Blog, Blog, Blog………Blah, Blah, Blah!!!!

I started on a new audio-based blog post recently and decided to research the subject on line for a bit. That little jaunt took me on a tailspin of confusion and absolute media-overload that eventually deposited me squarely in the camp of thought that not everyone's insipid opinion on damned near everything belongs on the internet. The proliferation of podcasts and blogs and friggin' tweets, chirps, burps and farts………all neatly packaged and aggressively promoted by major players on the web, lends a voice to every daft, intellectually challenged and morally bankrupt creature with internet access. This, obviously, includes yours truly. I have realized that for me the ultimate wisdom is to really know nothing, but be in a position of constant willingness to learn anything.

So……….what's with all the four-chord song forms? Are we to believe that the listening population of the planet is capable of accepting music based on four chords at a time and no more? Popular music seems to have been reduced to a mindless transmission of danceable rhythmic pulses and no more than a repetitious harmonic structure of four chords, mostly triads. I suppose this is a reflection of a society that is ever so slowly sliding into that black hole of attention deficit. And…………would somebody please tell these producers to leave the vocoder and pitch correction devices alone? In five years, the hit songs will sound like a chipmunk symphony. Having said that, let me point out that there are artists that have embraced this new technology and are moving into a new and unexplored world of sound and artistic expression, Imogen Heap being possibly my personal favorite at the moment.

I would like to share some sites that I have found to be particularly informative and useful for me.

http://www.musicthinktank.com/blog/whats-your-songwriting-process.html

http://www.learnjazzfaster.com/7mistakes/7deadly-mistakes.htm

http://recording.org/content/

http://www.practicespot.com/manuscriptpaper.phtml?t=76

See you next time.

The Lazy Monkey

Masking - Solutions

There are two principal solutions to frequency masking. The first, and most obvious one would be to adjust the signals' pan positions so that they occupy different places in the stereo spectrum. This is assuming you're working on a stereo sound system. Many live venues (more than you might think) use mono systems……..it seems so wrong, but it's true. Later in this article, we'll discuss how to handle that scenario. (It should be mentioned here that the following applies to mono signals, but later on we'll delve into solutions for multiple stereo tracks) On a stereo system, however, panning will be helpful in separating signals for increased clarity. Try gently sweeping each signal from left to right and search for a spot for each where you are able to hear them as distinct and separate. Once you've achieved this you can use eq to further define the different instruments. (Quicktip: to clean up the low end of a mix, you can decrease frequencies under 100 hertz on most instruments except bass guitar and kick drum) Understanding equalization is essential to being able to produce a good mix both live and in the studio. We will go into more detail in the next posting. For now, we'll identify seven frequency regions to be aware of.

40 - 80 Hz : The low bass area is "felt" more than heard, and it is usually recommended to filter this range out entirely form almost all instruments. Kick drum information in Hip Hop and Dance will retain this range for power.

80 - 250 Hz : This is where"phat" lives. It's the bass range and will add fullness to an instrument's sound. Try going to 100Hz and 200 Hz to work with eq here. 200 Hz is good for fattening vocals and if you cut a guitar signal at around 100 Hz, it takes it out of the bass guitar's way somewhat. Hard to define bass notes can be brought out by adding a little 200 Hz also.

250 - 500 Hz : Lo mids. Increasing levels in this range will add clarity to baselines, but will also make higher frequency signals sound muffled. Nice place to fatten female vocals. Be careful in this range, and be sure to listen to your mix at both low and high volumes to hear how this range works.

500 Hz - 2 kHz : The mid range. Very versatile in its effect on sound. Must be handled with caution. This is where you can go from a tinny sound to a telephone vibe(1 kHz to 2 kHz)…..or add some attack to a baseline at 1.5 kHz. You can also get your guitar part to stand out here. This range can make your mix or kill it. Spend some time playing around with different instruments here and get familiar with how signals are affected by cutting or boosting frequencies.

2 kHz - 4 kHz : Hi mids. Attack on drums or percussion can be addressed here. Guitar parts will be more distinct with a boost here also. Vocals can benefit from a nudge in this range to help move them "forward".

4 kHz - 6 kHz : Sometimes referred to as the "presence" range. This range is critical in giving voices and instruments clarity and is very often used. Adding some 5 kHz to a signal will usually give it immediate distinction.

6 kHz - 20 kHz : Treble range. Adds brilliance to signals. 7 kHz, 10 kHz, and 15 kHz are your "go to" centers for "sizzle" and "sheen".