background preloader

Hertz-Chart.png (1178×872)

Hertz-Chart.png (1178×872)

http://www.beantownboogiedown.com/storage/Hertz-Chart.png

Related:  Mixing and Miking

Blue Bear Sound - ARTICLES There they are...8/16/24/48/96 tracks that you’ve painstakingly recorded, overdubbed, erased, and recorded some more.... so now what? You can’t play with your mixer’s knobs every time you want to hear your masterpiece! You need to blend all those tracks to (usually) a 2-channel, stereo mix. Brian Eno Discography Notes: 15 previously unreleased tracks from the Eno studio, curated by Brian's technical assistant Marlon Weyeneth. Somewhat of a Drop Vol 2 -- all the tracks appear to be from the last decade. "Castro Haze" and "Manila Envelope" appear in mildly different mixes from their Headcandy incarnations and "Late Evening in Jersey" (which appeared on the soundtrack of Heat) is a longer version of The Drop's "Hazard".

American Theatre Wing - Larson Grants Jonathan Larson's dream was to infuse musical theatre with a contemporary, joyful, urban vitality. Although he did not live to see it happen, his dream was achieved through the phenomenal success of his musical Rent. The Jonathan Larson Grants were created with the understanding that without the grants that supplemented Jonathan's meager income, Jonathan might never have written Rent. Georg Solti Sir Georg Solti, KBE (/ˈdʒɔrdʒ ˈʃɒlti/; 21 October 1912 – 5 September 1997) was an orchestral and operatic conductor, best known for his appearances with opera companies in Munich, Frankfurt and London, and as a long-serving music director of the Chicago Symphony Orchestra. Born in Budapest, he studied there with Béla Bartók, Leo Weiner and Ernő Dohnányi. In the 1930s, he was a répétiteur at the Hungarian State Opera and worked at the Salzburg Festival for Arturo Toscanini. His career was interrupted by the rise of the Nazis, and because he was a Jew he fled the increasingly restrictive anti-semitic laws in 1938. After conducting a season of Russian ballet in London at the Royal Opera House he found refuge in Switzerland, where he remained during the Second World War.

Production Tip 5 : The Sub-kick Trick A good kick drum sound can often make or break a track. It’s probably going to be one of the few bass-end elements in your mix and so key to providing that low-end energy. While kick sounds can vary massively there are two basic elements that will probably be common to most. Lets call them ‘punch’ and ‘weight’. Punch is the top end, the knocky bit of the sound where the beater of the bass drum pedal hits the drum head. Lenard Audio - Education - Mixing. Page 4 of 5 EQ Equalization. The primary use of EQ is shelving. Shelving filters unwanted frequencies from being amplified or recorded. Eg. Stopping bass frequencies and popping being amplified from vocal microphones.

What Do Your Brand Colors Say About Your Business? The choice of color is an important decision for any brand. Many of our world’s top brands have thoughtfully about their color choices. Consider any brand you identify with. Musical Master Class 2 - Discovering Musical Theater Michael talks about his awak­en­ing to musi­cal the­ater as a poten­tial form of expres­sion for his own art: “As a pro­ducer, I was inter­ested in the stage appear­ance of my acts. More and more artists of the late 1970’s began to add aspects of the the­ater to their per­for­mances, and I was intrigued.

Someone bring it on home, already “Bring It On Home To Me” is probably my favorite song that Sam Cooke ever penned and recorded. Even though it’s self-flagellating sad sap fare, it always sounds to me like slow dancing barefoot on a dusty front porch somewhere. I am not alone in my love. Rob Papen ConcreteFX Blue 1.7.0 VSTi RTAS AU MAC OSX UB (PC -MAC) BEAT & DYNAMICS | 2007 | VSTi RTAS AU MAC OSX UB | 22,2 MB This exciting synth delivers FM Synthesis, Phase Distortion Synthesis, Wave Shaping Synthesis and Subtractive Synthesis is one creative combination! We call it “Crossfusion synthesis”.

How to Master a Track in 15 Minutes or Less Twice a month we revisit some of our reader favorite posts from throughout the history of Audiotuts+. This tutorial was first published in July 2008. Mastering your tracks can be a bit of a minefield and is often seen as the domain of the professional.

100 Greatest Guitarists We assembled a panel of top guitarists and other experts to rank their favorites and explain what separates the legends from everyone else. Featuring Keith Richards on Chuck Berry, Carlos Santana on Jerry Garcia, Tom Petty on George Harrison and more. THE VOTERS: Trey Anastasio, Dan Auerbach (The Black Keys), Brian Bell (Weezer), Ritchie Blackmore (Deep Purple), Carl Broemel (My Morning Jacket), James Burton, Jerry Cantrell (Alice in Chains), Gary Clark Jr., Billy Corgan, Steve Cropper, Dave Davies (The Kinks), Anthony DeCurtis (Contributing editor, Rolling Stone), Tom DeLonge (Blink-182), Rick Derringer, Luther Dickinson (North Mississippi Allstars), Elliot Easton (The Cars), Melissa Etheridge, Don Felder (The Eagles), David Fricke (Senior writer, Rolling Stone), Peter Guralnick (Author), Kirk Hammett (Metallica), Albert Hammond Jr. CONTRIBUTORS: David Browne, Patrick Doyle, David Fricke, Will Hermes, Brian Hiatt, Alan Light, Rob Tannenbaum, Douglas Wolk

How To Write A Musical Drama - 9 Essential Drama Elements Musi­cal drama ele­ments — in a nut shell: Overview of 9 essen­tial strate­gies that made Michael Kunze’s drama musi­cals so suc­cess­ful in Europe and Japan. It is a long and rocky road from the incep­tion to the pre­miere; make sure you are pas­sion­ately fas­ci­nated by your story idea. Don’t fol­low trends…follow your heart! You dream about see­ing it on stage, and you can’t wait to share it with an audience.Your ini­tial attrac­tion to the mate­r­ial becomes the inspi­ra­tion for any fur­ther devel­op­ment. Select story ideas that offer them­selves for musi­cal inter­pre­ta­tion, where melodies may reveal a secret gar­den of hid­den realities.Con­flict does it! The pro­tag­o­nist must have a strong desire to reach a cer­tain goal.

The Problem With Music Whenever I talk to a band who are about to sign with a major label, I always end up thinking of them in a particular context. I imagine a trench, about four feet wide and five feet deep, maybe sixty yards long, filled with runny, decaying shit. I imagine these people, some of them good friends, some of them barely acquaintances, at one end of this trench. I also imagine a faceless industry lackey at the other end holding a fountain pen and a contract waiting to be signed.

Related:  Bell