Posts Tagged ‘entertainment’

This post is going to be a tutorial on doing mashups using logic pro and some of the tools it has, mainly Flex Time and the ESX24 Sampler. The first thing I want to talk about is house keeping. When you’re doing a mashup, you need every sample or loop to have its own track, sometimes you can make exceptions for loops or samples from the same song, or similar songs, but if you have the power in your computer, I still recommend you put them on different tracks. The reason for this is quite simple, every song is mixed differently, so when doing a mashup of all these different songs, you’re going to have to mix them all differently to get them to work. As well as change their tempo, and their pitch and numerous other things.

As you can see here I’ve put all my samples/loops on different tracks, and some of them have drastically different settings. Now, collecting samples/loops themselves. Some producers will disagree with my here, but I personally find the best way is to just cut the sample in the arrange window, then test it by looping in the sample editor. This picture below shows the cut file selected, causing it to show up in the sample editor, then by clicking the button with the 2 arrows following each other, then clicking the speaker button next to it, you can hear the loop played in loop. Then its just a matter of some careful listening to get your selection perfect.

Next up is speed and beat editing so that you can get your mashup to sound like everything is at the same speed with beats that sync up perfectly. Logic makes this process very simple with its Flex Time tool. Once you have your loop cut, select the tempo you want your mashup to be at, select the sample you want to move into that tempo, and drag the end into the amount of bars the sample goes for. In this case below, its 4.

 

 

 

 

Now once the tempo syncing is done, sometimes you’ll find that beats aren’t always perfectly on the beat, so you have to move the beat a little, to do this just select a spot in the loop so that these locators come up, then drag the locators left or right to sync the beat.

 

Now the final technique for getting the mashup to work is by making sure all your loops and samples are in the same key, this is done pretty easily using the pitch shifter, its just move it up or down as much as you need (it takes some practice finding the right keys but once you get the hang of it it’s easy)

 

 

Another technique I like to use in mashups or any kind of modern music production is the stutter, this is also just a simple matter of clipping sections out of an audio file in tempo.

 

 

There’s one last technique I use in my mashups, this technique is creating a custom sampler instrument in the ESX24 sampler. What I’ve done here is cut each beat out of a synth riff, saved them as a series of audio files, then imported them into the ESX24 (this is done by opening the synth, clicking edit and dragging in the files.)  Then I assigned each of the samples to a note on the keyboard (seen at the bottom of the picture) so that if I played each note in order it would play the riff. This allows you to play the notes in random order and completely reinvent the riff.

To listen to my mashup and hear some of these techniques you find it on soundcloud here.

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For my first assignment for digital audio programming at uni we have to do some sort of electronic version of Eleanor Rigby, so as to be expected I decided to go dubstep. The project  is still in the works but it will be up on sound cloud soon enough, however I’d like to mention as a logic user how effect it was using a sampled kit and mixing/adding effects rather than using ultrabeat, don’t get me wrong, ultrabeat has some great kit sounds, but a recorded kit is just so much fatter. If you want a big sound, you need big samples. I’d like to personally recommend http://changostudios.com/samples.html this kit sounds absolutely awesome. Changestudios is responsible for the production of my favourite band, Sleeping with Sirens http://www.youtube.com/watch?v=poZLiypLJzQ but these samples when edited right will create just bout any huge sounding drum kit you like.

I’d also like to share this tutorial video, and this guys channel in general, I’ve spent a lot of time searching for good dubstep tutorials, and this guy is one of the best I’ve found.

This is a great article on the history of reverb and echo, definitely worth a read if you get a chance.

 

http://www.theatlantic.com/entertainment/archive/2012/06/how-humans-conquered-echo/258557/#.T-U6heVIq0k.facebook

The Mix was an intense process. Without many instruments we had to create a full sound. With the help of Logic 9, I think it went pretty well.

All songs were recorded in the one session and each instrument had the same track for each song, so these settings were applied to all songs, then split off and minor tweaks were made (most of which probably won’t be mentioned because they’re not really very interesting.) Sam wanted his EP sound to be really consistent so we decided doing it like this would be a fun, challenging and interesting approach.

I started mixing the first song, which was probably the thinnest of the lot with nothing but guitars and vox. It’s quite an intense and raw song and I wanted the EP to start strong. I started with the guitars and did the usual pan each mic to either side, high pass and low pass EQ to keep out sounds not in the frequency range, some low mid cuts and a slight high mid boost to eliminate any masking, compressor and a noise gate. This got it sounding pretty good, but after mixing everything else the guitar just seemed to not… sit right, it was just a little overpowering in the high mids, so I decided to do something I tried in a different mix. I put a stereo spreader on both guitar mic tracks and spread the upper mids a little, order 11 for one and 12 for the other so the same frequencies weren’t being spread on either side. Being already panned to one side, this pushed some of those frequencies just a little closer to the middle, widening it at the loss of some of its power, perfect!

 

On the left we have the left guitar mic and its plugins, on the right, the right!

 

The vocals were a lot more simple, just a matter of EQ, compression, noise gate, and a tinyyyyyyy little bit of delay.

 

Now the lead guitar was interesting, for the electric lead solos we had 2 mics, one dead on and one to the side, so I panned them to show this. This sat the guitar slightly to one side but still gave a nice full sound, almost like if a band were playing and the guitarist had come up to do a solo and was standing just to the right of the singer.

Here you can see the centered mic on the left and the panned right mic on the right, as well as the EQ, compression, noise gate and delay decisions I made.

Next was the acoustic guitar solos, there wasn’t really anything special done here, it was recorded with a single mic so I opted against any crazy stereo imaging, quite a decent amount of EQ and delay, and more compression than I normally try to use, then a good ol noise gate.

 

The only other major instrument recorded was the double bass, once again a pretty simple process, decided to go for some more creative EQ to try and keep the clarity of the double bass whilst removing resonances and fixing some masking problems.

 

There were some other instruments used, including an egg shaker, a MIDI glockenspiel, a MIDI kick drum and some whistling, but I opted against doing those ones as they were very simple processes, but if anyone is interested let me know and I’ll show you how I did them, or help as best I can with mixing those instruments.

The final part of the mix was the reverb, this was done by setting up an auxiliary channel strip and putting the space designer reverb on it, then bussing all tracks to it. I don’t know very much about designing reverbs, in reality or in plugins, but I found the preset my ears agreed with most was the small booth reverb. It just sounded right and fitted the style perfectly.

I also used a concert hall reverb on the vocal echoes in the first song, ‘Heaven’.

If anyone has any advice for my mixing process for future mixes, please don’t hesitate to send it my way!

Also, please look up Sam Luff on facebook! or soon iTunes! He will be extremely grateful and is very much worth your time!

It’s been about a week since I’ve posted, but there is a reason for this. I took a trip up to Queensland last week to visit my friend, the very talented and future famous Sam Luff. I’d been planning this trip for a while and we decided we would take the opportunity to record, produce and release his first proper EP. His music page can be found here: http://www.facebook.com/samluffmusic I highly recommend you give his music a listen, especially if you’re into acoustic singer/songwriter style stuff, hes really very talented.

The recording session was a brilliant bit of fun, and he had a great setup to use, combined with some mics I brought up, we had all we needed.

The Booth: first we did some DIY acoustics treatment using some karate mats and a mattress that looked like acoustic foam. We first set it up on the floor for the sitting down instruments (ie. guitar, guitar amp) than moved it up to a table for vox. The room sound was kind of dead already, but this did a great job of catching all the direct reflections.
The Acoustic guitar: a simple spaced pair setup. Took some fiddling to get the mics in a good in phase position but we finally got there. Used my matched pair of Peluso CEMC6s, brilliant mics, they sound absolutely brilliant.

The electric guitar: For the guitar amp I put an SM57 right in the center then a CEMC6 back and too the right a bit, this mic was later panned to the right, this gave the guitar a brilliant image and position in the mix.

Voxs/Acoustic Lead: Both the acoustic lead and vox parts were recorded with my AKG perception 820. Great mic and relatively cheap for what it is. Vocals and guitars came out clear as day, and nice and dead.

And finally, double bass: This was also just done with the AKG, great smooth low frequencies.

All in all we finished up with some great dry tracks, there was a little bit of MIDI use for a backgrounded kick drum and a glockenspiel.

Stay tuned for the mix report!

Tonight I went to go see a Russian pianist performing a complete recital of Chopin. It was absolutely brilliant, his technique was incredible and all the pieces were extraordinary. As much as I would love to discuss piano technique and performance characteristics of tonight, instead I’m going to talk about my thoughts on it in relation to composing, particularly for film. It’s often common practice to just use a high quality MIDI plugin to emulate the strings, and provided you write good enough music, this will do divinely. But whilst listening to this performer I thought about how no matter what you do with a machine, it’s doubted the result will be as moving as a real performance, obviously recordings generally still aren’t as powerful as a live performance, but still more powerful than MIDI. However, recording an entire orchestra for a film score is a very long, difficult and stressful process, as I know from talking to a friend of mine who worked on the recording and composed some of the music for a new Hollywood zombie movie called ‘Christmas With The Dead.’ And still wasn’t overly happy with the result. But then you have the great film scores of Harry Potter, Indiana Jones, Star Wars, Jaws, ET, Jurassic Park, and many more written by John Williams and recorded by the London Symphony Orchestra, these are easily some of the most notable film sound tracks and the reason for this is both the score and the incredible sound of the recording/talent of the orchestra. This is the most extreme of the best, however, the music for Pirates of the Caribbean, another epic film score that is very notable and gripping, was recorded with a group of musicians later given the name The Hollywood Studio Symphony, over the course of 4 days.

All the orchestral music I compose, I compose with MIDI, but the one piece I have had performed was only performed by the Tasmanian Youth Orchestra, and even with my best synthestrated scored, that performance will always be more memorable. Which means if a youth orchestra can capture the emotion of a piece well enough to surpass a MIDI recording, that means the main struggle lies in the recording, which is no big surprise. People generally don’t get much experience recording orchestras, its so complicated and time consuming you’d have to be crazy to want to, but as John Williams has showed us, with the right stuff, the hard way is definitely worth it.

So today I hung around after a music history exam to do help a friend do all the sound/roadie work for the performance exams, he certainly manages to do a lot of different things at once.

1. The Setup

First we had to get in contact with whoever was performing and asked them what was on stage and what would be miked. We set up 3-4 mics for the first couple of exams even though we knew we probably wouldn’t need them, it was a just in case. Most of the exams just required lugging gear on and off, and some slight monitoring on the piano (which was normally the only thing miked). However, some exams wanted more miked, the most intense being a guy singing/playing piano or playing a leslie organ (alternated between songs), a small choir, a lead vocalist, a guitarist, a bassist and a drummer. The organ, all the vocals (choir of six had 1 mic between 2) and the piano (bass but was muted as it didn’t need any reinforcing) were miked. Everything had 58s on it except the piano which had a dynamic mic I can’t recall on it. 2 foldback wedges were run out the front daisy chained, also. This set up (including the instruments) had to be completed in a little over 30 min. This was the biggest challenge and the reason for not using more interesting mics/setup.

I found during this that the most important part of the speedy setup is to try and neaten mic cables as you’re running them, rather than afterward and ALWAYS try to work from left to right. Because without time to do a labelling system, and without an incredible memory, this will be your saviour. Keep gaffa tape with you if you can, so that you don’t have to go find it when you want to tape something, and you can do some of the taping while you go.

Also, without a sound check or any way for the performers to let you know if theres anything they want in their foldback there isn’t much you can do other than guess, but there are some things you can listen for that may help. If a singer seems to be a little pitchy, especially if they are a singer who is normally very good, chances are it’s because they can’t hear themselves. With all other instruments (and also singers as well), listen to hear how tight the timing is. If they fall behind then catch themselves back up a few times (or push ahead and pull back) then they probably can’t hear either. Drummers in particular have a tendency to push tempo when they can’t hear, however if they aren’t particularly brilliant drummers they may just not really be listening.

As for the actual mixing of this gig, it was mostly level riding, boosts for solos, a little EQ to tidy it up, nothing too fancy, a little bit of reverb as well, all on a basic yamaha mixer.

2. The audio CD and DVD of performance

While all this is going on, a spaced pair of matched cardioid condensers are set up on a high pole in the middle of the audience (everything run neatly so that it only takes up the space of one chair) to record the whole thing, running to the stage multicore and back to a separate digital mixer with a reverb effect on it to enhance the room a little. This signal is then sent to a Tascam CD Burner and a HD video camera running to a DVD burner. This CD and DVD is burnt/ripped/copied/backedup in numerous ways for numerous people and for the Cons achieves.

That’s a little for one person to do for almost 12 hours a day 6 days a week during exam week.