Seems like this one could be useful right about now…
this coming from Peter McKinnons film making perspective, but easily translates to music making as well. great motivation: “done is better than perfect”
Not so much a tip, but an interesting look at the birth of a genre…
How did UK garage become dubstep?
Ashley Elsdon is the best. He’s been covering mobile music since the Palm days, like I think his earliest blog post goes back to 2006. The guy is a CHAMPION for mobile music and now he’s over at CDM (Pete Kirn wisely snatched him up).
Anyone serious about iOS/mobile production should follow along with Ashley over at CDM.
Such a good list of apps on that page too, I’ve never tried iMaschine or NOISE but Cubasis and Gadget are definitely first class if you’re on an iPad. (Gadget does work on a phone, but now with my baby sized iPhone SE it’s not exactly the easiest to use). The Ampify/Novation stuff is high tier as well
I’m not serious about mobile music making (I use a computer), but would this guy useful for me?
Proooobably not so much everything has a mobile first slant. Where there is crossover (like Gadget) you’d get something out of it, but otherwise, no.
WITH THAT said though, CDM is still an awesome site that covers EVERYTHING digital/electronic music. Classic synths, expos, hardware reviews. It’s my new one stop shop next to synthtopia.com.
Cool video I saw today about making epic chords
A good video.
The chord naming goes over my head, but I’m able to listen and hear what’s going on.
The video goes well with this article about the Lydian Mode.
Loop | New Horizons in Music: Polyrhythms
Worth checking out Adam Neely’s YouTube channel.
He gets pretty deep in the weeds on musical theory, but it’s always an engaging watch. And, despite me largely being a know-nothing, ‘winging it’ kinda guy on musical theory, I always walk away understanding an interesting idea a little bit better.
Some good tips here:
Stereo information is not really about left and right, it is the difference between the left and right. Confusing right? Here is the easiest way to imagine it: you have a hotdog in front of you. The sausage is all the mono information that comes out of both speakers equally—vocals, kick, bass, most percussion etc. The bun is the sides. This is the information spread between left and right. The sausage should always be level with or above the top of the bread. If the bread is higher and the sausage is sinking into the bread, you have a really sh*t hotdog, or in audio terms, you have phasing.
I took a quick glimpse now and will check it all later (after I satisfy this sudden hunger)…
(Edit: Must say though, that’s a pretty awful metaphor.
My understanding re: phasing, is that it has more to do with timing/syncing/‘alignment’, rather than levels.
Is the incorrect?
“The key to nailing your mixdown and getting your track polished is to not listen to it for a while, then come back to it with fresh ears. The more headspace you have away from a track you’ve been pounding for weeks, the more clarity you will have listening back and making those final judgements before starting the mastering process.”
So true. Fresh ears save lives.
From the latest LANDR Newsletter…
Understanding why you make music is just as important as how you make it. Discover the lost art of music manifestos with these inspiring examples from music history and find the why behind your own sound.
Collaborations are an extra pair of ears, hands and brain to create with. But making your collaboration a success isn’t always simple. Collaborate better with these 8 methods for making your projects a success.
Beatport’s Terry Weerasinghe took time out to discuss the importance of labels in electronic music, how Beatport fits in the current music distribution landscape and dance music in the age of streaming._
Good EQ skills are vital for a great mix. Learn the basics or refresh what you already know with our EQ 101 guide—What it is, how it works and when to use it right.
Phasing (aka flanging - per analog tape) is adding the same signal to itself, offset by a tiny delay (the phase angle), which is varied. You get a comb filtering effect where certain frequencies cancel according to what the delay is at a given time. It’s easy to picture when you think of summing two sine waves that are offset by half a wavelength: one’s peak coincides with the other’s trough, and they cancel. Every sound is just a sum of of sine waves at different frequencies, so they take turns cancelling when you vary the delay. When the levels are matched, you’ll get the maximum effect, but you are correct that it’s more about the timing.
Agreed. But it made me laugh.
It was a bit of a fluff piece. Definitely over simplified.
This was the main reason I shared the article.
I think many producers here get a little too excited about sharing and post their track within hours of a BTC or remix competition being announced.
I’m happy to be proven wrong, but I don’t think you can make a track ‘as good as possible’ with this approach.