WaterFall Records Learning to Record Lesson Two
Lesson 1 You're here: Lesson 2 Log In: You must be a 'Member" to view Lessons 3 thur 9 Using a Compressor? Hello all, Ken here. If you are coming here from Recording Tips 7: show me the Magic Frequencies! Using one is really easy; the trick to it is to "listen to your music" and feel the flow of the mix. To set the compressor (assuming you have a constant meter in the song like the snare Mute out all the other tracks so you can work on the track. You want the compressor to breath in time with the song. Look at a compressor as an instrument in your sound. I hope this helps all of you in your mixing and recording. Here are some Magic Frequencies Tip: Set your frequencies up as presets. Good Luck! Web Design by Michael R.
Top 10 Lists: Where to Shop in Austin
4. Gardens Just north of Austin's University of Texas area bustle is this relaxing plant nursery and store. 1818 W. 35th St., 512-451-5490, gardens-austin.com 5. Kick Pleat is our preferred destination for clothing by emerging labels like Hache and Apiece Apart, plus the latest by established names like Rachel Comey and Vanessa Bruno. 918 W. 12th St., 512-445-4500, kickpleat.com 6. Located in North Austin's open-air Domain shopping center, this boutique-salon-spa hybrid has an airy loftiness and is healthily stocked with labels like Rebecca Taylor, Twelfth Street by Cynthia Vincent, and Jurlique beauty products. 11501 Century Oaks Terrace, 512-346-8202 7. Texans have an intense sense of pride when it comes to their state, so it makes sense that a shop would crop up exclusively featuring Lone Star State-made goods. 1117 S. 8. Seemingly overnight, a strip of West Second Street in downtown Austin morphed into the city's go-to shopping area, and Shiki was the first to open its doors.
Glossary of Technical Terms for Sound and PA Engineers
The Perfect Mix: with notes on Mastering Audio
There are many ways to get your songs to final form. What matters is not how you get there, but that you do get there. Lets pretend you are enrolled in one of the world's fine universities and you are writing a Master's Thesis. This is not just "any" piece of drudge paperwork, but the culmination of you education. Every mix is different. Step one is always to calibrate the mixer however you can. Note: If you don't have meters on every channel then you have to use the main meters on the mixer for this. Match the following instruments when soloed in place to the db markers on your mixing desk or your mixdown deck or software. Kick drum 0db Eq to taste. Tip: If using a live drummer, you need to stop the kick drum from resonating too much. Snare -2 db eq to taste in the frequencies above 4khz. Time Out! Lead Vocal 0db use a low cut filter to eliminate rumble and plosive pops around 100-200 hz. Cool trick: Split the main vocal track to two seperate faders. Now you fine tune to taste.
New standard tuning
All-fifths tuning is typically used for mandolins, cellos, violas, and violins. On a guitar, tuning the strings in fifths would mean the first string would be a high B, something that was was impractical until recently. The NST provides a good approximation to all-fifths tuning. Like other regular tunings, NST allows chord fingerings to be shifted from one set of strings to another. NST's C-G range is wider, both lower and higher, than the E-E range of standard tuning in which the strings are tuned to the open notes E-A-D-G-B-E. The greater range allows NST-guitars to play repertoire that would be impractical, if not impossible, on a standard-tuned guitar. NST was developed by Robert Fripp, a guitarist for King Crimson. The NST has required greater attention to strings than has standard tuning. History The open strings of new standard tuning Play Properties Chord diagrams for new standard tuning The lowest five strings are tuned in perfect fifths from a low C.
Making a Cello
As I showed in the previous posting, the top and back have different archings – the top has a pronounced saddle, or flattening, in the middle. To understand why we have to take a brief detour into the land of acoustics. But one as seen through the eyes of a violinmaker – which is the difference between an engineer explaining the airplane you’re sitting in, cruising over the Atlantic four miles up, versus the guy with the tuna sandwich who was sitting out on the wing with a screwdriver an hour before you took off. Acoustics, like the instrument itself, is as much art as it is science; which means that when you get down to it, there’s as much theory as there is settled fact. Let's begin with the basics: sound is the displacement of air. The cello string looks like this when you pluck or bow it: A pretty simple oval, right? A simple oval produces simple harmonic motion: a fundamental note (an A440, for example) with no overtones. First, through acoustical resonance.
Mixing in Stereo: Adding Width and Depth to Your Recordings
When it comes to discussing the fine art of mixing music, I tend to approach the subject with some trepidation. After all, compared to many of the topics I’ve written about, this one is rife with subjectivity — one person’s idea of a great sounding mix may be another’s sonic nightmare. And what works for one genre of music will be decidedly wrong for another. But all those variables aside, there are at least a few general theories, tips, and tricks that apply to most mix projects. In a good stereo mix, each instrument needs clarity, balance, separation, and its own space in the stereo field. The Concept At its most basic, mixing in stereo means mixing for the human brain and physiology. But in the real world, much of the process of creating a stereo mix is far from organic or natural. In actual practice, modern stereo mixing has less to do with replicating real world conditions than with creating a good sounding balance between the various musical elements in a recording. The Joys of Mono
DIY Recording Studio Acoustic Panels
Acoustic treatments are often used to help improve the acoustics of a room by taming "flutter echoes," "room modes," and other problems which arise from a room's dimensions and construction. Although a variety of treatments are available for commercial use, they tend to be quite expensive. After some research both online and in print, we came across several sources for DIY acoustic treatments using rigid fiberglass panels and simple frames. These are often referred to as "bass traps," although the ones that we're focusing on have a fairly wide rage of absorption. While commercial versions are available for almost $100, we were able to make these panels for about $24 each. We can not take credit for this design, but have combined several people's ideas into a step-by-step guide. For more information, check out the good folks in the acoustics forum at recording.org