Congratulations to all the inductees for the 2010 Full Sail University Hall Of Fame including mixing engineer, Leslie Brathwaite.
When you understand what your talent is and take the time to refine it, only great things can happen.
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Showing posts with label Engineers. Show all posts
Showing posts with label Engineers. Show all posts
Friday, August 27
Monday, August 16
Drum Sampling Workshop @ Patchwerk
Attendance will be limited for these workshops. It is strongly encouraged that you signup and reserve your seat today! Gathering together many minds for discussing an oft' overlooked task of music production; This is sure to be a great experience for all!
Saturday, August 21 @ 11am
Admission is $10, and free for current AES members.
SPACE IS EXTREMELY LIMITED - ADMISSION WILL BE GRANTED ON A FIRST COME FIRST SERVE BASIS.
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Monday, April 26
10-Minute Music Practice
The person who practices for an hour may spend that time playing songs, pieces, or scales that he or she already knows. Music practice is tackling something you don’t know; can’t play; or don’t yet understand; or, it’s working on a technique that feels unfamiliar or difficult.
Practicing music correctly is a lot like getting in shape. If you walk on a treadmill an hour a day while reading a magazine, and you set the speed and incline to the same comfortable level each day, your fitness level will remain largely the same at the end of six months.
If, however, you devote only 20 minutes to the treadmill just three days a week, but put all of your physical and mental energy (no magazines) into the task at hand, you will likely be stronger and better toned at the end of six months than the person who walked for an hour without breaking a sweat.
During that 20 minutes, you may have challenged yourself by slowly increasing the treadmill incline and/or raising your walking speed. The concept of challenging yourself for short periods of time translates perfectly to music practice.
So, start out by practicing for 10 minutes a day. If you want to increase it to 15 minutes, and later to 20 or 30 minutes, that’s great. If not, that’s fine, too. You will make significant progress practicing 10 minutes a day if you challenge yourself during those 10 minutes. There are many accomplished, professional musicians who never practiced for hours a day!
They likely spent countless hours playing music in band or orchestra settings, but practicing may only have been done to review the most challenging or difficult parts of the music.
If you follow the 10 principles in this book, you will learn your instrument more quickly and more thoroughly over the course of one year than if you practice a full hour a day – the wrong way ‐ for 5 years! These principles will be particularly useful for people who have been stuck at the same level for years; people who are returning to music after a long time away from it; or for beginners.
The 10 Principles of 10-Minute Music Practice
1. Establish a long‐term musical goal, and keep it in mind at each practice session.
2. Focus on your strengths, not on your weaknesses. Work only on the weaknesses that are relevant to your long‐term musical goal (Principle No. 1).
3. Set a short‐term goal before each practice session so you know how the 10 minutes will be used before you start.
4. Practice what you don’t know, not what you do know.
5. If it sounds good, it’s not practice, and it doesn’t count toward your practice session.
6. Don’t practice anything wrong; not one note or one beat. When in doubt, triple check the note or beat, and then check it again.
7. Don’t play pieces or songs through from beginning until end; work on parts or pieces of songs.
8. Leave your instrument out, or, if you’re a singer, leave your music out on a music stand, in a place where you will see it every day.
9. Practice for at least 10 minutes every day. If you miss days, don’t give up. Just get back on schedule.
10. Don’t practice the same thing, in the same order, that you did the day before.
For more info purchase Leah R. Garnett’s book, Ten‐Minute Music Practice – How to Do It and Why It Works
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Thursday, October 9
Monday, September 15
20 Tips on Using Effects in The Mix
- Reverb creates the illusion of space…
- Reverb is very useful for making vocals sound more musical...
- Bright Reverbs can flatter vocals but may exaggerate sibilance…
- Reverb is probably the most important effect in the studio…
- Vocals almost always require compression…
- Compressors bring up low-level noise just as effectively as they do low-level signals…
- Avoid gating during recording if at all possible…
- Always gate signals prior to adding reverb if you can…
- Don't always set your gate to fully attenuate the signal when the gate is closed….
- Single-ended noise-reduction units are useful in reducing the perceived level of hiss during material…
- Don't add long reverb to bass sounds unless you have an artistic reason to do so…
- Chorus is a useful effect for creating the illusion of space and movement…
- If you need a sound treated with chorus to stand out in a mix, try either panning a dry version of the sound to one side…
- Equalization is often used as an alternative to getting a sound right at source…
- Sounds can often be made to sit better in a mix by 'bracketing' them with high- and low-pass filters…
- When setting up a mix, try to get the mix sounding close to right before you add any effects or signal processing…
- Don't be tempted to hide poor playing by heaping on more effects, it never works…
- Go easy when using enhancers to treat complex signals such as a whole mix…
- Often it's better to enhance just some elements of a mix so as to make them stand out from the rest…
- Treatments designed to increase the stereo width of a mix can have detrimental effects on mono compatibility…
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