May 23, 2013
Producing music requires persistence along with creativity. We may hear a few popular tracks from an artist who has produced their music at home, but we will never hear the hundreds or thousands of tracks that were never finished or brought to the mastering studio. Artists have the difficult task of being creative and fresh, while being able to understand the technical side of their work. But even the best producer will eventually send his songs off to a mastering engineer to improve their work before it is mixed down into a digital file. Why would such a skilled artist go through the hassle of letting someone else alter their work?
The reason is that not every creative person has an engineering mindset and the opposite is also true. You can be veteran DAW users, perhaps you know what almost every function does in Ableton – but this doesn’t …
January 7, 2013
There is enough equipment available to use, that two DJs and two producers might not have one piece of gear in common. The same song could basically be produced using a mix of software and hardware, or even no software at all. A sparse setup is all that is required to being to make music, as long as the producer himself/herself is filled with ideas to help propel them forward. Nowadays, many producers employ the use of a DAW because it is much easier to record and fix errors using a piece of software, than it is using recorded tracks and tapes – but the similarities can stop there.
After that their musical gear can differ greatly. Some may prefer to use vintage analog synthesizer keyboards to create their melodies, while some may go with an analog guitar that is distorted enough to sound like something other than a guitar. …
October 16, 2012
You know that super annoying sound you get when your microphone is too close to your speakers? It’s one of those noises that make audiences shriek and cover their ears. While this is typically undesirable and usually avoided at all costs, it can sometimes be useful and encouraged if you know what you’re doing.
An old trick that still has its place in the synthesizer world is similar to what was just mentioned above. It involves feeding your output directly into your input again, creating a feedback loop. Normally, any other instrument would be subject to the same harsh noise that you get in the microphone scenario – but with the MiniMoog, it’s controllable.…
September 24, 2012
What does a Shure SM57 recording microphone and glass of wine have in common with each other? – Absolutely nothing. That is unless you’re tinkering with its resonance properties and exploring the limits of the types of sounds it can produce and effect. Since there is no shortage of mad scientists out there finding ways to create music, we are not surprised to see this.
Enrico Ascoli used a small 45 record, his turntable, a microphone, and wine glass to alter his voice before it enters the microphone. He uses the same properties one would encounter when they blow on the tops of bottles with varying amount of liquid inside.…
November 22, 2011
Having once been the exclusive province of those with the money to afford the latest greatest technological tools of the day, synthesizers are arguably experiencing a golden age of ubiquity. Most DAWs, if not based completely around their included virtual instruments, at the very least include some kind of sampler or subtractive synthesizer plugin. Similarly, thanks to the cost effective evolution of modeling technology, hardware is also plentiful these days. Somehow, despite all this, a lot of electronic musicians seem to be perpetually integrating some new grail plug in into their studio or shopping for the next one when they should be recording. What’s going on here?
Something about the immediacy of the modern DAW has really lent itself to the preset users of the world. It is, in fact, quite easy to confidently saunter through a three chord house music trick with a wobble bass preset and some blistering …