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Watch the Dub Echoes documentary to explore dub techniques

Research methods for obtaining stems

Save stems from Canvas for remixing purposes

Set reminders to help you remember to bring hard drive in

Explore Moises App for stem separation

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Thinking about what track I want to remix for this project

At the moment thinking maybe midnight rain or Belinda Carlisle

Am thinking or recreating a past remix to improve on my past and find my footing easier - this will make it easier to see what new skills/techniques I've learnt

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Defining The Remix

Creating an ew or alternative mix/version of a preexisting track (also say thats what a bootleg is)

Bootleg - an unofficial recording of a song or performance that is sold or distributed without the consent of the original artist or copyright owner

Difference is a remix is official and a bootleg is unofficial

Originally all bootleg version had stereo and/or accapellas and instrumentals

Djs love edits - kinda like a bootleg (Don't have stems)

Edit - Editing/rearranging tracks

History - Dub coming from reggae (Producers taking songs and getting creative with mixing desk/effects)

Watch Dub Echoes documentary

Dub techniques developed for remixing

Benefits of a remix doing well

Gaining fame/putting artists/songs out there

Beneficial for income and business

Relevance/new audience

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Introduction to sampling

In this lesson we are learning about

Exploring sampling and sampling techniques

developing an insight and understanding into what music sampling is and it's origins

Take an insight into sampling techniques that you can implement into your creative process

History of sampling

Audio sampling is a technique born in the 1940s with musique concrete, revolutionised music by enabling artists to reuse recorded sounds in new compositions

Popularised in hip-hop & electronic music

Used to have to use phase cancelation to get isloation instruments/vocals in tracks

Moises - app for stem splitting

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Synths And Sound Creation: Basics

Waveforms are the starting point of synthesis - and of all sound

In a synthesiser an oscillator creates a repeated signal of a waveform - this waveform is what gets alter through synthesis

There are different kinds of waveforms in different shapes that create different sounds

Sound Basics (Robehmed, 2019)

The frequency of a sound wave releases to the pitch of the sound we hear

Waveform oscillations can move at different speeds, or frequencies - The faster they move, the higher frequency they have the higher the frequency, the higher pitched the resultant sound is to our ears

Sine Wave

A sine wave sounds like it look, smooth & clean

Its the most basic sound wave

Only made up of one thing - known as the fundamental

Every other waveform can be created by adding up a series of sine waves

Good for a smooth sub bass sound - deep tone

Square Wave

Square wave is not fundamental like the sine wave

A square wave sound richer & buzzier

The square wave contains harmonics

Harmonic - a partial tone

In a square wave these harmonics occur in whole odd-number multiples of the fundamental frequency

the harmonics combined with the fundamental give the wave a square shape

Good to make aggressive, crunchy kick drum sound

Triangle Wave

A triangle wave contains the same odd harmonics as the square wave

Unlike square waves the triangle tapers off as they get further away from the fundamental - giving it it's triangle shape

The triangle sound somewhere between a square & sine wave

Not as buzzy as a square or as smooth as a sine

It sounds clearer slight brighter then a sine wave

Similar to a recorder or breathy recorder

Good to make lead melody lines

Sawtooth Wave

Also called a saw wave

Much more jagged then the other wave forms

It is the buzziest sounding of all the wave

It's the richest in terms of harmonics

This can be a great choice when you're working with subtractive synthesis

subtractive synthesis - when you construct a sound by filtering out frequencies rather then adding them on

Good to create detuned, phasing sounds

A Snapshot Of Synthesis

The process of creating sounds using synthesisers is call synthesis

This is done through a process of creating sound waves through electronic signals

Many softwares synths can replicate real sounding instruments

Additive

Additive synthesis combines the use of multiple wave forms added together to create unique sound frequencies

Adding two or more waveforms together can result in complex tones and harmonies

Subtractive

Subtractive synthesis works in the opposite way

Subtractive subtracts harmonics from the original wave form

FM

FM = Frequency modulation

FM is the process of changing the tone of a simple wave form (Square, triangle, sawtooth) by modulating it's frequency

This process results in a more harsh, dark & gritty sound

Granular

Granular synthesis is based on the same idea as sampling

Uses the microsound time scale, the sound samples are split up into usually between 1 to 50 milliseconds called grains

Many different sounds can be extracted from these grains using multiple different parameters

Wavetable

Used mostly to create realistic, natural sounds

Wavetable synthesis consists of isolating one loop of a wave and the synth then stores a digital representation of that sound in a table

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About exploration & deeper dive into production subjects & techniques

follow topics covered in production techniques & technology in music

Aim to look into new techniques - practical/ hands on tasks

chance to get feedback on assignments work/tracks you are working on

Listening Exercise - My Bloody Valentine - Soon

Keep in mind - EQ & Compression, Saturation & Distortion, Reverb & Delay, Modulation Effects, Instrumentation, Performance

Distortion - Crackle in the intro & on electric guitar (Heavy) - delay/reverb

Electronic Guitar

Breathy vocals - Hi Pass on reverb - back in the mix

Dry Drums - Compression - robotic/sample

Petnnins/whammy Bar - Pitch bending

Vocals feel like an instrument

Dense Saturation - Dludgy

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Remember tracks have to be submitted as WAVs

Go back over production techniques Canvas to fill in gaps on Padlet entry

Show proof of working on developmental areas (From study group) each week - show planning

In Technology Of Music talked about adding at least one synth element to your project

Include regular SMART Targets (Every couple weeks/when targets are relevant)

Control + F - Searching certain words on a website < put on your strategy padlet

Use quote marks for more extensive search < other padlet

Add week 2 production techniques task into padlet

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Improve Vocal Manipulation

Specific - Apply vocal manipulation techniques (E.g. pitch shifting, splicing) in my remix

Measurable - Techniques should be clearly audible in my track

Achievable - I've already started to experiment with pitch shifting in my DAW

Relevant - Vocal manipulation is a great took to use in remixes and very often used in remixes I listen to

Time - I should be finished by the end of this 10 week project

Maintain Weekly Development Diary Entries

Specific - Update my Padlet with weekly development & also include screenshots and audio

Measurable - 10 complete weekly entries plus a development week by the deadline

Achievable - I've already begun documenting and feel more prepared after doing it in my last project

Relevant - Supports my reflection and shows my progression

Time - Each weeks update should be completed by the following week - with catch up time on the weekends

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For this week I am still in the planning phase and have decided to start two different remixes before deciding what I think sounds best/what I can do more with

This approach allows me to experiment with various styles & techniques before committing to my final concept

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History Of The Remix

Dub Version - The Roots Of The Remix

Most musicologists would agree that the roots of the modern remix lie in Jamaica's Dub Reggae

Late 1960s/ early 70s, Jamaican record labels such as studio 1 & Treasure Isle, began to release 7" singles of vocal tracks with instrumental 'dub' versions on the B-side

This was mainly a tool for DJs - would improvise lyrics over the instrumental versions

This became popular & studio engineers could creatively play with the instrumentals versions - adding elements of the vocals w/ extra reverb & delay - cutting different elements in/out of the mix, using the mixing desk in way that it never had before

Pioneering Dub producers such as king tubby, Lee 'Scratch' Perry & Scientist took the art further - making Dub versions of tracks that became more popular then the originals

The influence of Dub Reggae can been seen across many contemporary genre (From hip Hop - Dubstep) & helped inspired producers to experiment with remixing popular tracks

Tape delay - spring reverb (good for dub mixes)

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Mastering MIDI Programming

In this lecture we are developing;

An understanding of programming Midi

An ear and understanding of how we can make midi organic

An understanding of how to print VST instruments into organic stems and groups.

Velocity refers to the speed at which a drum head is hit, a string is plucked or key is struck, etc

The higher the velocity you use to perform one of these actions, the bolder the resulting sound will be - not louder but change the character

MIDI

Range - 1 to 128

Techniques - Quantise, edit velocities, play in with keyboard

Whys it useful - Allows for precise control & sync of instruments & software

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Improvements to be made:

Time management

Keyboard skills

Music Theory

Confidence

Mix/Mastering

SWOT Analysis

Strengths:

Planning

Creative Effects

Songwriting

Weaknesses:

Mixing/Mastering

Creativity In Production

Live Production/Recording

Opportunities:

University

Shadowing a Recording Session

Threats:

Confidence

My Knowledge - Music Theory

Being Able To Play An Instrument

Development areas

Techniques - Keys/omnichord playing

Production - Corrective Effects

Songwriting - Collecting my random ideas and turning them into songs/collections

Live Performance & Presentation - Showcasing/sharing my work

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Synths & Sound creation: History Of Synths

In this week we are exploring the history of synthesisers in popular music - looking at classic vintage synths & how their made. the differences between mono & poly synths & whether you can really tell the difference between analog & digital.

Pre 1960s

The term 'synthesiser' in relation to musical instruments was first coined in the mid 1950s by RCA for their Electronic Synthesizer Mark I

Before instruments such as the Theremin & Ondes Martenot pioneered the use of electronics in sound creation

1960s

The 1960s brought in the era of modular synths

They were huge & could fill an entire room

Made of individual control modules for each element of sound

This became the precursor to the modern popularity of Eurotrack synths

The grandfathers of this modular were Moog & ARP

1970

Increased popularity of the synthesiser made finding a cheaper & more portable version a necessity

Moog - Classic Minimoog - which provided a small, compact version of their modular synth

With the success of Minimoog other companies starting making smaller, more affordable synths

1980s

80s is often considers the decade of the synthesiser

At the start of the decade polyphony was still on the increase

The Oberheim OB-X & Roland Jupiter 8 were considered classic analog poly synths of the early/mid 80s

The introduction of the digital microchip completely changed the sound & affordability of synthesisers

The Yamaha DX-7 - wavetable synthesis techniques - take over popular music in the late 80s

90s & Beyond

the effects of the 80s bleeds into the growing Dance music of the 90s

Genres such as Techno, Acid, House & Jungle found new ways to translate synthesis to the dance floor

Synths such as Access Virus, Roland Alpha Juno - famous 'hoover' sound & Roland TB-303 became the go to sounds of the decade

As music became more computer based i the 2000s software synthesisers started to become available

Mono Vs Poly

The difference between the two is the number of notes that can be played simultaneously

Monophonic (Meaning one sound) synths can only play one note at a time

if you try and play more than one note at a time the note you just played get overides the previous note

Makes it impossible to play chords but does lead to melodic passages & bass lines

Example of how well mono synths work within a track = Chameleon - Herbie Hancock

Polyphonic synths introduce the ability to play more than one note at a time & is directly linked to the number of oscillators

This made playing chords & separate left/right parts on synths possible

Example track that features a monophonic Minimoog bass line along with polyphonic chords throughout = Billie Jean - Micheal Jackson

Consider using both monophonic and polyphonic with limited polyphony to recreate those classic synth sounds

When using a mono synth try adding some glide in between notes so that slide between each other

This works especially well on slower bass lines and guitar-like lead patches

Polyphonic synths try detuning each of the oscillators slightly for each note to give it that big 80’s chorused synth sound

How Synthesis Changed The Musical Landscape

The adoption of synthesisers i popular music completely changed the way the public heard music

Very early synthesiser were considered the sound of the future - used in 50s/60s TV & Movies

This changed throughout the 70s were synths were adopted by a variety of genres

Example = Here Comes The sun - The Beatles - Important synth line

Also in the late 60s/early 70s electronic pioneer Wendy Carlos released her seminal 'Switched On Bach'

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Listening exercise - PJ Harvey The Nether-edge (Listen to album)

Keep in mind - EQ & Compression, Saturation & Distortion, Reverb & Delay, Modulation Effects, Instrumentation, Performance

Percussion delay

Airy vocals contrasting with music - Gated vocals

Piano back in the mix - Dampened, saturated, distorted

Frequency range is well spread

Balanced Mix - Separation

Good dynamics

Poetry-esce performance

Drums treated

Wonky rhythm

'pop-y' chorus

Mulitsampling

In this lesson we are experimenting with Samplers

We started off being taught in Logic before I moved over to the DAW i'm mroe proficient in, Ableton

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Further develop the Art of Remix remix

Try and figure out MIDI out

Bring omnichord in to school for help understanding recording it

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This week after a couple technical difficulties I've decided to focus on my non remix track

This time I have decided to create a cover/reimagined (seeing where it goes) version of the track 'Kill Her Freak Out' by Samia.

I have been trying to learn/become more comfortable playing my Omnichord

I'm finding the easier way for me to learn is to learn songs I enjoy

So as I have been learning this song in my spare time for fun & I thought I'd incorporate it into my project.

This also gives me a chance to have a non programmed component in my production, which my tracks are mainly/completely made of

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Purpose of the remix

For this week we are looking into the purpose of remixing within contemporary music industry;

To get a track heard by different audience

To allow up-and-coming producers to demonstrate their skills

For an established producer to remix an emerging artist

Reasons why producers might make bootleg remixes

Remixing a popular song to help gain a following

Using stems from another track as a starting point

doing something creating to showcase skill/style

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Production Values

In this lesson we will develop

An understanding of the importance of performance & pitch correction in production values

An ear for production values

An understanding of how to apply these correction techniques of your work

What is production standard?

making music/track that sound as good as other music on streaming/radio

production standard in tracking

what is double tracking?

recording technique that involves recording a part of a song twice (or more) to create a fuller, richer and more professional sound

Tip: try panning double tracked harmonies hard left & hard right to create a rich, encompassing sound

Consider what to change with each track; Amp, Pick-up, Tuning, Guitar, Voicing of part, Different mics or mic position

Good to talk about tracking in padlet/writing

Performance Editing

Editing can be used to make changes to audio files after they are recorded

Generally comes between the recording - mixing stage

This is to help clean/tighten the sound

Pitch Correction

Real-time pitch correcting can be done with plugins like Auto-Tune or Waves Real-Time

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Put in remix audios into padelt for the past couple weeks

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This week I have started my remix track

I started by opening and organising my project

Including getting all the audio I need, naming and ordering it in a way that is manageable for me

I have made the decision to remake the chords & maybe changing them in MIDI as the separated version sound choppy and out of place

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Update padlet (as your behind)

Review previous lessons on Canvas

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Added drums and bass

Aiming for the drums to sound spacious and sit subtly in the mix

I wanted the bass to support the melody of the synths

For the remix track I have gotten some ideas down for the structure but at the moment am mainly focused of getting the vocals to sound the way I want

I first started by adding some auto pitch to give some more smoothness and a sort of perfected pop sound to them

Then i added a second layer of vocals but pitched them up by 3ct - this keeps them on the same time but added a cool sort of robotistic texture underneath the main vocal

Then I added reverb to make them more spacious and also to make the chopping sound better

next I cut the vocals up and moved them to be on the beat and then used the fade out handles to make them transition better

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Fill out padlet ready for formative

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Slightly fixed the main synths

Added some harmonic synths to give the track texture and structure

Extended part of the remix & tried to add some synths underneath - not sure if I like it

Added some more structure to the vocals as I want to get it more prepared for the formative

changed the reverb to help the vocals feel less abrupt and bled better in the mix & added some compression

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Still need to fill in padlet on lessons you missed - do this in Thursday break

Get stems on tempo/time

look at canvas targets for padlet

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During my The Art Of Remix Lesson where we learned about music theory & chords I added some chords in the mid ground of the track removing the synths I originally had there as after re-listening to the track I don't feel like they fit

I also added automation on the gain for these chords so they don't come in so abruptly

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Find the WAV to my track to get better quality

Fix weird cutting out in drums

Update Padlet with progress

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Finalise vocal sample editing (so it sounds nice within the track)

Preparing tracks to be exported to put in Padlet

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First I finished the verse vocal editing by moving around the pitch

Instead of making the drums into a drum rack I've decided to finish the vocals w/ the effects then exporting that into an MP3 then re putting it in to the track hoping it will stop cutting out the drums then as it seems to be the automation

Con to this is I can't edit the vocals seprately

I have chosen to save this file with the vocals as an MP3 seperatly so I can still go back to the vocals

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Recording Omnichord parts

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I successfully recorded my Omnichord directly into my DAW using a interface & jack cable

This came after a week of struggling with a different interface and trying to using MIDI out but eventually figured it out

This has enriched the track adding a nicer tonal quality

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Add study group notes to Your Strategy that apply to the module

Ask Stu for goggle slides from Study Group

Put in a GIBS reflective learning cycle in Padlet

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In the final stages of this project I'm resisting both of my tracks and making small adjustments - ready for submission

I refined the remix arrangement & added some variation in the vocals to prevent it becoming monotonous

After finalising the tracks I prepared them for submission & wrote my reflection - making sure everything is clearly labeled

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Native Instruments Blog. (2023). ADSR explained: How to control synth envelopes in your music | Native Instruments Blog. [online] Available at: https://blog.native-instruments.com/adsr-explained/#attack [Accessed 7 Feb. 2025].

Robehmed, N. (2019). Sine, Square, Triangle, Saw : Synth Waveforms - Perfect Circuit. [online] www.perfectcircuit.com. Available at: https://www.perfectcircuit.com/signal/difference-between-waveforms [Accessed 23 Jan. 2025].

yogasleep.com. (2021). Pink Noise vs. White Noise: What’s the Difference? | Yogasleep. [online] Available at: https://yogasleep.com/blogs/give-sleep-a-chance-blog/pink-noise-vs-white-noise [Accessed 7 Feb. 2025].

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Did some work on my remix track in the art of remix lessons

during the lesson I experimented with vocal slicing (which I added at the beginning) and a vocoder\

I worked on this part with the teacher and then I just messed around with it till I had something I like

I mainly like the sound with the format turned slightly down and the unvoiced parameter turned down to -25dB

Predominately i used a strange vocal chop to make a short of thumping sound in the background

I also added some automation to the vocal group on auto-pitch which gave the track a interesting zipping sound

Sadly this seems to have messed up the drums as they now cut out when the auto-pitch is applied

Not finding a reason for this I've decided to put the drums in a simpler and create my own drum beat with the sample to hopefully solve this problem

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Commissioning A Remix

What should you consider when writing a remix commission?

1. Why are you commissioning that particular producer?

2. What genre of music do we want?

3. How much of the original song/structure do you want to remain intact within the remix?

4. What intellectual property rights splits are you offering a remix artist?

5. Provide basic information about the song, such as the original key, chord progression, tempo & meaning behind the song

6. Provide high-quality well labelled stems

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This week I've set up my padlet

For this I've pre-emptively added each week and an entry for to-do lists & development for my tracks

I've also added a bibliography for my Harvard references

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I'v changed my padlet to be a wall in step of a stream to make it easier to navigate and read

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Listening task -

Programmed drums

Bright

Vox slap delay - did tracked to metronome - contrasting to backing

Arp synths

Bass - Simple melodic

Choir - sample

Samples

Backing vocals - vocoder

Difference between white & pink noise?

(yogasleep.com, 2021)

In white noise the power is constant

In pink noise as the numbers get bigger the difference in power becomes smaller so the higher-pitched sounds are softer

VCO - Voltage Controlled Oscilator

VCF - Voltage Controlled Filter

VCA - Voltage Controlled Amplifier

LFO - Low Frequency Oscillator

ADSR - Attack Decay Sustain Release

(Native Instruments Blog (2023)

Attack

Attack controls how long a sound takes to ascend from Silence to peak volume

This is the first part of the envelope to kick in

Decay

Decay controls how quickly a sound dissipates after it's initial impact

This comes after the attack

Sustain

Sustain controls how loud a sound is when the key is held down

Think Attack & decay are the opening moments & Release is the end - in between is Sustain

Only parameter in an envelope that is stated in volume instead of time

Release

Release controls how long a sound takes to fade to silence after the key is released

The final stage of the envelope

Long decays drift/fade while short delays end abruptly

Ring Modulation - The sum difference of two frequencies

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In this lesson we are experiment on the website VCVRack (https://vcvrack.com)

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Synthesis

In this lesson we will develop:

An understanding of oscillation

Understand the process of synthesis

Be able to navigate a software or VST synthesiser

Sound fundamentals

The frequency of a sound wave relates to the pitch of the sound we hear

Waveform oscillations can move at different speeds or frequencies

The faster they move the higher frequency

High frequency results in a higher pitched sound to our ears

Type of synthesis

Additive

Additive synthesis combines the use of multiple waveforms added together to create unique sound frequencies

Adds two or more waveforms together - complex tones & harmonies

Subtractive

Subtractive synthesis works opposite to additive

It subtracts harmonics from the original waveform

FM

FM stands for frequency modulation

It is the process of changing the tone of a simple waveform (Sine, Triangle, Sawtooth) by modulating it's frequency with a modulator frequency

This results in a more harsh, dark & gritty sound

Granular

Granular synthesis is based on the same idea as sampling

It uses the microsound time scale - the sound samples are split up usually between 1-50 milliseconds called grains

They are then added together to make an audio file

This can make many different sound using multiple different parameters

Usually sounds quite raw

You can blend a number of grains together to create interesting sounds

Wavetable

Used mostly to create realistic, natural sounds

Wavetable synthesis consist of isolating one loop of a wave & the synth then stores a digital representation of that sound in a table

Modulation, Filters, LFO's & Envelopes

Modulation is a key concept that involves dynamic alteration of sound parameters over time

Modulation can take various forms such as amplitude modulation (AM) & frequency modulation (FM)

Filters play a crucial role in shaping the frequency content of a sound

Acting like sculptors, filters allow musicians to selectively emphasise a specific frequency ranges - enabling the creating of bright, mellow or resonate tones

Very important in crafting the overall character & texture of the sound

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Description

What Happened?

This project required me to produce two tracks, one being a remix. For my original track I created a reimagined version of Kill Her Freak Out by Samia using my Omnichord to add ambient texture to the track. For my remix I used two Belinda Carlisle track, I Get Weak & Heaven Is A Place On Earth, focuses on vocal manipulation.

Feelings

What Were You Thinking & Feeling?

At the start of this project I felt excited & motivated, especially at getting to incorporate my new instrument that I'm learning. However as the project progressed, especially with the remix,I started to feel overwhelmed. It didn't help when I encountered some technical issues and had my own medical issues. Ultimatly I do feel disappointed with my remix as I don't think it reflects my full potential or creativity.

Evaluation

What Was Good & Bad About The Experience?

I feel happy with my reimagined track & feel like it sounds how I imagined. I applied my technical knowledge that I already had & that I gain throughout this term to this project. On the other hand, I think my remix sounds rushed and unresolved, which is sad for me as I'm normally quite comfortable in remixing. But after struggling with the drums and already putting a lot of time into my Padlet on this certain track I felt trapped in what to do.

Analysis

What Sense Can You Make Of The Situation?

For me the difference between the two tracks highlights how important planning and emotional investment are to my music production. For my reimagined track I had a strong concept for what I wanted to do and felt motivated to complete my vision. Whole I did have an original idea for my remix, after time that spark died & as a result I felt more stressed and fatigued by the track.

Conclusion

What Else Could You Have Done?

While I worked to the projects requirements, I feel the contrast between the projects is stark & has taught me the importance of engagement & planning. Throughout this process I've learned a lot about my own creative process & how I respond to stress. Despite my disappointment with the remix I'm still happy I finished this project.

Action Plan

If It Arose Again What Would You Do?

In my next project if this problems arise again I will:

Select work/material I'm interested in/have strong ideas for

Breakdown a more manageable timeline with specific goals

Document my process more clearer and consistently to reduce the stress of having to catch up later in the module

Seek more feedback from peer or tutors to have some support and ideas

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Week Five: History Of Technology In Songwriting

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Week Five: History Of Technology In Songwriting

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1950s brought reel to reel tape recording to recording studios

Like Frank Sinatra recording with a full orchestra w/ no separation

To get a balance between all the instruments when recording

The musicians had to be able to adjust the dynamics while in the room

It often took a team of multiple recording engineers to work the controls on the mixer while recording happened

For the most part in the 50s recording was mono - while stereo recording techniques were available it was expensive and didn't catch on until the 60s

What can we apply from the 1950's in our own recordings?

Try and get our records right in the first take

Play songs all the way through

Commit to any EQ choice before recording

The 1960s came with major technological advances - multitrack recording

This gave artist more sonic & creative freedom to layer parts which led to expansive production

From 2 tracks to 8 tracks

What can we apply from the 1960s in our own recordings?

Like the 50's getting it right first take was still key

Don't rely on unlimited track sound - make sonic choices & bounce down

Think about creative panning choices & practical effects such as reverse tape & reverb to create a larger depth in your recordings

Both the 70s & 80s saw massive leaps in digital tech & electronic music influence

70s launches a multitude of socially led music genres: Punk, Disco & Funk, Mainstream Rock & AOR, Glam, New Wave, Prog, Hard Rock, Reggae, Ska

70s built upon the growing technological advances of the 60s: Multi-Channel Mixers W/ Fader Automation & Recall, Synths across many genres, Drum Machines, Automatic Double-Tracking, Track count explodes. (24, later 48), Accessible Effects, Vocoders, Fat Compression

Common themes in 70s production: Lush vocals & harmonies, Creative baselines at the front of production, Dry drums (dry everything), Big production - full effects w/ string arrangements & multiple overdubs, stereo sound

Top tips for 70s production: Keep it dry (Don't use too much revere or if you do have a short decay time), Use headphones to check mixes, double track, layer vocals guitar & drums parts for bigger sound, Keep EQ choices simple & natural, experiment w/ chaining 2 compressors together

The 80s were personified by its use of technology within music

Staple 80s Sounds: Synthesisers, Drums Machines, Rack Gear, Digital Equipment, Gated Drum Sounds, Classic Lexicon, Artificial Reverb

The chorus effect was an 80’s guitarists best friend

Drum machines also became popular & led the way with 808 and 909 drum machines

One of the accidental but long-lasting sonic signatures from the 1980’s was the gated drum sound made famous by Phil Collins with “In The Air Tonight”.

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Listening task: Kiss - Prince

Gated reverb on drums

Guitar solo - clean sound

Main vocal - close/upfront

Linn Drums

Panning harmonies

Sidechaining guitar to hats

No chorus - just hook line

No bass - almost never released

FM synthesis

typically FM synthesisers don't incorporate a filter can generate subtractive synthesiser style

Good but difficult to achieve with actual subtractive synthesis

uses a modulator oscillator and originally a sine wave carrier

the modulator oscillator modulates the frequency of the waveform

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Diatonic Harmony & Chord Constriction For Remixing

The importance of music theory for remixers

Music theory - the foundation upon which music is built

Identify key signatures

Understand chord progression

Create melodies

Diatonic Harmony - a foundational concept in Western music theory involving the use of chords derived from a single major or minor scale

Diatonic chord are considered consonant & harmonious because they fit naturally within the tonal centre of the scale

Basic Terms

Major Scale - A seven-note scale with a happy or upbeat sound

Minor Scale - A seven-note scale with a sad or melancholic sound

Chord - A group of notes play simultaneously

Triad - The most common type of chord consisting of three notes

Diatonic Chord - A chord that contains notes from the diatonic scale

Pattern for constructing a major & minor scale

Major Scale - tone, tone, semitone, tone, tone, tone, semitone

Minor Scale - tone, semitone, tone, tone, semitone, tone, tone

Tone - Represents two semitones

Semitone - Represents one semitone

Useful resource when trying to figure out chords/scales - https://piano-music-theory.com/2016/06/15/major-scale-diatonic-chords/Links

Semitone formulas for major/minor chords

Major Chord - Root + 4 Semitones + 3 Semitone

Minor Chord - Root + 3 Semitones + 4 Semitones

Relative Minor

A relative minor is a minor key with the same key signature as a given major key - the minor key is three notes lower than the major key

To find the relative minor of a major key:

1. Identify the major key

2. Start on the sixth note of the major scale

3. Build a minor scale from that note

Example: Major key - C major, Sixth note - A, Relative minor - A minor

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Your strategy due on 7th of 4

Music production due 14th

Both plus two weeks for extension

MP should use research on artist you like/are inspired by & techniques

Primary research is first hand research you got yourself

secondary research is information through other researchers

must cite any actual source

qualitative

information that can't be expressed as a number

Quantitive

data that can be expressed as a numbered

Citing – acknowledging a source within the text of your work from which you have taken ideas or information

Bibliography or References – a list of sources you have consulted in carrying out your research

Secondary source example -

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A Snapshot of Synthesis

The process of creating sounds using synthesisers is called synthesis

This is done by creating sound waves through electronic signals that are converting into soul

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Advanced Vocal Sampling & Manipulation

(See video on canvas - The Art Of Remix - Week Seven for how to do these techniques in Ableton)

Time stretching - Taking a piece of audio and stretching or shortening it to fit within a different tempo without changing the pitch of the original audio file

Pitch Shifting - Changing the pitch of an original piece of audio by speeding up or slowing down the audio in a sampler and processing the pitch without changing the speed

Micro Slicing - editing a vocal into very short transient slices that can be rearranged in a percussive way

Micro Slicing combined with re-pitching, is particularly popular in many styles of house and garage but it can be used as an interesting element in any genre

Pitch Correction (Autotune): Software forces a piece of audio into perfect pitch, creating a very specific sonic result

This can be used subtly to improve the pitch of a vocal recording, for example, or more extremely to create a robotised electronic-sounding vocal that is particularly popular in certain genres, such as Trap and Afro Beats

Vocoder: This is a type of synthesiser you can run audio through to affect the pitch and tonality of the audio

Famously used to create an electro-robotised vocal sound, it can be an interesting way to manipulate a vocal track to create a different sound for a remix

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Advanced EQ

In this lesson we will

Have an understanding of the core fundamentals of corrective & creative EQ

Understand wha Mid/Side EQ is & how we can use it in our mixing process

Develop an insight into a variety of techniques that can be used to control the bottom end of your mix

Approaching EQ

EQ allows us to just turn up or turn down individual frequencies and individual elements of that sound

Every instrument has a fundamental note & overtones

They give an instrument its tone or its character - its timbre

By cutting or boosting frequencies you can change the timbre or tone

You can't completely change the sound of an instrument

Mid Side EQ

A mix that is perceivably fuller and wider will sound “better” to the listener

A wide sounding mix can be achieved through a variety of panning and stereo imaging techniques

Mid/Side processing is a highly effective way of making adjustments to the specialisation of a mix or master

The Theory

The Mid channel is the centre of a stereo image

When the Mid channel is boosted, the listener perceives a more centred (mono) sound to the audio

The Side channel is the edges of a stereo image

When the Side channel is boosted, the listener perceives a more spacious

An audio tool (such as an EQ) that supports M/S processing creates two separate processes, one for the Mid channel and one for the Side channel

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Remember formative dates (+ Two weeks for allowance)

What do you need to prioritise?

Putting my remix in time and working on the instrumental

Starting of my You Strat written work

Start Omnichord recording

Motivation

Treats - food, items, etc

Satisfaction of accomplishments

Fear of failure

Money

Validation

Maslows hierarchy

Actualisation

Esteem

Love & Belonging

Safety Needs

Physiological Needs

Why?

I feel like I need a purpose in life

I'm hoping to get a job I'm passionate about/enjoy

I purely run off of being rewarded

How?

Work on communication skills

What?

Treats

Validation

Boredom

Procrastination Quiz

Warrior - 23

Pleaser - 5

Rebel - 22

Perfectionist - 15

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Expanding Collaboration

The biggest obstacle in the way of musicians currently when trying to play together remotely is latency

Latency - Latency is the time it takes for data to pass from one point on a network to another

When we record on our DAW, the latency between us playing a note and hearing it is dependent on our sound interfaces and the specifications of our computers

What can help? - high speed internet with quicker downloads speeds

SAW Tips For Distance

Screenshot Your Plugins - This makes the plugins your using sound the same on both sides

Use Midi To Your Advantage - Include a midi conversion of any melodic or rhythm tracks as well as the audio (you never have enough information)

Stems Are Key - Bounce stems for each track and make sure they are the full length of the song

Listen Together - Make sure you listen to the progress of the track & highlight potential problems

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Creating The Remix

In this lesson we are recapping the things we've learnt over the previous weeks

Main elements of a remix:

1. Rhythm: This element helps define the genre and serves as the engine of the remix. The choice of drums, loops, or samples will vary depending on the genre you're working on.

2. Vocal: Incorporating vocals is another key element. This can involve using an acapella, manipulating the vocals, and sampling techniques.

3. Chords: Provide the harmonic structure. - Have been explored earlier in the lesson where chords were put to the acapella.

4. Bass: Supports the rhythm. - Adds depth and groove to the track.

5. Effects: These include spatial effects and what the remix refers to as "ear candy," adding depth and interest to the track.

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Approaches To Reverb

In this lesson we will be developing:

An understanding of the core fundamentals of reverb in a mix

An approach to using reverb as a stereo widening technique

An in-depth understanding of using multiple reverbs along with compression to create space in you mix

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Talking Songwriting & Technology Live

How Can We Take Our Music Live?

Preparing You Set:

Setting up your DAW for live work - One of the great points of Ableton compared to other DAWs is it's ability to be used live

Ableton enables us to use its session view to construct a setlist with all of the songs you would want to play with all the stems included

In Ableton you can map the tempo to each track meaning each song should stay in time when triggered

You can also add in tracks for live instruments like bass, guitar & vocals to have a hybrid performance of live & playback

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Arranging, Transitions & Effects

When finishing a remix it's essential to bring everything together

Main Lesson Objectives

1. Arrangement Inspiration

2. Automating Filters

3. Transition Enhancements

4. Rhythmic Ear Candy

Tips:

Reference professional remixes for inspiration on arrangement, transitions, and effects.

Don't be afraid to experiment with different techniques and sounds.

Listen to your remix objectively and make adjustments as needed.

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Finishing The Remix

In this lesson we are looking at:

1. Mixing Stage Considerations

2. Mastering Techniques

3. DIY Mastering

Understanding Loudness

When mastering for streaming platforms - it's essential to understand the concept of loudness

Loudness is measured in decibels (dB)

In audio mastering with also have Roots Mean Square (RMS) & Loudness Units Full Scale (LUFS)

Industry Standards - Average loudness is around -8RMS or -10 LUFS

However it's generally recommended to mater your music to at least -14 LUFS

Genre Variations - Loudness can vary by genre (EDM & Hip-Hop tend to be louder than Classical & Acoustic)

Streaming Platform Normalisation - Many streaming platforms normalise music to a certain level of loudness

Tips For Mastering Fo rStreaming

Use LUFS meters - These meters provide a more accurate measurement of perceived loudness.

Consider dynamic range - While loudness is important, don't sacrifice dynamic range. A track with a good dynamic range can be more engaging to listen to.

Experiment with different mastering techniques - Many different mastering techniques can be used to achieve different sounds.

Get feedback - Ask friends, family, or other musicians for feedback on your mastered track.

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Week Ten: Study Group (Also add study groups to your strat)

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Week Ten: Study Group (Also add study groups to your strat)

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Identify 2 aspects of your work for this module that you aim to develop or complete before then end of this week?

By the end of this week I plan to have a fleshed out draft of my case study for Your Strategy

Reflection:

Explain how the tracks illustrate contrast range within the context of your chose styles

What types of research have you carried out & included?

What have you learnt from this research

Summarise your contribution

Examine the learning that's taken place during this module

Put in a GIBS reflective learning cycle in Padlet

Make sure you proofread/listen to your tracks!

Don't submit work late as it will be capped

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Introduction To Mastering

In this lesson we will develop:

An understanding on what mastering is

An idea of the types of mastering available to use & the pros & cons of each

An understanding of how to approach a basic mastering process

What Is Mastering?

Mastering is the final step in audio post-production

the purpose is to balance the sonic elements of a stereo mix, optimising the playback across all systems and media formats

Traditionally using EQ, Compression, Limiting & Stereo Enhancement

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Advanced Compression

In this lesson we will develop:

An in-depth understanding of how to use compression creatively in our mixes

An understanding of how compression can consolidate our mixes and make them hit harder

What Is Parallel Compression?

Parallel compression is a powerful tool for shaping your dynamics

Heavy compression results in unnatural dynamics & can lack punch that becomes dense in the mix

Parallel compression offers a way around this

(Often used on drums)

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Kill Her Freak Out - after record and vocal mixing

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I get Weak Remix - Week Seven (Messed Up Drums)