ryancolecreate Posted July 9, 2009 Share Posted July 9, 2009 BTW if you can e-mail it to me I'll trow it up on my drop box for all the watmmers to grab who want it... Link to comment Share on other sites More sharing options...
marf Posted July 9, 2009 Share Posted July 9, 2009 Sure, pm me y9our email address Link to comment Share on other sites More sharing options...
marf Posted July 10, 2009 Share Posted July 10, 2009 so, do you work in a studio? I find that layering diff percussion sounds is very nice. Like several snares and toms etc. All layered into one drum sound. . yeah, I've made electronic stuff for years but my day job is working in a studio. layering drums is a great way to get what you want, and a great way to get what you want without eq sometimes as well. traditionally the shortest path approach is normally considered the best, ie you can make a bass bassier with an eq, but better still you can use a bassier sound to begin with or layer up a bassier sound! ie the less steps to get the sound you want the better, often anyway. in the studio it works along the lines of Put up a kick and a mic and see if it sounds good, if it doesnt listen to the kick and give it a tune, move it in the room, change the beater even change the drum if you can. if it the drum sounds good but not how you would like it in the control room then move a step down the chain and move the mic around, if that doesnt work put up a different mic and repeat. Then combine two mics and move them around etc. then if it needs it start to add a bit of eq and compression etc. this process is comparable in electronic music to choosing the right samples to begin with, then trying to combine them and trying out different levels for the different samples, then reaching for a filter or eq to mold them into one, then eqin the whole thing to fit with the track etc. the point is you start with the fundamental 'does it actually sound good BEFORE i start fiddling with it?' that makes everytihng easier. you soon get used to the fact that a lot of sounds WILL end up going to the 'reach for the eq' stage, we have become used to the very processed sound of modern music, and electronic music especially is hugely dependant on processing, its what makes it so fun! but when you get down to the fundamentals sounds should generally have the character you want before you eq, becuase its hard to use it to create something that isn't there in the first place! but hey its all about mucking around, and i don't think you have to be TOO strict with electronic stuff. to the op - maybe a good place to start is to group all your drums and add an eq to the whole lot, move around an eq point and see what it does when playing along with the rest of the track, see what sounds good. drastic eq like this is the sort of thing you often end up leaving off the final version of the track but its good to hear how it alters such a fundamental thing as the drums, you may even find it sounds pretty good on subtle settings! So, how did you get into studio work? Is there much work to be had? Do you spend most days working with band you don't like to listen to? What other work is there? Link to comment Share on other sites More sharing options...
Guest welcome to the machine Posted July 10, 2009 Share Posted July 10, 2009 So, how did you get into studio work? Is there much work to be had? The tried and tested way :) just phoned up a studio and offered to work for free making tea, doing shop runs, tidying up and doing whatever needs to be done, if you show yourself to be willing and able you'll soon be placing mic's and setting up sessions unless the owner is a d**k who just wants some free labour. Show yourself to be confident with the process and you'll start to get some work with the smaller sessions. do a great job on them and your likely to be suggested for low budget larger sessions, then you just go from there! there is good work to be had, I work at a REALLY nice studio and although big label budgets are down there is still a lot of work to be had if the studio is willing to be flexible on prices. that said I wouldn't like to be working for a smaller studio right now as a lot of them are going under. I guess thats always been the case but at the moment people who do music for fun don't have the spare cash for a week in the studio but labels still need to record bands even if its a lower budget so we still have a full calender from now until november. Do you spend most days working with band you don't like to listen to? well, I like a lot of music so I'm not too fussy, I'm generally into a band on a musical level if they can play, even if they aren't doing great music. I'm facinated with people getting great results whatever the style so I guess I just get into the music sonically or performance wise even if I don't like the tracks. I work with some really experienced engineers so I'll often be lumbered with the smaller local bands, some of those can be shite but then I just get into the sound, get the drums sounding huge etc. so I'm never to bothered if the band is that bad. Then when you get to do a great band you have a great time and everythings easy so its a double payoff! I can think of worse ways of making my wages! The hope is that you get enough experience to be freelance, then you pick and choose the sessions you do and only work with bands you like, I'm happy putting in the time with any band that comes my way if it means I'll have a truly amazing job in a few years time! What other work is there? well I do a bit of mastering, record bands with my own setup sometimes and do a bit of production which is always fun. with production you are being hired more for your musicality than your skill with knobs so you get to have a much bigger input on how the record sounds arrangement/style wise. A lot of musicians/engineers graduate to doing production and if you get the big production jobs you are looking at big money for work that comes naturally to you. Working at a larger studio you also learn a huge amount about all the other aspects of commercial music as most of the bands that come through are on medium/big deals and you soon get a feel for the industry from the perspecive of those who work in it. If you want to do that sort of thing then I really advise learning pro tools, and if you can learn every program there is, learn about a huge collection of mics and putboard then call up the best studio you can feasibly travel to and be prepared to work long hours for no money. when you get to the studio take note of all the gear and download all the manuals you can. watch the engineer like a hawk but don't get in the way. when you get a chance to get hands on you will be able to work the studio with ease and soon impress someone enough for them to offer you a session at some point! Link to comment Share on other sites More sharing options...
marf Posted July 10, 2009 Share Posted July 10, 2009 interesting. Maybe I'll call up real world studios. I'll show them a thing or two. Pro tools is the ubiquitous recording program it seems. Ever work with tape? Link to comment Share on other sites More sharing options...
Guest Wall Bird Posted July 10, 2009 Share Posted July 10, 2009 oooohhhh. Just found "The Theory and Technique of Electronic Music" by Miller Puckette ! (creator of MAX and PD) Looks like it has lots of great stuff over DSP and shizz like that.... http://crca.ucsd.edu/~msp/techniques/latest/book.pdf TIP: Try searching the Goog with '.pdf' at the end of your search string. Thank you. Thank you. Thank you. This is awesome. Link to comment Share on other sites More sharing options...
Guest welcome to the machine Posted July 10, 2009 Share Posted July 10, 2009 interesting. Maybe I'll call up real world studios. I'll show them a thing or two. Pro tools is the ubiquitous recording program it seems. Ever work with tape? yeah, you can't get away from it unfortunatly, great for recording bands though. I use tape a lot, studer a827 and a80 2" machines and 1/4" and 1/2" master recorders, though I don't use the latter two much and the a80 is not behaving! old stuff goes wrong... ^^^ yeah cheers for the book, looks awesome Link to comment Share on other sites More sharing options...
SCONES TO DIE FOR Posted July 10, 2009 Share Posted July 10, 2009 This was a good thread. I keep the Bobby Owinski book by my side whenever I'm mixing. I recommend getting a hardcopy and reading it like the bible. Link to comment Share on other sites More sharing options...
Guest Wall Bird Posted July 10, 2009 Share Posted July 10, 2009 I keep the Bobby Owinski book by my side whenever I'm mixing. I recommend getting a hardcopy and reading it like the bible. Amen. Link to comment Share on other sites More sharing options...
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