheap and bit perfect application. It supports FLAC.
Foobar on WIN pcs.
Naim = tempo, rhythm, swing…
still remember my old nap 250. Missed it.
@unknownuser said:
If anything I think a 100% precise reproduction of a recording could sound very flat and clinical.
Depends on the recording.