Achieving a well-balanced midrange in a recording is one of the biggest challenges of mixing. Beginning producers especially tend to struggle in this area. The ranges of many instruments overlap quite a bit, and some negotiation will always be necessary to help them share space in a mix. Muddy room resonances only complicate things further. When we have a session with a busy arrangement and high track count — a pretty common occurrence in digital recording — midrange problems can multiply out of control.
Referencing is a critical part of mixing. It allows you to compare your song against well-mixed music in a similar style. In addition to giving you a reality check and ideas for treating various mix elements, it helps mitigate the acoustical issues often found in untreated studios, by providing you with a baseline to compare your mix with. There’s a lot to discuss about this subject, and Fab Dupont covers it thoroughly in the pureMix video, “How to Listen-Reference Mixes.” The full video is available to pureMix Pro Members, but in this free excerpt, Fab talks about using plug-ins that are specifically designed to help you reference more effectively.
Pro Audio Essentials is a game-based course for music producers to practice and improve their audio skills. This unique learning experience uses audio games, ear training, and videos to build the production skills that music makers use every day when recording, mixing, and mastering.
Although he first got his start providing bass and vocals for LA indie outfit Princeton, Matt Kivel is also a hell of a songwriter in his own right. Since his decision to go solo in 2013, Kivel has put out four albums and he recorded his upcoming record from a temporary home right here in Austin. last night in america features minimalist arrangements and instrumentation performed entirely by Kivel himself. This latest offering is a haunting and endearing meld of Americana, folk, lo-fi and ambient, begging for another listen immediately after the first.
My “other” song of the day podcast from Austin, Texas. I really like the soundstage. Kind of reminiscent of some Michael Hedges recordings.
Pre-release. Added it to the music library, so when it comes out it will be available for me to listen to,
Blues busking troubadour Shawn James turns to the Greeks on “Orpheus.” This is his take on the mythology of one who played lyre and had a voice no one could resist.
KCRW does it again. I have found dozens of artists thanks to shows like “Morning Becomes Eclectic”.
Each day I listen to the KCRW “Song of the Day” podcast. Today is one of the days I stopped what I was doing and went off the “the music store” to get an album.
Misty Mtn dub their sound as “dark mountain pop,” and it’s on full display with their debut EP. The sexy sounding track “Silver” is inspired by natural elements.
I like this song. I will go find their EP so I can listen to it again.
The pre-chorus is arguably the most overlooked and underrated section of popular song structures. Having been established somewhere in the 1960s, the pre-chorus is a relatively young concept that has truly elevated the art and science of songwriting. The power of the pre-chorus can be seen in several important functions in a song structure, ultimately transforming a couple of musical passages into a fully realized song.
Fletcher-Munson Curves, more commonly known as the Equal Loudness Curves, were discovered by Harvey Fletcher and Widen A. Munson. The discovery was from an investigation with the aim of finding the cheapest way to broadcast a telephone call.
In the world of rock music, being ridiculous and flashy can get you a long way. For decades, rock has been propelled by bombastic lead singers, drummers, and guitar players. Despite the revelry often attached to the job description of “rock musician,” bass players hold the distinct challenge of having to blend in. While the bass in rock music has long served as a humble anchor underneath the cacophony, don’t be fooled—there are more possibilities for rock bass lines besides another unexciting eighth note cadence on the root note.
Convolution is one of the more sophisticated processes regularly used in audio production. Its ability to accurately impart the characteristic timbres of spaces and objects on other signals is useful in both sound design and standard processing applications. With a wide range of realistic and otherworldly sonic possibilities, convolution can be a fantastic addition to any producer’s toolkit.
In this article, we’ll discuss what digital reverb, both algorithmic and convolution, technically does to an audio signal to achieve the effect of reverb. With this information in mind, we’ll also cover some considerations for handling reverb in your own projects.
Crazy World (Judgement Day)” is the first glimpse into Jamestown Revival’s forthcoming LP. Band members Jonathan Clay and Zach Chance sat down to reflect on shared experiences about the crazy world we live in, hence the delivery of “Crazy World (Judgement Day).”
I really like the sound of the vocals. Well-centered with a bit of width.
In music theory, the term minor scale refers to three scale patterns – the natural minor scale (or Aeolian mode), the harmonic minor scale, and the melodic minor scale (ascending or descending) – rather than just one as with the major scale.
I was listening to a podcast yesterday. There were two speakers, both claim to have been classically-trained with degrees in music theory and/or music performance.
Neither of them could “speak” the difference between the “minor” scales
- harmonic – seventh degree raised semitone – leading tone
- melodic – raised sixth and seventh degree ascending, not raised descending
You’ll know it when you hear it.
Most of the time the problem comes from misunderstanding exactly what frequencies affect the bass instrument. Too many times we think that it’s the frequencies below 100Hz (especially 60Hz) that provide the bass we need. While it’s quite true that those frequencies are important for what we might call the girth of the sound, they won’t reproduce well on small speakers, and that’s where the problem lies. In other words, EQing too low.
Below 100Hz Girth
120Hz to 200Hz Bottom
250Hz to 320Hz Low-end definition
1kHz to 1.5kHz High-end definition
2.5kHz to 3kHz String noise/buzz
British electronic duo Cinematic Orchestra return with their first album in a dozen years. Exploring the timeless question of what to believe, Cinematic Orchestra invite several guests including Moses Sumney on “To Believe.”
This is a wonderful soundscape.