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After going through the assessment brief I started to think about what I wanted to do. At this moment I think what is best suited to my skills is focusing on synth production and doing an extended club mix as the alternative track.

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Look at feedback

Sum due - Navigating The Music Industry 4 weeks / Music Production 5 weeks (I have a 2 week extension)

Read Britney book/make notes

Project work =

Limiter - Place a limiter on mater to control peak levels (research recommends -1.0 dB) (Guido, 2024)

Sidechaining - Apply sidechain compression to let important tracks cut through

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RESEARCH For nav!!

Put track MP3 in diary

Make sure things are up to date

I'm planning to use this week to making sure my notes are up to date and start my reflection

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Work on both projects

Look more into mastering (Translate to what you can understand)

Group Tracks - Avoid excessive processing; use only a limiter for volume control

Master Track - Avoid excessive processing; use only a limiter for volume control

Export - Export the final mix as a stereo track

Summit everything

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This week we went more in-depth into our formative & summative for this project. I've made a plan to follow the bullet points listed in canvas & think about what skills I want to focus on

I've decided to do a synth-pop track with an extended club mix as the alternative track.

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1. What is resilience? What does it mean to you?

Resilience to me means to keep persevering even when hitting hardships & obstacles. Even if it means taking a step back or break you're never fully giving up.

2. Why is it particularly important in the music industry & in your degree?

Resilience is important in the music industry & my degree because it's difficult, it's not easy & without resilience you won't keep going or trying to better yourself. Resilience keeps you pushing yourself & getting up. Resilience also helps within my degree with the need for planning and to keep you going through industry saturation.

3. What can we do to build our resilience?

To build resilience we should build our confidence in our skills before giving ourself space to fail. Not planning to fail but allowing ourselves room to learn & grow from mistakes & experience. We could also set goals & aspirations in from with SMART targets

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This week I've started my project production. I decided on the key (D) and BPM (127) before starting the project with an idea I had for synth keys & drums. I played the keys in using the computer MIDI keyboard the programming the drums underneath. After that I decided to add some chords to give the project some structure. Lastly I found a guitar sample which I've included in the pre chorus.

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In navigating the music industry this week we focused on picking two artists for our assessment.

For pre 2000s I chose Britney Spears. There's a lot of public information about her that I need to use for my study like revenue streams & collaborative relationships.

I struggled to pick my post 2000s artist originally going with Allie X as I have a lot of pre prepared information on her as I did a similar module in college but after looking into the brief I felt it would be difficult to find more detailed information on her career like team structure.

I then tried to decided between Charli XCX & Ariana Grande as they are both popular enough artists to have easy to access information.

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Week Two: Reflecting on fixed mindset thoughts

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Week Two: Reflecting on fixed mindset thoughts

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Identify any fixed mindset thoughts & belief you may have. (I'm not good at this, I'll never be good at this etc.)

I feel this when thinking about making music & the stress of University learning or even thinking of the music industry.

I sometimes feel like I don't fit & that maybe that means I'm never going to so I shouldn't try.

Challenging

To change this perspective I need to allow myself to grow, to learn & not be held down by my feelings & anxieties. I need to work to learn.

To be more growth mindset I find it useful to think about what I'm saying as though I'm saying it about someone else. This allows me to give myself more grace & understanding.

I can improve with resilience & practice. The more I develop my skills the easier challenges & hurdles with be to overcome.

I will try to reframe with growth mindset, visualise, internalise, commitment & action.

I'm committed to working hard at school to get my skills & confidence better & not giving up because it's difficult.

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1. What is a mindset & what is it determined by?

A mindset is the way you frame things (e.g. Fixed or growth). I think this is determined by your own feelings & support system but also your surroundings, circumstances & beliefs

2. What are the 2 most common type of mindset?

Fixed & growth

3. What are the typical characteristics of these mindsets?

Fixed = Belief that skills & abilities are set & unchangeable

Growth = Belief that one has potential to change & develop talents & intelligence through perseverance & practice.

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Settling in survey

Look up 'comping' for recording & capture on friday

Look up mics (Neumann U87, Coles 4038 & Shure SM57) for recording & capture

Check when formatives are due

Core classes plan

Spend time using AI (What you thought, useful?, Expectations?, Issues?)

Your music management - Chapter 3 Reflection task

Put navigating work into different notebook to separate work

Find waterbear email

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To-do lists

Scheduling

Timelines

Rewards

Writing out information to remember

Taking breaks

Doing easier tasks first or last (depending on what you think works best)

Breaking down tasks into smaller parts

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Every time you put a fact in your paper you have to use an in-text citation

Example: In 2019, The Rolling Stones returned the royalties to The Verve (Cartion, L. 2021).

The full reference comes at the end in a bibliography (like Wikipedia has at the bottom of a page) where the full Harvard reference should be (see other entry)

can use generator

Every single FACT should be referenced

TIP - save your urls (I've started putting mine in a google doc + a lil note about what information I got from it).

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CRAAP

C - Currency (up to date?)

R - Relevance (does it suit it's purpose?)

A - Accuracy (fact or opinion? reference)

A - Author (an expert? is bias evident?)

P - Purpose (to inform? to persuade? to sell?)

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Week Three: Publishing Vs Recording Rights

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Week Three: Publishing Vs Recording Rights

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Recording rights - singer

Publishing rights - writer

Cover =

Recording rights - cover singer

Publishing rights - writer

Publishing - music & lyrics/composition.

Remix - singer & writer - direct samples need permission from both recording & publishing sides.

Class example = Bittersweet symphony - The Verve

Last time orchestra sampled strings - (Orchestral version of last time) - Made before they got permission - You have to get permission

Last time orchestra also sampled/inspired by a song called 'Last Time' by the Rolling Stones

Alan owns last time recording rights - wants 50/50 split even through all other production (Bar the orchestral sample) & lyrics are original due to The Verve not getting prior permission

Original track (which Alan also owns) sues for 100% of the royalties (this includes money from shows & merch as they argued in court the song was the only reason people were going to The Verve shows & buying merch).

(Alan is mean)

Alan also let the track be used for tons of adverts for money (which The Verve didn't want as it was uncommon in rock at the time seeming like a 'sellout' move).

Surprise Surprise the Rolling Stones seemingly samples / stole from another song

Last time Staple Sisters - Last Time Rolling Stones - Last Time Orchestra - Bittersweet Symphony The Verve

Staples Sisters never get anything or any credit (very unfair)

2019 (Seemingly due to bad press) the Rolling Stones give some royalties to The Verve.

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In text - Fact/quote/statement (Last name, First letter of first name, year).

Then at them end (Similar to wikipedia) theres a bibliography

Last name, First letter of first name, (year). Name of article & Name of source in italics. Last updated date, month, year. Available at: Link [Accessed date month tear].

References should be put in alphabetical order

Examples;

Harvard is the main referencing style at colleges and universities in the United Kingdom and Australia. It is also very popular in other English-speaking countries such as South Africa, Hong Kong, and New Zealand. (MyBib Contributors, 2019)

Bibliography

MyBib Contributors (2019). Harvard Referencing Generator – FREE – (updated for 2019). [online] MyBib. Available at: https://www.mybib.com/tools/harvard-referencing-generator.

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Free Harvard Referencing Generator [Updated for 2023]

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Generate Harvard references automatically with our fast and free Harvard reference generator. Get correctly formatted references for books, websites, journals and more!

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Pick two musical works from your chosen artist & answer the questions.

Britney Spears = Oops...I Did It Again

Charli XCX = How I'm Feeling Now

What label were they released under?

B = Jive Records on the 3rd of May, 2000 (Source Discogs)

XCX - Asylum Records on the 15th of May, 2020 (Source Discogs)

Can you find any remixes/covers of these tracks?

B = In 2000s, Britney released an album of 'Oops...I Did It Again' remixes of the title track, including; club, radio, instrumental. In 2020 a remix vinyl was released for record store day which included 4 remixes of tracks from the albums and 4 'b-sides'.

XCX = Although Charli hasn't officially released any remixes from this album, many are easy to find on bandcamp or youtube. This is partially due to Charli releasing the stems from the album, encouring fans to 'be creative and send her remixes and edits' (Source Twitter)

Who do they collaborate with & how?

B = Due to the succsess of her previous '...Baby One More Time' pressure was on. This leads to a wide range of collabrotations with producers (Max Martin, Rami Yecoub, Per Magnusson, David Kreguer, Kristian Lundin, Jake Schulze, Dark Child & Robert John Lange). Britney travelled to NY meeting with different producers to record the tracks for this albums quick quickly as there was lots of pressure to ride the fame wave.

XCX = 'How I'm Feeling Now' came of the back of an album leak for Charli, which was scrapped & reimagined into this record. Charli worked with A.G. Cook, Dylan Brady , BJ Burton & Laura Les was heavily involved in the lyric process. Throughout the process Charli often went live on instagram to show fans the process & even taking advice/input from fans. On these lives she would show demos & live production sessions. Charli ended up finishing mixing the album with Geoff Swam.

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(Includes amazing drawing)

Needed/Wanted equipment:

DAW, Headphones, MIDI Controller, Audio Interface, Studio Monitors, Microphones (Dynamic & Condensers), Mixers, Computer, Synths, Amps, Compressors, Furniture (Chairs,Couch & Rugs), Cable Adaptors & Cables, Mic Stands, Sound Proofing/Acoustic Treatment, Control Room/Recording Booth, Piano/Keyboard, Drum Kit, Omnichord, Cable Tester, Internet, Mixing Desk, Shed Space, Pop Shield, Blankets.

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Week Three: Navigating The Music Industry

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Week Three: Navigating The Music Industry

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After doing a quick look over the the two artists I was struggling to pick between (Charli XCX & Ariana Grande) I've decided to pick Charli as I feel hers and Britney's careers have more contrasting points. I also feel Charli has more talkable points within recent years there are also a lot of differences I can point out about their marketing, revenue stream, record label structure & engagement.

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Week Three: Navigating The Music Industry

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Week Three: Navigating The Music Industry

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This week I've spent a lot of time researching my chosen artists, specifically towards the formative bullet points. (notes put into notebook & docs)

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Research artists previous work

Set up mics/equipment

Reviewing demos

Preparing samples, kits, channel strip settings

Booking appropriate studio

Tuning/instrument upkeep

Emotional Prep:

Sleep/resting

Eating/drinking enough

Planning/schedule - Also having flexibility/adaptability

Having other outlets

Mindfullness/hobbies

Exersise

Taking breaks

Making sure you've done day to day tasks

Consider how we can prepare ourselves practically & emotionally For music production sessions

Do we already have preparation regimes that we use? - I like producing at the end of the day when I've winded down & in a clear headspace, this is normally after a run - I like creating a comfortable environment (wearing comfy clothes, taking off jewellry & make-up) - When I'm just producing on my laptop I like doing it on the couch with a blanket - I also like setting myself a task for the session (Like finish the drums in this section etc.) & taking breaks

What steps could we do to help us better prepare? - To better prepare I can make sure I'm well resting & work on other stress in my life bleeding into the stress of the creative space - I also need to think about being able to adapt my regime to be able to make me comfortable & productive in a studio an/or recording space - I feel like I could benefit from learning to be more adaptable, this would let me work better in the chaos of the constant change in the music industry

What practical steps do you take to ensure you are prepared for a session, partially if you are working with someone else? - If working with others it's a good idea to prepare any work you need to do before, check your instruments & equipment are working & ready for what is happening (Tuning etc) - Reviewing demos & making a plan fr what you want to achieve in the session/what you need to get done (e.g. Mic set-up plans/schedule) - Also feeling comfortable with who you're working with/get friendly to create a better, more open environment - Set up a shared space like an google drive to open up goo communication/easy organisation & easy access to all people involved - Determine what equipment is needed & how/who is getting it - Think about budget (Using an orchestra Vs sample pack/synth use).

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80/20 Rule (My Teams Research)

80% of your results come from 20% of your inputs

Prioritising the tasks (Input) that will give you the most results

Strengthening skills & routines that will make you more productive

Don't ignore the other 80% input just prioritise

Benefits - Makes you more productive, know what is important to focus on, prioritise your productive work load lets you do the important/best resulting things (especially if you have a time crunch), can get better results by focusing on the most production based work

Others

SWOT - Strengths, weaknesses, Opportunities & Threats

Gantt Chart - Visual bar chart plan for work you need to get done

Action/Personal Development Plan - Breaks down tasks & goals

'Eat The Frog' - Doing the hardest tasks first.

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Put plans in diary

Put music theory & ear training workshop in diary

Put lyric draft in diary

Also mention macbook suites booked in on fridays

Video progress (I hate filming myself & feel awkward on camera)

Look at previous classes & put techniques learn in diary (Only do if have time. Don't stress yourself out!!!)

Next week production tools bring in demo versions of tracks for George

Do timeline in diary (Up to 16th Dec)

Jobs; Work on demos, work on case study, use study techniques leant in study group, work on music theory/ear training, action plan, structure demo tracks, mixing, diary entries, mastering.

Task for study group critically analyse one part of your track

Task Navigating The Music Industry - make sure your up to date (look at manager/publisher/sync deals/wider collaborations) - consider logos & branding

FORMATIVE NAVIGATING DUE 28TH OCTOBER

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In this weeks lesson we went over som basic music theory trying to answer some questions;

How do you know what notes go with each other?

what about adding chords to your music?

What even are chords??

A scale is a group of notes that work well with each other

a major scale is a 7 note scale

Things gets interesting when you start changing & removing notes (or a semi-tone)

you get what is called the Natural Minor Scale (also called Aeolian)

Chords are a group of notes played together

They are often used under a main melody to give the track weight & more substance.

In this lesson we also briefly disused converting audio to MIDI in Ableton

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Fill in diary from last week & this week

Look back at chapter 5 Composing With Technology (Watch Ableton videos)

Tape up notebook as it's falling apart

Do student voice mid term survey

Answer week four diary questions

Find waterbear email

Add to week 1 & 5 diaries

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In this weeks lesson we put the skills we learnt into practice and I created a small ten second track experimenting with notes & chords.

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What will influence the sound you are capturing?

mic

Position

Proximity

Environment

Performance/Performer

What is proximity effect?

The closer we get to the sound source the more low end build up we get.

Further away sounds thinner (the proximity effect gone)

Near/close sound can sound too low end/muddy

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TIP: Backing vocals take a step back or change position (example move to a side)

same +/- frequency with phase each other out (phase cancelled )

Causes recordings to sound thin & lacklustre

Tracking techniques?

Double tracking/multi tracking

Builds dynamics

What do we mean by digital or tape mentality?

Tape - one take/full takes

Digital- comping, using best parts of takes, breaking down recording bit by bit.

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1. One thing you learnt from your lessons or your digital or your digital content in canvas last week that you’re improved or didn’t know before?

One thing I learnt form my lessons last week was the difference between publishing & recording rights & how the affect the money people make.

1. One thing that provided an obstacle in your lessons or digital content in your last week - something you found difficult or want to improve.

One thing that was an obstacle for me in my lesson was time management/productivity. This became quite stressful as I then had this weeks & last weeks work to catch up on. There's been some tasks I wanted to complete this week that I've not been able to.

1. How this skill/idea/techniques can benefit you in the creation performance & recording for this module?

Improving on my time management will help my work flow and stress level, letting me be in a better headspace & produce better work. This will also make me a more reliable person & give me more time to work on other things to make my project better/ more detailed.

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The circle of fifths

the keys are in a sequence of perfect 5th intervals, as you travel clockwise around the circle

Fifth notes of major scales

This places the most closely related key signatures next to each other

Every newly added sharp to a key signature is a semitone below the root of the key

Every newly added feat to 2 key signatures is an anti-clockwise step further around the circle

This also demonstrates new relative minor keys work

C to A minor bottom

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The Relative Minor

The relative major & minor keys have the same key signatures

The same key signatures = same notes in it

Major = tone, tone, semitone, tone, tone, tone, semitone

Minor = tone, tone, semitone, tone, tone, semitone

Sharps = Father Charles Goes Down And Ends Battle

Backwards it's flat

How can you hear if a song uses a relative or parallel key change?

Same notes with new key = Relative

Same key with different major/minor = Parallel

Root note = lowest note in key

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Triads & Sus Chords

Triad = three notes played at once

Contrapuntal = a style of music that includes multiple tunes/melodies that are played or sung at the same time.

The major triad = the 1st, 3rd & sth note in a major scale

The minor triad = instead of 1st, 3rd & 5th it's 1st minor, 3rd ( - 1 Semitone) & 5th

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Specific, Measurable Achievable, Realistic & Time

My SMART target for this week is to work on my alternative version of my track for my formative & to get it to a similar place as my other demo.

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Description - What happened? (Use technical language)

Feelings - What were you thinking/feeling?

Evaluation - What was good/bad about the experience?

Analysis - What sense can you make of the situation?

Conclusion - What else could you have done?

Action Plan - If it arose again what would you do?

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Work Flow

Many musicians emphasis being 'in the flow' as essential to their art especially when performing or writing

While producers may view their work as more process oriented, flow is equally as important to us

Achieving what us sometime referred to as your 'flow state'

What do we mean by 'flow state'?

Completely focused on a single task or activity

Directing all of your attention towards your task

Not experiencing many thoughts about yourself or your performance

'In the zone'/'in the moment'

This can be similar to mindfullness

Flow =

Inspired

When creating

'In the zone'

Performing

Improvising

Practice

Muscle Memory

Switching work flow between creative/technical thinking can be disruptive, especially when collaborating with others

Reducing technical tasks during session helps maintain artistic flow

Developing an efficient work flow cn enhance both creating productivity, making sessions run more smoothly & allowing more time to develop & refine your tracks

Technical Prep

Making DAW project templates for common tasks, such as song writing, mixing & recording

Saving own instruments, effects & channel strip presets with commonly used settings that can be tweaked to fit the project we are working on

If you have space, keep equipment permanently set up & have frequently used instruments & controllers within easy reach

How do you prepare yourself ahead of a session?

When starting a track I normally start with drums - this helps me with having some starting structure that I can build around

If i have a pre emptive idea I'll start with the synths

Especially if i want an intro

I've been loving the childhood piano instrument from Ableton recently, using it with some slight adjustments & reverb (It would be smart of me to save a template of this!)

What would you do to improve your workflow?

To improve my work flow I go running to be in a more calm state

I also set up some inspirations & goals to help me when I feel lost or stuck

Templates

You can set up tracks to use as templates

This is time saving when starting

Specifically for multiple recordings

For Ableton it's under templates - you can also use plugin

Can use this to set up tracks, effects, instruments & anything else you need/want

Look at Little plate & echoboy

To create a template in Ableton you first need to set up the tracks, effect, instruments & routing as needed. Go to 'file' in the menu bar & select 'save live set as template'. Give it a name (eg. Mixing) & choose where you want to save it. If you want Ableton to automatically load this set every time you open a new project, go to 'file' - 'save current set as default set'

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PPL - Earn money from master recordings

Master Recordings are the version that went to a mastering studio & were released (Does not include demos)

In this lecture we talked about Tiktok viral songs 'To The Moon'

3 Players = Same - vocals, Parked Up - producer, JNR Choi - rap

Then comes in 'Talking To The Moon' by Bruno Mars

Producers are seen like songwriter so get publishing rights

'To The Moon' didn't get permission from Bruno/who owns the masters/publishers

song sort of vanishes off streaming/Tiktok - Brunos teams realises it's making a lot of money

They threaten to sue but it's a making a bunch of money & gaining a young/relevant audience

They decided to tell the group they can rerelease the song but they'd have to do it with Brunos vocals (Cutting Sam out)

JNR & Parked don't like the song with Brunos vocals on it (Saying it doesn't fit their originally vision)

They go back to Brunos team who say no if you want to release it without Brunos vocals then they want 100% of the recording rights

What would you do in this situation?

I would try to work out the first option but then chose going ahead with ownership to Bruno

This still gives you publicity & doesn't destroy your image/relationships with others (who could help later on in your career) involved

Also this can help avoid you getting sued for money you made from previous streaming etc.\

The group (JNR, Parked, Sam) say yes & used it as a spring board for other work

This sadly means they didn't make any moment from the viral track or any of its numerous remixes

But did help get their name/work out there

PRS = money paid to songwriters & composers when their songs are played in public

Rights in the UK of public performance mean even if you don't have PPL you should get paid (Reality can me more complex)

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Music Theory Questions For Lesson

How do you know what notes go with each other?

What about adding chords to your music?

Wha are chords?

A scale is a group of notes that work well with each other

A major scale is a 7 note scale

Things get interesting when you start changing & removing notes

If you move the 3rd, 6th & 7 note in the scale one note lower (called a semitone) you get what is called the natural minor scale, also called Aeolian

Chords are a group of notes played together

They are often used under a main melody to give a track weight & more substance

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Recording electric guitars & bass guitars

Feeling comfortable recording at home & studio

Establish the importance if phase relationships

Amp & Amp Sims

Audio techniques goof for cheap/affordable mics

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Week Five: Production Tools Weird Board Questions

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Week Five: Production Tools Weird Board Questions

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Rate yourself on a scale of 1-10 for the following questions (We did this at the beginning of the lesson & at the end)

1. I fully understand how to record electric guitars

5/10 - 7/10

2. I am confident about recording guitars in a range of scenarios

5/10 - 6/10

3. I'm interesting in learning more about recording guitars

8/10 - 8/10

1. 1 pro & 1 con of working with MIDI

Pro - Gives you more options

Con - Can sound robotic

2. What relationship do we need to consider when using more than one microphone?

Phase relationships

3. What is proximity effect?

Closer to the sound the more low end we can hear

1. Which microphone has top end roll off?

A ribbon microphone

2. Which track can pass audio but cannot be recorded onto?

Aux

3. True or false: a dynamic mic can only handle low SPL

False

Amp vs Sim

Amp:

More natural/Preferred sound

Expensive

Hard to travel with

Time consuming to set up

Authentic

Movement/Space

Noise to sound

Needs lots of extra equipment

Sim

Cheaper

Can sound fake/ tone

Customisable

Easier to adjust

Nosie gate

Automate parameters

Work flow

Reliable

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Why do we use a DI?

Second option/versatilely

Effects

Good foundations for reamping

More intimate

Use to line up/edit (Easier to read)

Mic placements on speakers

Centre - less low end, overtone, brightness, the more you move out the darker it gets

Edge - mids & low ends, muddy & undefined, dark

Could use our sonic PH scale to help find what mic placement we want

Dynamic mic is good on the middle

Ribbon mic is good on centre

& condenser is good on the edge

Lots of speakers have glue spots - can use as a good reference for centre mic placements

When mixing/blending check phase relationships

Can check phase by hearing the flip (seeing if it sounds thinner/warmer etc.)

Approaches to tracking - What can we do to make a track sound bigger?

Panning

Double tracking (Not duplicating but re-recording w/ something different)

LCR - Left, Centre, Right

Ten & Two

Knowing which mic to use with what guitar/positions

Struggling with Bass in mix?

Panning

Try low end & high end

Amp Simulation

Bring in distortion for low/high end (Specially low end)

This adds grit

Blend this techniques to taste

When deciding on what to do think about the genre and the sound your going for

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Get this weeks formative done

Get demos & development diary ready for next weeks formative

Photo depicts risk assesment

Where do I summit work?

Your music production module in canvas - module chapters - formative (If you want to summit more than one things click new attempt) - Must be summited before 5 PM

Saftey working practice - Health & safety in the music industry

Risks

Mental risks & physical risks

Burnout

Cable/ Tripping

Electrocution

Hearing damage

Hit with equipment

Equipment blowing up

Stress

Losing your voice

Pyro issues

Callous from guitar playing

Falling off the stage

Pulling muscles lift heavy equipment

Hitting/getting hit with a mic

Dropping equipment on toes

Trip hazards

Things falling/not being set up properly

Things getting thrown on stage

Electrical hazards

Sleep depravation

Treating yourself well, especially on tour

Tinnitus

Epileptic triggers

Dehydration

Covid

Slippery surfaces

How can we use control measures for these?

Hearing damage - wear hearing protection, taking breaks

Pulls/Strains (heavy lifting) - get help, have someone else life it, exercise/training, use lifting equipment, lift using your knees

Epileptic triggers - Don't have strobe lights or use different lights, talk to doctor/medical professional for advice

Tripping/Falling - good footwear, put tape/something noticeable on the edge of stage, keep cables clean & tidy

Fire - don't play with fire on stage (especially around flammable things), have fire health & safety staff/ get advice from professionals

Mental hazards

Depression

Stress

Impact from lack of sleep

Anxiety

Loneliness/isolation

Impact from drugs/alcohol misuse

Depression/stress - facetiming family/friends, therapy, meditation/midfullness, discovering whats causing the stress/depression and getting rid of it if possible, medication, words of affirmation, taking away triggers, finding a support person/group, listen to music

Drugs - plenty of rest, vitamins, prescription withdrawal

Loneliness - touring in manageable chunks

Lack of sleep - don't have too much caffeine, comfortable place to sleep, sticking to schedule

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Week Five: How Important Is The Live Music Sector To You Case Studies?

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Week Five: How Important Is The Live Music Sector To You Case Studies?

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Live performance was very important to the rise of Britney's career

She embarked on a mall tour after the release of her first single '..Baby One More Time'

This appealed to her target teen audience & made her accessible to see/got her in front of people who hadn't heard her before/gaining an audience

Charli also used live performance to build her audience, starting at illegal raves

She also went on a collaborative tour in 024 with Troye Sivan using the momentum from her recent vitality

This helps both the artists gain new audiences & also save on touring costs as they get split

Britney = Tommy Hilfiger was a sponser of the tour & on the 12th of May, 1999 to help promote the tour she was featured in the 'allstars' campaign launched by the company

From 1998-2000 Britney set out doing numerus promotional performances for her hit single '...Baby One More Time' & then album

This ranged from Singapore jazz festival, The Howie Mandel show, Pop Jam, Kids Choice Awards of 1999, Walt Disney Summer Jam Concert, Top Of The Pops Germany & Wango Tango

Another way Britney used live performace as a promotional tool was with her performance with Pop legend Michael Jackson on the 6th of September, 2001 where they dueted 'The Way You Make Me Feel'

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The art of critical listening

Listening is critical skill for producers

Breaking down what you want to hear

Analysing effects, editing techniques & the balance of the mix

Identifying instruments, techniques & structural elements in the music

Figuring out how distinct sounds have been produced & processed

Identifying music theory aspects such as key signatures, chord progression, harmonies & time signatures

Detecting things that could be improved

Identifying mistakes & imperfections

Determine production techniques that will help balance the various elements of the mix

Notice changes in emphasis, emotion & feel then find ways to highlight & enhance them

This is particularly important when listening through takes or listening to our own mixes, but it is useful to apply when listening to other peoples music as-well

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Navigating - Start new doc with summative headings

Adapt Formative work to fit Summative

Do more on diary

Video diary

Flesh out diary

Look at past papers for Summative

Organise projects - Name & colour-code to stay organise

Check MIDI - Ensure notes, velocities, and lengths are correct to avoid clutter

EQ - Apply EQ to create space for each track in the mix and cut unwanted low-end rumble

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Source 1: Book

Title: "Popular Music: The Key Concepts"

Author: Roy Shuker

Year: 2021

Publisher: Routledge

'Shuker, R. (2012) 'Popular Music: The Key Concepts'. Routledge'

(Shuker, 2012)

Source 2: Journal Article

Title: "The Role of Popular Music in the Construction of Adolescent Identify"

Author: Lis M. Cerrato

Year: 2010

Journal of Youth Studies

Volume: 13

Issue: 2

Pages: 255-269

'Cerrato, L. (2010) 'The Role of Popular Music in the Construction of Adolescent Identify'. 2nd edn. Journal of Youth Studies, pp 255-269'

(Cerrato, 2010)

Research Activity

Live includes a mixer section that is accessible from both session & arrangement view. (Ableton, 2019)

'Ableton. (2019). Mixing - Ableton Reference Manual Version 10. Ableton [Online] Available at: https://www.ableton.com/en/manual/mixing/

What is the difference between a reference list & a bibliography?

Reference list is everything you've included in your work

A bibliography can include work you've read but not referenced

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Going over research & referencing

identify atleast 1 from your identified weaknesses in which you intend to carry out research for this module that will help better inform your creative output

Mixing/Music Theory

'I intend to further my research into mixing & music theory as it's an area I lack knowledge & experience in but will need it for the production element of my submission for WBE101'

Research using internet, documentaries & watching Ableton videos

Why is it important to reference your work?

To show you know what you're talking about/to back up what your work

Receive academic credit

Acknowledge other peoples opinions/work

Avoid plagiarism

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Monitoring & Metering

It is important to be familiar with your speakers

Listening to a variety of music from them can be a helpful reference

Accurate monitoring will allow you to hear the true frequencies, dynamics & levels present in your music

This prevents any misrepresentation that could lead to poor mixing decisions

Good positions ensure optimal & balanced sound & reduces phase cancelation

Equilateral Triangle Rule

The two studio monitors & the listener should form an equilateral triangle

Monitor Placement: Should be angled 30 degrees so their 'sweet spot' is angled at the listeners head, the tweeters (the small speaker which handle high frequencies) should be positioned at ear level, distance from walls to prevent Bass build up

Listener Position: ideally the speakers should be pointing along the length of a rectangular room with the listening position 30-40 % of the rooms length back from the speaker

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Not to be confused with sound proofing which is used to stop sound transferring from one room to the other

Common acoustic problems:

Standing waves - caused by reflections between parallel walls, leading to inconsistent bass response in the room. Bass traps help migrate this

Comb filtering - caused by sound waves reflecting into your ears off the walls & celling with a slight time delay, altering the frequency balance, Both acoustic panels & diffusers can help reduce this effect

Flutter echo - quick, repeated reflections between parallel surfaces which can be tamed using acoustic panels on the walls & celling

By addressing these acoustic issues with acoustic treatment, you can create a more accurate listening environment allowing for you to make more precise mixing & productions decisions

Types of acoustic treatment:

Bass Traps - These are typically placed in the corners of the room to absorb low frequencies, which tend to build up in corners and cause certain bass frequencies to appear louder or quieter than they actually are.

Acoustic Panels - These absorb the mid and high frequencies, helping to reduce the early reflections, comb-filtering and flutter echoes which can affect how these frequencies are represented.

Placed on the sidewalls and ceiling, particularly at the first reflection points (where sound directly bounces back towards the listening position).

To find the first reflection point, place a mirror flat against the side wall while sitting in the listening position. The spot where you can see the monitor’s reflection in the mirror is where the panel should be placed.

Diffusers - Rather than absorbing unwanted reflections, this type of acoustic treatment scatters them in different directions, reducing negative effects while keeping the room's natural liveliness and avoiding making it feel overly deadened.

Reflection Filters - Used to minimise unwanted reflections from entering your microphone, providing more focused recordings. Often designed to fit onto the microphone stand, they are useful for smaller studios and home recording setups.

Metering

audio metering plugins are essential tools

Helps analyse & visualise aspects of sound; levels, frequencies, dynamics & stereo imaging

These plugins can help you make more informed decisions during mixing and mastering by providing accurate visual feedback on your audio

common types of audio metering plugins:

Levelmeters - Peak: Used to measure the instantaneous level of an audio signal to prevent clipping when recording or processing audio.

True Peak: Detect inter-sample peaks that might clip when converting to certain formats – important during mastering.

RMS: Measures the average loudness over time, providing a representation of perceived loudness.

LUFS: Measure loudness in LUFS (Loudness Units Full Scale), essential for mastering to streaming platform standards.

Spectrum Analysers - Visualises frequency distribution in real-time, helping identify problematic frequencies and tonal imbalances.

Stereo/Phase Meters

Correlation Meter: Displays the phase relationship of a stereo signal.

A correlation of +1 (far right position) means 100% correlation between the left and right channels showing they are completely in phase.

A correlation of 0 (center position) indicates the widest permissible left/right divergence, which would result in a wide stereo image.

Correlation values lower than 0 show that out-of-phase material is present, which can lead to unwanted phase cancelation if the stereo signal is combined into a mono signal.

Goniometer: Visually represents the stereo field, allowing you to determine phase differences between the left and right channels.

3rd party metering plugins (paid & free) available to see on Canvas

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Over the past couple weeks I have expanded my ideas and edited the sample to melt more into the mix

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what is compression?

Compressors and limiters are specialised amplifiers used to reduce dynamic range. additionally, many compressors — both hardware and software — will have a signature sound that can be used to inject wonderful colouration and tone into otherwise lifeless tracks.

Compression parameters:

Input / Threshold

Ratio

Attack

Release

Knee

Make up gain / output

Types of compression:

1. Tube Compression
Probably the oldest type of compression is tube compression. Tube compressors tend to have a slower response — slower attack and release — than other forms of compression. Because of this, tube compressors exhibit a distinct colouration or "vintage" sound that is nearly impossible to achieve with other compressor types.

2. Optical Compression
Optical compressors affect the dynamics of an audio signal via a light element and an optical cell. As the amplitude of an audio signal increases, the light element emits more light, which causes the optical cell to attenuate the amplitude of the output signal. (Ex. LA-2A Classic Leveling Amplifier, which also uses tubes for its make-up gain)

3. FET Compression
FET or “Field Effect Transistor” compressors emulate the tube sound with transistor circuits. They are fast, clean, and reliable. (Ex. 1176LN Classic Limiting Amplifier)

4. VCA Compression
VCA or "Voltage Controlled Amplifier” compressors use solid state or integrated circuits. They are usually cheaper than tube or optical compressors. VCAs also tend to have less "colouration" compared to optical or tube compressors—somewhat similar to the digital vs. analog tape comparison in recording. (Ex. dbx 160 Compressor/Limiter) - Ableton g compression emulates

Characteristics:

1. Tube Compression
Vintage, worn, retro - 1950s, 1970s - Tube, Amp Sound - OH, Master Groups
2. Optical Compression
Warm, Bulky, Character - 1950s, 1980s - Tube, Amp Sound - Bass, Vox, Drums(Character)
3. FET Compression
Fast, Clean - 1990s - Solid Amp -Guitar, Vox, Bass - all rounded
4. VCA Compression

Clean, Clear, Quick - 2000s - Digital - Groups, Master

Recommendation: supercharger G3 by native instruments

Attack/Release

If you want more attack turn attack down to be slower if you want less turn it up to be faster ( strange but...)

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Week 7 Project Update Alternative Version

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Week 7 Project Update Alternative Version

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After getting my feedback for this track that wasn't the most positive I changed the direction slightly and tried to get the keys to match the drums a bit more. I also took out the second sample.

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1. Identify the related learning outcome(s) - LO1 - Professionalism, LO2 - Technique, LO3 - Performance, that's being evidenced

2. Read back & edit if needed - is it relevant (why include it), analytical & evaluated?

3. Are you evidencing work for all the necessary outcomes in your diary (i.e. planning, working safely, technical & performance skills development?)

1. Why is understanding your audience important?

Understanding your audience is important to selling & promoting yourself & your music. for example if you make metal music and statically metal fans love cassettes a good business idea would be to sell cassettes

2. How can you identify your target audience for your music?

identifying what genre/style of music you make, social media statistics, seeing people who go to your gigs/places you'd like to gig or similar artists

3. How can you tell if your track would be received with credibility by this audience?

looking at past examples/mistakes of other artists

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Release Strategy -

Source = Because of Marketing - How Did Charli XCX Make BRAT the Moment of the Summer

Charlie put Brat & it's easily recognisable green everywhere

On the tube, at Hot Radio in Williamsburg, across SSENSE & For You pages

Surged searches for 'slime green' by 17% (Via Lyst)

Multiple fashion & beauty brands capitalised on the vitality by releasing 'BRAT' green products & merchandise

Even Kamala Harris jumped on the trend for her presidential campaign

In New Yorks green point a wall was painted Brat green and used by Charli to promote the album, singles and performances being streamed live on TikTok for fans to watch it change

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Relationships & collaborations

Payment

Time frame/deadline

Track count/duration

Instruments

Demos/references

Session musicians/collaborators

Album Sequencing

Genre/style

Lyrical content/theme

Creative freedom

Inspiration

Budget

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Choose one of the songs intended for submission, undertake research into the potential demographic for this kind of track & create a profile of the potential audience

While the age demographic for electronic music has been people between 18-35 for a while according to Spotifys data there been a 40% increase in listeners over 40 loving the genre (Segura, 2022).

The researchers found that people with higher extraversion had stronger reactions to upbeat, rhythmic, and electronic music. Fans of electronic/EDM music are predominantly male and in the US/UK with high levels of engagement in the Netherlands, Germany and Spain. Online habits show electronic music is listened to most on a Friday (Segura, 2022).

https://resources.audiense.com/en/blog/who-sets-the-beat-in-the-electronic-music-industry-edm-influencers

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The music industry continues to boom, partly thanks to the continued advances in technology in how we share, stream and consume our favourite tracks. The most innovative companies are already benefiting from technological possibilities, from discovering up-and-coming talent on social media platforms to creating more personalized marketing strategies and working with related brands that can lead to more profitable partnerships.

Audience intelligence and big data are transforming many sectors, and music is no exception . Rob Stringer, CEO of Sony Music, said: "All our business units must now leverage data and analytics in innovative ways to dig deeper than ever for new talent. The modern-day talent-spotter must have both an artistic ear and analytical eyes."

We're big champions of using audience data intelligently. Consumer insight empowers you to go beyond assumptions and use real-time data to form the backbone of your marketing and publicity strategies. For example, in A&R (Artists and Repertoire) departments, decision-making no longer depends solely on someone having a "good ear", but the data that presents provides concrete information about, for example, the tastes of the consumers.

This is not just useful for the teams responsible for discovering new talent. Accurate consumer insight opens a whole world of possibilities for data-based marketing strategies: from identifying locations for events in your most enthusiastic locations or finding brands and influencers to spread the word. The possibilities are unlimited, you just have to select which audience segments you're most interested in and start gathering data!

If you read this article previously, you may remember at Audiense, some of the team are passionate about electronic music. As spring approaches and restrictions begin to ease in some parts of the world, we're excited about the imminent return of festivals and concerts. So, we decided to re-run our report of the EDM industry to give you the latest breakdown of hot new DJs, labels and events that are setting the beat. Get ready to party!

Identifying EDM industry audience

To help us identify the audience of the EDM industry, we used a ranking of the 100 best record labels . Using this as the starting point, we identified profiles of individuals that featured any of these names in their Twitter bio, giving us more than 2,600 profiles within the sector: labels, producers, DJs, and other professionals with an active interest in the industry.

What are the key characteristics of the EDM industry?

Our data shows that the EDM industry is predominantly male (75%) and largely based in the US and UK (20% in the US and 18% in the UK respectively), with high levels of engagement in the Netherlands, Germany and Spain. With this insight, it's probably safe to assume that Europe is one of the central hubs of the industry.

Diving deeper into city-specific data, London leads the way, accounting for 17% of the audience, closely followed by Los Angeles, Amsterdam, Vancouver, Miami and Barcelona. Interestingly, while English is the primary language spoken by this audience, there is also a lot of conversation happening in Spanish, German, Japanese and Dutch!

Compared to the rest of the global population, it might not surprise you to hear that this audience is especially interested in radio, music, dance and EDM-related events. However, if you were interested in extending your reach to find new fans, it could also be useful to note that they love movies, TV, and sports.

So, where are they spending the most time online? Well, they're significantly more likely to be using a desktop rather than a mobile - an unusual insight given the general trend toward mobile browsing - and they're also 78 times more likely to be browsing SoundCloud than any other platform! But not on Saturdays or Sundays, because they're out on the dance floor. They're also heavy users of Twitch, Snapchat, Spotify and TikTok - everyone's favourite emerging network that makes heavy use of popular sounds.

Who are the biggest influencers in the EDM industry?

After identifying the most influential profiles, we've created several rankings in different categories, taking as a criteria the "uniqueness" of each person / brand to the analyzed audience compared to a concrete baseline (in our case, the global population). Without further ado, here's the Audiense round-up of the top DJs, producers, festivals and clubs in the industry.

Top 10 influencers

This first is the general ranking with the top 10, without separating by categories.

Top 30 DJs / producers / artists

Top 20 record labels

Top 3 music platforms

1. SoundCloud

2. Spotify

3. Mixcloud

Top 10 festivals / events

Top 10 clubs

Top 3 radios and 3 radio shows

1. BBC Radio 1

2. Rinse FM

3. Ibiza Sonica

1. essential mix

2. A State of Trance

3. R1Dance

Top 10 media / online communities

If you're interested in the electronic music industry and want to get more insights about this audience, access the report here.

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Who sets the beat in the electronic music industry?

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We analyzed the electronic music industry to discover who are the top DJs, producers, record labels, clubs, festivals, media and other professionals in the sector.

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Concept of originality

As with any art form, studying what has come before and the ways that sounds and approaches have evolved is really important. We must consider the cultural, socio economic and technological influences in there too. Finding your own sound needs to be something that comes from you and the time situation you are living in, and this isn’t something that you can force but is definitely something you need to be aware of as you continue to develop as a producer.

Are there specific techniques that stand out?

Is it to do with how the tracks are arranged or mixed?

Why do they stand out within their genre?

Have they helped to shape the genre or genres they produce?

Allie has a unique style to her production drawing on a moody, goth-electro-pop approach that captivates and challenges. Her production sounds like a modern ode to the past. Allie took on the task of producing her newest album on her own after being a co or solo producer on may of her tracks.(Tibbits, 2024)

Her production leans heavily into quirky synths and dreamy sounds. Notably she solo produced her biggest track ‘Bitch’ from 2015. With her production she filled in that outline with Eurythmics and anything that was “gothy and synth” (Campbell, 2024)

“Not only was I trying to write these songs and arrangements, but there were technical challenges.” (Campbell, 2024)

Tibbits, B. (2024). Allie X Discusses Her New Album, Girl With No Face. [online] Wonderland. Available at: https://www.wonderlandmagazine.com/2024/02/26/allie-x/ [Accessed 21 Nov. 2024].

Campbell, E. (2024). Allie X Creates a Weird World on ‘Girl with No Face’ Album. [online] PAPER Magazine. Available at: https://www.papermag.com/allie-x-girl-with-no-face#rebelltitem3 [Accessed 21 Nov. 2024].

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During this week I've adding a audio recording. It's a simple recording made on my phone of some laughing. This is to add some feeling & ambiance to the track. I also added reverb & a flanger to the recording to make it sound more dreamy and spacious, letting it blend into a background area of the track.

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Week Eight: Navigating The Music Industry

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Week Eight: Navigating The Music Industry

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Primary Artist: Allie X

Chose your main influence, What draws you to them? List 3 key elements

Production

Writing

Imagery

Contrasting Artist: Paramore

Pick someone different, How do they contrast? List 3 unique elements

Stage presence

Sound

Imagery

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Throughout this module we will be focusing on Ableton Live

But will be learning techniques that can apply to all DAW

The main aim this week was to get used to using Ableton and working out how to start a project

This was easy for me as I use Ableton and have been for 3 years

Top Tips - set up a system for naming your projects so they are easy to find

Session view is all about experimenting and coming up with ideas. For example, if you’ve get various sections to a song in Arrangement view but you want to see if a certain vocal hook will work with a drum beat or bassline you used earlier in the track, Session view is where you’d do it.

The Arrangement view is useful for exactly that, arranging things into the right order and producing a track. You can also record your “performance” from the session view into the arrangement.

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For this week we learnt about an understanding of the core fundamentals of Microphones types and their characteristics & how to navigate signal path in both home and commercial studio environments

Through this module we will be learning recording skills and techniques so you are able to record to a professional standard (both in commercial and project studios) operating industry standard hardware and software

Dynamic Microphones

Dynamic microphones are known to be reliable and extremely versatile. The audio signal generated by a moving coil within a magnetic field makes this type of mic less sensitive to sound pressure levels and high frequencies which means they can take more punishment. They are often used to capture loud sound sources like guitar amplifiers and drum kits. They also tend to be less expensive.

Condenser Microphones

Condenser microphones are the most responsive and the best choice for high fidelity recording. They feature a thin conductive diaphragm that sits close to a metal backplate. This configuration works like a capacitor where sound pressure vibrates the diaphragm which creates an electrical charge to produce the audio signal output. The use of capacitance, instead of actual moving coils, makes these mics ideal for precision recording in the studio. However, condenser microphones are generally more expensive than dynamic microphones and require the use of an external power supply, internal batteries, or phantom power supplied by a mixer.

Ribbon Microphones

Ribbon microphones were commonly used in the golden age of radio but are making a comeback with more modern production designs. Instead of using a diaphragm, they employ a thin metal ribbon allowing them to pick up the velocity of the air and not just air displacement. This design makes them more sensitive to higher frequencies but retains a warm vintage voicing. Newer models work well for live multi-instrument recording in venues where the noise level is not loud. They also work great for getting that vintage vibe when recording.

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Mixing tips

Less Is More - Don’t be afraid to de-junk your composition to its component parts. Start off with just the basic drum beat and melody and gradually add each part in. You’ll probably reach a point where that extra synth line or vocal harmony may not have been needed and just gets in the way or there are just too many ideas in the song.

Everyone’s A Critic - we find it hard to be truly critical of our own work. You may have spent hours creating the perfect kick drum pattern that may not be needed in the track but because of all the time you’ve spent on it you’re emotionally invested and don’t want to let it go.

Be specific when asking for feedback. A general “Yeah, that’s good” answer from a friend isn’t going to help you at all. Ask them about the instruments, what they like about the feel of the track, do they like the length, is there anything they would change. Even a negative reaction is a positive piece of information when making decisions in the final stages of composing.

Mastering Chain

EQ - MultiMeter - Exciter - Multipressor - Stereo Spreader -Adaptive - Analyser

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Signal Path -

It is important to understand & plan the signal path of your studio/recording process

This will help sessions stress-free & well

focused

This also helps with your problem solving & keeping sessions on track

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Polar Patterns -

Polar patterns describe a microphone's field of sensitivity and how each type picks up sound. It’s important to know where a mic ‘listens’ spatially and which positions are blocked. Having a good grasp of these polar patterns will help you select the right mic that captures the sound you need while minimising unwanted noise. Below are the most common types of polar patterns.

Omni-Directional

Omnidirectional microphones capture sound equally from all directions

This type of mic has a more natural sound because of their non directional design that eliminates ay rejection.

They are excellent for capturing room sound in studios & other venues with great acoustic

They can also be used for recording multiple instruments as log as the noise level is low

the downside to this mic is they lack background noise rejection & are prone to monitor feedback which makes them unsuitable for loud 7 noisy spaces

Figure-8/Bi-Directional

Figure-8 microphones capture sound from both the front & back but rejects sound coming from the sides

Can be known by both Figure-8 & Bi-Directional

The front & back sensitivity makes them ideal for stereo recording or for capturing multiple instruments

Cardioid

Cardioid microphones capture sound from the front & reject everything else

This allows you to point the mic at the sound source & isolate it from unwanted ambient sound

This type of mic is ideal for live performances & other situations where noise reduction & feedback suppression are needed

A downside to this mic is that it adds subtle colouration in bass frequencies when the sound source is close

So mic position is important

Super & Hyper-Cardioid

Super & Hyper-Cardioid microphones are more directional than cardioid & have a narrower area of sensitivity

These mics provide improved isolation & high resistance to feedback

Their enhanced ability to reject noise makes them ideal for loud sound sources, noisy stage environments or even for untreated recording rooms

The downside to these mic is them having sensitive real lobes making them difficult to position when trying to reject unwanted sounds like stage monitors & drum kits

Shotgun

Shotgun microphones have a very narrow & extended polar pattern that is even more directional than hyper-cardioid

They feature a tube like design that has a longer pickup range

These types of mics are often used for broadcasts such as sporting events because they excel at isolating sounds in higher noise environments from a distance

They are also used as overhead mics for capturing sounds in a room

The downside is they have very poor sound quality

Switchable/Multi-Patter Microphones

Multiple pattern microphones allow you to switch between different polar patterns

many if todays USB condenser microphones have a feature that provides the option to select a polar pattern that meets your needs

These mics provide flexibility, offer more positioning possibilities & more usage

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This week we explored our current sources of inspiration & began to expand on sharing our creative influences

Your influences -

This week's task is to pick 2 tracks that have inspired you; from two contrasting genres and/or eras, and I encourage you to think outside of the genre of music that you normally work in for one of those choices.

Song 1: I Plead Insanity - Belinda Carlisle (1991)

https://youtu.be/o4wWGVM-Pz0?feature=sharedLinks to an external site.

I like this track because of it's overall simplicity in the production while still being layered & textured. This makes the vocals the centre point of the track letting them feel full & vibrant. The track builds into the bridge where electric guitars come in and more booming drums changing the centre focus to the production. It feel energetic and focused.

Song 2: Last Day On Earth - Tai Verdes (2022)

https://youtu.be/AsO-6XuIi98?feature=sharedLinks to an external site.

I like this second track for similar reasons even though they're different. I love the overall simplicity of the focus which leads to easy listening but when you fully pay attention you can hear a lot of the background strings that create a warm and comforting listen. The production perfectly compliments the voice and words of the artist giving the lyrics space to be the focus but still building it up.

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Week One: Your Music production Project Management

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Week One: Your Music production Project Management

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Familiarise yourself with the Formative & summative assessment requirements

What you need to produces

When you need to produce it by

How you're going to produce it

SMART Targets

S: Specific - Break down any bigger goals into smaller/specific targets and highlight step 1 for this term

M: Measurable - Be sure that you can measure the distance travelled, how can you show progress and that you were able to fulfil step 1 (i.e play the major and minor pentatonic scale in 3 positions is very specific and measurable)

A: Attainable - Ensure the initial target (step 1) is achievable within a set time frame (i.e by the end of the term)

R: Relevant - All goals are set by you (in relation to the assignment learning outcomes and your specific objectives) be sure they are relevant and meaningful to your journey/development

T: Time Bound - be sure that the goals you set for this term have scheduled deadlines

We also started our padlets to keep consistant weekly updates on our work

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Mixing is the process of taking recorded tracks and blending them together. Tracks are blended using various processes such as EQ, Compression and Reverb

The goal of mixing is to bring out the best in your multi-track recording by adjusting levels, panning, and time-based audio effects (chorus, reverb, delay). The aim is to sculpt your arrangement to make sense of all your tracks in relation to each other.

If you are mixing you own work start the mixing process during the production process

mixing process tips -

Declutter you brain

make sure your mix is prepped & ready to mix

Sort your session layout & labelling

Any track colouring

All editing & tuning

Balance your mix

Balance your mix before you touch any EQ, compression or effects

The goal here is to create as organic a mix as possible, true to the original sound of the tracking session

Cut the junk

Use Corrective EQ & high pass filter

If you really want to break it down even further I would say:

0Hz to 100Hz = Low Bass (rumble)

100Hz to 250Hz = Bass (tends to have resonance build up in this area)

250Hz to 500Hz = Muddy/Boxy area for me

500Hz to 900Hz = Honky Sounding

Mud vs Resonance

Mud is usually a constant frequency build up that never seems to go away

Resonance on the other hand, tends to be a sharp peak in a frequency that intermittently pokes up every so often

Compression

Just like Sandpaper – The “Sandpaper Theory” where a sound’s dynamics are a little rough and I want to smooth them out

Extreme Compression – or ducking compression. This can be to duck a track to make space for a vocal or voice over

Limiting – I like to use a limiter as the last line of defence. Once a sound is sitting in a good spot, I like to pull out a limiter to make sure that sound stays in check. It might knock off a dB here or there

(Look into the Waves and Slate plugins)

Get Creative

Reverbs

Modulation

Chorus

Delay

Creative EQ

Distortion

Stereo Image

Mastering is the term most commonly used to refer to the process of taking an audio mix & preparing it for distribution

LUFS - Loudness Units Relative to Full Scale. This is a loudness standard designed to enable normalisation audio levels (Average on streaming -14)

Basic Mastering tools -

Compression

Corrective & Creative EQ,

Saturation

Limiting

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The Art Of Finishing

This final lesson is dedicated to the elusive art of finishing a track

Difficulties you face when trying to finish a track?

Stopping

Potentially Ruining

Stuck In The Box

Doest Sound Finished

Perfectionism

Mixing

Over Listening

Overwhelming Opinions

Top Tips -

1. Limit yourself: Often it’s the vast amount of choice we have that means we don’t finish projects. If you limit yourself to a certain set of plug ins, tracks or sounds, this can often help you get better results and finish your projects quicker.

2. Don’t over listen: Working on the same project for long periods can make it hard to judge it clearly. You might struggle to recognise what sounds good or what needs improvement because your ears have grown accustomed to it. To keep your perspective sharp, take breaks and listen to other things periodically.

3. Rein in the perfectionism: We all strive for perfection, but sometimes the final 5% of tweaks can delay a release or prevent a track from ever being shared. These changes often don’t significantly impact the listener’s experience. It’s often better to accept 90% perfection and move on to the next track.

4. Get feedback: Often when we have been working on a track over many days or hours it’s hard for us to hear issues that are obvious to others. Always get some feedback from trusted sources before going back for the final mix

5. Set a deadline: If you have a deadline when the track has to be finished by and you’ve arranged to send it for mastering on that day, then that’s going to help you over that final hurdle.

Checklist to think about wit your final mix

1. Sort out your housekeeping: Make sure you have deleted any unused channels, plug-ins etc. and all your tracks are labelled and ideally grouped into sections. This will help with sharing stems and if you need to pass the project on to anyone else for mixing or mastering. This also helps you to see all the elements more clearly and you’ll save on CPU.

2. Have you had feedback from people you trust? We don’t want to be too swayed by the opinions of others, or make our music by committee, but it’s always a good idea to get some other ears on a track before you say it’s finished.

3. Does the track maintain your interest? Have you put enough thought into the dynamics and the transitions, that will keep the interest of the listener?

4. Have you listened to it in enough different settings?It's always good to check mixes on as many different sets of speakers as possible; phone, laptop, bluetooth, Mono, PA etc. if possible.

5. Have you compared it to reference tracks in a similar genre? Obviously you don’t want your track to sound exactly the same as reference tracks, but having a reference for a mix to get the right balance of frequencies and tone is a good idea.

Checklist for completing mixes

1. Do you have any clipping? You don't want any of your individual tracks or your master track to be going into the red at all. While you might not hear the clipping, because your DAW is compensating, this can cause problems in later stages of mastering and distribution.

2. Is there enough headroom? Different mastering engineers give different advice about headroom so it's a good idea to ask their opinion on this, but it is widely agreed that the master bus shouldn’t peak above -6db and some mastering engineers like even more headroom. If you have a lot of volume automation on individual tracks you can normally use a utility tool to turn down the volume without affecting the automation.

3. Is the master bus empty? Make sure you’ve disabled any FX on the master bus. Often people will run some temporary mastering limiters or compressors on the master bus to hear the mix louder, but you need to make sure these are gone before you export your premaster.

4. Make sure you export the correct file format: Obviously it needs to be a WAV or AIFF, not an MP3, when it comes to sample rate and bitrate. There’s no point in sending the track in a higher rate than you’ve produced it in, but you should be working in at least 24bit and most computers should be able to handle 32bit float.

5. Make sure you export all the versions you want mastering: This could include radio edits (if there’s any swearing), accapellas and instrumental versions. It's a good to get these all mastered at the same time if possible.

Sample Rate

Sample rate is the number of times an audio source is sampled per second, and is measured in kilohertz (kHz) or cycles per second

Bit Rate

Bit rate is the amount of data processed or transmitted per unit of time, usually measured in bits per second (bps)

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What is sidechaining?

Sidechaining is a compression technique where the volume of one sound is lowered in response to another sounds output

Commonly used between kick and bass to avoid frequency clashes in the low end & make the kick more powerful

It can also be used creatively for rhythm or effects

Why use sidechaining?

Mixing - Helps to make the kick stand out, avoiding bass overlap that could cause muddiness

Rhythm - Creating unique grooves by dicing sound in sync with other tracks

Effects - Can be used creatively for dynamic effects, such as ducking revert or building atmosphere

How to use sidechaining in Ableton?

1. Add compressor - Insert compressor to the track you want to effect

2. Reveal side chain settings - Click the down arrow symbol on the compression to view sidechain controls

3. Activate side chain - click the 'Sidechain' button to turn it on

4. Choose source track - Set 'Audio From' to the track that triggers the ducking

5. Adjust compressor controls - Threshold, ratio, attack & release

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Use this week to clean up your tracks

Reviews how effects sound and fit into the mix

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I listened throughly to both tracks to prepare to start the mixing process\Applied EQ to the main track to make the synths sound less alarm like and more spacious

Lowered gain on the first guitar sample to help it enter the mix more subtly

Adjusted organisation to be easier to read

Experimented with EQ on various tracks to find improvements or determine if additional adjustments were needed

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Added high verb to the kick drum to make it sound larger and more impactful

Adjusted the automation on the guitar sample of the alternative track for it to better blend into the mix

Applied EQ to the alternative track and reverb to drums and synths

Set a limited to -1.10 dB on both tracks to increase perceived loudness and prevent clipping

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After doing research, I replace the previous method of automation and lowering the gain on my guitar sample to sidechaining to help it better fit into the mix

Experimented with glue compressor on both master mixes after finding some tips in my research (Guido, 2024)

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Sadly I spent this week home ill taking care of myself but I did get around to reorganising my tracks into separate projects for clarity instead of the previous system I had of using one project

I moved effect I has previously been using on each mixes group on to the master channel

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Reviewed both tracks on different speakers to get a clear view of what it sounds like

I also played them to members of my household for critical opinions

Exported my stereo mixes and prepared for project submission

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Dittomusic. (2023). An Artist’s Guide to Microphone Polar Patterns. [online] Available at: https://dittomusic.com/en/blog/an-artists-guide-to-microphone-polar-patterns [Accessed 7 Nov. 2024].

Guido (2024). 11 Mixing Tips in Ableton Live - Mixing Problems Every Producer Will Face. [online] Production Music Live. Available at: https://www.productionmusiclive.com/blogs/news/11-mixing-tips-in-ableton-live-mixing-problems-every-producer-will-face?srsltid=AfmBOooWu9kPw8Jc7LPpl4ovbY7QNwdvXlE7xez_OpsgL3AJaU57byxi [Accessed 13 Nov. 2024].

Messitte, N. (2018). An Introduction to Limiters (and How to Use Them). [online] iZotope. Available at: https://www.izotope.com/en/learn/an-introduction-to-limiters-and-how-to-use-them.html [Accessed 27 Nov. 2024].

MyBib (2018). MyBib bibliography generator. [online] MyBib. Available at: https://www.mybib.com [Accessed 7 Nov. 2024].

Segura, P. (2022). Who sets the beat in the electronic music industry? [online] resources.audiense.com. Available at: https://resources.audiense.com/en/blog/who-sets-the-beat-in-the-electronic-music-industry-edm-influencers [Accessed 20 Nov. 2024].

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Proof of tidy wires in our recording sessions to avoid trip hazards.

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Keeping wires to the wall to prevent damage to equipment and injury risk.

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In our recording sessions we make sure to keep leads tidy and our of the way so we can avoid trip hazards and possible equipment damage.