We were shown the basics of Ableton and encouraged to play around with it.

Production tools - George

In depth introduction to the modules, main microphone types, and polar patterns.

Microphone Types

• Dynamic - rugged, audio isolation from non direct source, typically respond best to loud sources - typically high SPL

• Condenser - sensitive, great for small details e.g. vocals, string scratches - typically mid SPL

• Ribbon - sensitive, natural (most accurate sound capture to the human ear), vintage, warm, high frequency roll off - typically low SPL

Polar Patterns

• Omni-Directional

• Bi-Directional

• Cardioid

• Super-Cardioid

• Hyper-Cardioid

• Shotgun

Most microphones differ in their options for polar patterns.

This session consisted of an in-depth introduction to the modules your music production and navigating the industry.

S.M.A.R.T targets

and Academic, Music, and Professional goals.

Navigating the music industry overview

A case study contrasting two artists

Reflection of their music sales,

Audience Engagement

Their connection to the industry

Including bibliography references

The Art of Production - Bob

We were encouraged to analyse and pick apart two tracks from contrasting genres and/or eras.

Song 1 | Candy Coated Lies - Hot Milk https://www.youtube.com/watch?v=6-i3___ZJ_Q&pp=ygURY2FuZHkgY29hdGVkIGxpZXM%3D

A ton of pop punk energy.
The drums are engaging and energetic.
Two vocalists a male and female voice exchanging vocals.

Song 2 | Sweet disposition - The Temper Tap
https://www.youtube.com/watch?v=jxKjOOR9sPU&pp=ygURc3dlZXQgZGlzcG9zaXRpb24%3D

The dynamic range of the track is impactful, creating scope for the ear.
The reverb being essential for the entire emotion and drive of the track.
Two male vocals.
An arpeggiated guitar with calm whispery vocals gliding over the top.

Navigating The Music Industry -

We discussed music formats over the years from radio to tape to Napster being the collapse of the industry and the revival where we are today with streaming and physical editions becoming more relevant as a cherished item.

Followed was an excerpt from a documentary focusing on Jimmy Iovine's thoughts on music piracy.

The Intel CEO told him :

"some businesses aren't meant to last"

The music industry had to innovate and is in a much healthier place at present.

We were introduced to the recording studio in Small Pond and focused on signal flow/signal path.

The order of the sound source to its destination.

Student 1-1 - Stu

Discussed my learning plan and regular checkup sessions weekly and when recording notes on paper at the very least to take a photo of the page and submit to my multimedia development diary.

(Due to the large class size I was moved to the Monday slot)

The lesson was on setting up microphones and a DI box for direct input to record a live guitarist Matt Hennesy and over the next few weeks we will be progressing with his cover recording.

We utilise the desk

We decided on a X Y mic positioning using two shotgun condenser mics in cardioid polar pattern.

An omni condenser room mic positioned centrally mid height

Guitar DI box for direct input

Signal Paths

Guitar - Mic - Cable - Wall Box - Patch Bay - Desk - Analogue to Digital Interface - COMPUTER/DAW

Guitar - Jack Cable - DI box - XLR Cable - Wall Box - Patch Bay - Desk - Analogue to Digital Interface - COMPUTER/DAW

Created a synth track utilising the Ableton push midi controller for automation.

Production Tools - George - Mac Suite 3

We were tasked with levelling a simple tone with a send on a physical mixer.

This principle was then shown to us in the studio on a larger scale utilising the patch bay with different configurations.

Routing Buses

Noise to signal ratio

Mixing routing guide

We were also looking at what to evidence from the criteria

S.M.A.R.T Targets

Skills Audit

S.W.O.T analysis

Composite Takes -

The lesson was an insight to recording vocals utilising the main three different types of microphones for recording and finding the most favourable to the type of tone that would benefit the song.

In the industry most songs are not recorded start to finish as a final take. most require heavy compositing to achieve the required outcome.

Compositing is chopping vocals up and placing them next to previous or future segments of takes. effectively frankensteining but to the point where you have no idea the vocals/instruments were formatted in such a way.

Microphones we discussed and tested with our performer Matt Hennesy:

• Numan U87 - condenser

  - Cardioid - Figure 8 - Omni

  - Dynamic Range

  - Sensitive to Details

  - Phantom Power +48

  - Clean

  - Balanced

  - Not high SPL

  
  

• Shure SM7B - Dynamic

  - Cardioid

  - Not much top end

  - balanced

  - less spill

  - low output need gain and have to consider a decent pre amp, cloud lifter or fethead are exemplary preamps for that purpose.

  
  

• Coals 4048 - Ribbon

  - Figure 8 pattern

  - low output

  - DO NOT USE PHANTOM POWER (risk of damage)

  - Softer on transients response

  - Vintage

  - top end roll off

  - warm

  - dark

  - less detail

I initially decided the less is more approach was a good fit for the song however after a vote i was swayed to vote for the u87 due to the post processing scale that was ultimately the main factor in music.

All facets were clearer and with more dynamic range - if lo-fi vocals were desired you can descale the quality of vocals but not improve the recording quality in post processing.

I think the Shure SM7B mic was also a good contender due to it's warm quality still containing a lot of dynamic range.

When discussing our different takes we talked about loudness bias - thinking the louder take is better where it is simply louder.

We found during soundcheck that the mic was peaking sam asked what would be a useful utility for us to use and i said compressor.

In general vocals do benefit from a high pass filter; removes any unnecessary low rumbles the mic may have picked up.

Notes and feedback go hand in hand when collaborating as producer to a performer noting each improvement from take to take from potential improvements to technical tweaks.

Track Naming :

1 - GTR XY L

2 - GTR XY R

3 - GTR ROOM

4 - GTR DI

The focus of the lesson was Roland drum machines:

• Roland - 909

• Roland - 303

• Roland - 808

We were tasked with creating a drum beat in logic utilising the Roland plugins - unfortunately the plugin wasn't functional however there was a few Roland presets on the logic drum machine designer.

Drum beat created in class:

https://youtu.be/QHLRGAolHYs

Production tools - George

We were looking at the requirements for the LO1 criteria

• Timetable - Pre production

• Channel list - Demo

• Targets

• Schedule

  - warmup

• Risk Assessment - Photo of setup

LO2

• Automation

• Signal Flow

• EQ

LO3

Side note - Digital vs Tape mentality

similar to shooting film vs shooting digital photography you learn to make the most of your time and resources with limited time and resources.

The typical factor with digital is that you don't have constraints which is useful for constant experimentation however isn't productive or conducive to finishing a project.

Buses

Utilising buses in the project help to better organise tracks, much more efficient on the computer's cpu effectively a digital patch cable.

• Bus prep/Audio prep

• Index

----------------------

Looking at The Benefits and Downfalls of MIDI

Pro

• Eliminates the necessity for the physical need of some instruments

• A brilliant pre-production planning tool/Dry Take.

• Disability Accessibility

• Easy Sequencing

Cons

• Quantised and therefore no human element

• Option Paralysis - rather than simply having an instrument you have access to almost infinite playable sounds

• Typical instrument nuances like string scratching and acoustic knocks are not naturally authentic.

Best exemplary use of midi

• Humanisation

• Velocity changes

• De-quantisation

• Off-grid

• Swing

In class we worked on using Logic's midi samples and manipulated them according to instruction.

Rearrange notes, change the key, create sections to complement etc.

Skills Audit

https://drive.google.com/file/d/1YDQhFWx0vC--pwg6fLCg-0e6C7q_h2Ni/view?usp=sharing

SMART Target

Specific

Increasing my vocal ability for use in my cover

Measureable

Effective vocal that is suited nicely to the song

Attainable

Via vocal mentoring that is avilable via WaterBear I aim to push myself to being able to perform on this cover.

I have looked at a range of different excercises SOVTs and breathing excersises

Relevant

Hopefully boosting my morale and also allowing me more direction ability when recording. flexibility with time if I need to make recording adjustments.

Timely

within the next 2 months I would like to make sure I have vocals recorded

This session was focusing on resilience and mindsets

What does resilience mean?

Staying on track even if it is a real struggle,

What can we do to build our resistance,

Schedule and train with small victories.

self respect.

Why is resilience important in the music industry?

Important to be ready for opportunity and seizing that opportunity despite what other issues occur.

Not falling behind but if so catching up.

Mindset and Redefining failure

What is a mindset and what is it determined by?

A positive mental attitude is a state of a healthy mindset.

What are the two most common types of mindset?

Fixed

Can't learn more or develop knowledge

Growth

Capable of learning and developing knowledge

Fixed mindset can easily occur being overwhelmed

If you don't make a mistake you don't learn anything new.

Discussing pre and post 2000 artists/bands for our case studies and finding the best contrast.

I found myself quite comfortable with the choice of blink-182 and Owl City.

blink-182 coming from 1992 and Owl City 2007.

blink-182 still coming from the tail end of the analogue era, and Owl City coming from the digital/online era.

The Art of Production - Bob

We were asked to analyse 3 tracks keeping in mind what the artist/producer would want us to feel and how it actually makes us feel.

Also including any production techniques that stood out:

Joker - Bathroom Dance - Hildur Guðnadóttir

https://youtu.be/8z5-Wum2enQLinks to an external site.

The progression of a character along with the visuals combine to create the essence of a butterfly emerging. The character evolving and expressing a dance of sadness with a sense of enrichment.

The artist was intending on creating an eerie, empty, vast space of hopelessness that feels like ruin, heartbreak, and damage.

Blink-182 - Dance With Me

https://www.youtube.com/watch?v=LUEYNuVeA9Y&pp=ygUXZGFuY2Ugd2l0aCBtZSBibGluayAxODI%3DLinks to an external site.

The track promotes pounding energy with the presence of pure punk vibes.

Box Car Racer - Elevator
https://www.youtube.com/watch?v=Rvb6fgCCt7k&pp=ygUWZWxldmF0b3IgYm94IGNhciByYWNlcg%3D%3DLinks to an external site.

A dark emotive song about 9/11 and the emotions experienced by a bystander and a victim and the repetitive nature of the song being a comment on the mass atrocities.

Navigating the Industry - The Werks

A beginning task was finding the link between provided tracks and digging into who owns the record rights and who owns the publishing rights.

Spotify for example details it under track info.

The main link was that Sia owned the recording rights and was the writer of all the songs.

As she originally was scrutinised by record companies due to her age, with immense talent and a great voice she eventually found her way onto the scene after writing Rhianna's diamonds and many more artists, Beyonce, Britney spears, Shakira, to name a few.

We looked at two contrasting artists from the pre 2000s and post 2000s as a class project and where divided into researching groups:

Management Strategies

Revenue Streams

Marketing Approaches

Technology Utilisation

Harvard referencing being a crucial part of research was encouraged to be written.

My group was given Revenue Streams to research within a few minutes and for each source to be referenced.

LMFAO:

Game Sync - 17 video games between 2009 and 2024 use their music.

Wiki, C. to V. soundtracks (no date) LMFAO, Videogame soundtracks Wiki. Available at: https://vgost.fandom.com/wiki/LMFAO (Accessed: 16 October 2024).

The Pixies:

Wiki, C. to V. soundtracks (no date b) Pixies, Videogame soundtracks Wiki. Available at: https://vgost.fandom.com/wiki/Pixies (Accessed: 16 October 2024).

Where is My Mind notably featured in Fight Club being one of the biggest pop culture movies of all time.

COMPLETE WEEKLY PLANNER EXCERSISE

& PRIOIRTY

TIME MANAGEMENT

We looked at time management techniques that may aid us.

Time Management Techniques:

Priority Matrix/Eisenhower Matrix:

-Prioirtise Tasks Based on their urgency and importance

Eat the Frog

Targeted at those who procrastinate

Target the most important task for the day and complete it first.

The ivy lee method

Moscow method

ABCDE Method

Delegation

The class was divided into groups and given a particular method to delve deeper into and to present their information to the class.

We were give Prioirty Matrix/Eisenhower Matrix

By aliging tasks within quadrents according to their prioirty it allows you to better target the important/urgent tasks and leave the less important tasks to the end.

S.W.O.T Analysis

Strengths, Weaknesses, Opportunity, Threats

S.M.A.R.T Targets

Specific, Measurable, Achievable, and Time-bound

Gantt Chart

Action plan

AT SOME POINT DO ACTION PLAN AS IT GIVES MORE CREDIT TOWARDS THE WORK.

Any use of AI needs to be noted/detailed

• Dev diary should be provided as a pdf for hand in

We were encouraged to fill in S.W.O.T analysis.

Strengths

Guitar Playing

Good Ear generally

Good hyperfixation on a project once I get into the zone.

Weaknesses

Typically over critical of my work

Compitence in a daw

Opportunities

Vocal Mentoring

External Drum Lessons

Drum Den at Waterbear from free drum rehearsal sessions.

Networking

Waterbear assistance learning support

Threats

Confidence

Losing track of the project being overwhelmed

Emergencies

Chapter 3 Reflection to put into Dev Diary

Personal notes:

Losing confidence in my work severely affects confidence in myself

stick to being on top of the work to stay normal/neutral!

Next week make sure research has started

have bibliography to display

https://web.archive.org/web/20120419102704/http://www.hitfix.com/blogs/immaculate-noise/posts/listen-owl-city-combines-with-mark-hoppus-for-new-track-dementia

https://www.latimes.com/archives/la-xpm-1999-may-30-ca-42373-story.html

LOOK AT PHONE PICTURES FOR EXTRA INFO

In class select two significant musical works for each artist/band selected

blink-182 Enema of the State 1999

MCA Records

Owl City - Ocean Eyes 2009

Universal Republic Records

Remixes/Covers - potentially

Collaberative work

blink-182

• Yelawolf

• Robert Smith

- Collaberations on other artists albums

• Steve Aoki

• Goodygrace

• Machinegunkelly

• Oliver Tree

• Lil wayne

• chainsmokers

Owl City

Identifiable revenue streams

i.e. live shows, mechandise, sync, streams, etc.

Studygroup/Navigating the Industry - Stu

we discussed what our weaknesses are and need to look into

I need to research into songwriting lyric creation techniques and flow as I lack knowledge in it before I submit for the summative.

INSERT SWOT WEEKLY

referencing

we reference to evidence where our information is from.

making sure we research from a credible source

citing within the text name and year minimum.

REFERENCE EXCERSISE

popular music the key concepts

book

the role of popular music in the construction of adolecent identitity

journal article

the influence of popular music on youth

journal of youth studies

website

american academy of pediatrics

In an intext ciation and reference list

(shuker, 2012)

Shuker,r. (2012) TITLE [Online] Available at:

no date = N/D

When accessed link date

research citation techniques

1. 2. Use all types of chords. If you only stick to the same few chords, you’ll limit the scope of your musical ideas. Try composing songs that contain all types of chords—major, minor, dominant, diminished, and augmented—for a more complex and interesting sound.(MasterClass, 2021)

MasterClass (2021) Songwriting Tips: 10 Techniques For Writing Memorable Songs [online] Available at: https://www.masterclass.com/articles/songwriting-tips-techniques-for-writing-memorable-songs Accessed: 07.11.24

Q1

Q2 blink-182 capitalised on their highly anticipated return IN 2022, released a teaser including a few seconds of video showing they were reunited and released a single and tickets a few days later FOR A WORLD TOUR along with ore order merch

Q3

format of music consumption changing over the years

blink

cassettes radio 92-94

cassettes radio cds vinyl 95-1998

cassettes radio cds digital vinyl 1999-2005

radio cds digital streaming 2006 - 2011

cassettes radio cds digital streaming 2012 - 2024

owl city

digital, streaming 2006-2008

INCLUDE REFERENCES

Losing track in my work severely affects confidence in myself.

stick to being on top of the work to stay normal!

taking dips and getting very shy due to what my mental health state is in

I did the studio quiz which allows use of the waterbear HQ studio

We looked at preparation when working with an artist/band to best assist and influence their final product.

Channel List

Risk Assessment

Plan/Schedule

Research - Techniques/Genre

Learning the song -

structure/key

getting to know the artist/band's reference track/demo

maintaining and checking gear is functional.

guide tracks/reference mixes

Emotional and Physical Preparation

Sleep - Rest avoiding burnout

Eating - hydration

meditation - mindfulness

constant exercise (non straining)- walking

punctuality

socialising with the artist to get to know them personally - which will help the approach and the collaborative energy.

• taking artist/band for coffee

• discuss influences/songs and find a connection on sharing mutual interests

cloud storage with convenient aces either side.

discuss time frame and budget producer costs and scope of project - prior to commencing project.

additional needs, instruments etc.

Class task

designing ideal studio space

layout and description

prioritise identifying equipment wanted

Studio Space Layout:

https://drive.google.com/file/d/1Y-PeCnN0nujCHlOqu3XwkFWEIZUoBZmT/view?usp=sharing

Equipment

Essential Equipment

• Kemper Profiling - £1,099

• Warm Audio WA76 - Compressor £535

• Antelope Audio Pure 2 Mastering AD/DA

• Computer Mac with wheels

• 4K monitor (screen)

• Yamaha HS5 monitors (speakers)

• Audient ASP4816 - mixing console

• NEVE

• Kontrol S88 MK3

• digital patchbay

• wallbox

• audio interface

Additional Equipment

• Drum kit - full collection of breakables and drum types

• Guitars

• KEYS

• mic collection

Navigating the music industry roxanne and lawrence

We had a look at the Verve's Bitter Sweet sympohony controversy

the song used samples from rollingstone's "the last time"

allen klein - the rollingstone's manager at the time sued them for this

but the rabbithole goes deeper as the rollingstones sampled another song to create their song "the last time"

until 2019 the verve were able to take royalties from their hit

CRAAP

researching

Currently

Relevance

Accuracy

Author

Purpose

Recording Income

Publishing Income

• jeff buckley - recording

  
  

• John Cale - Recording

  
  

• Leonard Cohen - Recording Income

  
  

• leonard cohen - Publishing Income

as leonard cophen originally wrote and recorded the song he gets two streams of income from his work, the other artists only get one stream of revenue due to using the published work of another writer therefore leonard cohen or his estate gets the revenue for the publishing rights.

We looked at the downfalls of creating samples and the lack of credit required when utilised in a successful song.

one artist created samples for the sample platform "Splice"

One being the summer hit

Believe Me - Navos,

reported by the lecturer that no royalties or credits were given.

the work was released on a platform for use in any type of work on a one time commission based payment which is detailed in the terms and conditions.

the argument intended to be an example of fair practice and ethical influence on the industry and it's work.

in this case the answer is simply you intended to sell your work for the said amount of commission and that is as far as it goes for each customer.

PRS AND PPL

ppl and prs are the leading royalty collection agencies for recording royalties and performance royalties.

lawrence showed a detailed royalty list of his own, the credit showed the amount paid, the location and the place or person that played it.

royalties are typically calculated out due to how many people are predicted on size of the venue.

publisher collects income from hard to reach places they exploit songs

- (exploit being used to the maximum)

to increase profit

differences between recording vocal and guitar together

at the same time in the room, or separately as we have done in weeks 2 and 3.

What considerations are there to take into account before choosing which method to choose?

• bleed/spill, phase (multiple mics)

• volume levels of an instrument

dynamic may be more useful for the song due to the cardioid pattern being able to isolate ambient noise.

benefits of tracking live or overdubbing

live tracking - recording it all together

overdubbing

recording tracks separately

restrict movement for live performance

live

capture vibe of performance - genuine

pre-production with artist

prompts to assess best artist's intentions on their track

how can we assess what best suits our artist for recording

look at reference tracks/genres etc.

what would you like to get out of this?

what do you need recorded?

what do you want from me (the producer)?

assess time and if we need extra instruments etc.

what requirements do you need preference wise for recording?

click track?

together or seperate?

what sound do you want (reference track)?

We had a performer, Erin come in to have some recording done live

• recording in the studio

  - she requested a reference track, susanne vega - luka,

track analysis

• roomy drums clear resonant kick drum/ floor tom / toms

• twinkly guitar

• newanced 80s style

Requirements

Click, Drums in the headphones

she had a early demo clip of what her song would sound like, a twinkly arpeggiated sound.

We decided to use:

• Soundhole - condenser

• neck pencil condenser

professionalism

cable management

-safety

phase

when flipping phase we found it to be more boomy which means we're loosing quality/frequencies of the mics.

inverting phase can create an audible offset, meaning we need to adjust mic positions and offset to limit/eliminate the phase.

the mics were positional to a more equal distancing

we used a headphone send:

bheringer powerplay 16 sends

we sent to her headphones:

click, guitar

• converse with artist via studio mic a d changed click to preference

Red Light Syndrome - self explainitory but the fear of "the take" comfort the artist to the best of your ability.

• reduce anxiety of artist by saying "it is a practice take and we could simply throw away the recording"

• physiologically trick, deceiving but worth it for both the producer and artist/band.

due to the limited time we are limited to no more practice takes.

we were left with the

vocals so said the recording will be a practice recording to alleviate stress.

next week week 5 electric guitar

Quantisation

We looked at the benefits and specfically with drums pushing and dragging

class task

analysing the genre type of different songs

spanish/rhumba

second track

hiphop drums

syncopated

80-90bpm

third

tabla - instrument

forth

130 bpm tungorah

fifth

each track utilises different swing and styles from many different countries.

our task was to remix elements of an exisiting song

right click on audio track processing - stem splitter - split

bpm counter

quantise on left

multimeter - geoniometer

isotope - spectogram

option + command + c

on audio file

to detect tempo

production tools - george

For each version of track display

we did an excersise with whiteboards a warmup

midi range 0-127

10 octaves

some track types:

midi

auxillery

instrument

master track

audio

ribbon mic charactaristics

high end roll off

warm

vintage

polar pattern

swot analysis and shows improvement over time.

techniques

why am i using those techniques

buses, signal path flow,

at minimum record screen with phone and show each part of progress and how i am using the daw in depth dive to what i am doing

as i go along show progress week to week

sonic ph

environment

proximity effect

low end increases

if you record it

two finger distance from grill not speaker

adding space into the mix by standing further back

and sonic ph

not a distracting recording

printing out lyrics as the performance is otherwise affected

Phase Relationships

contrsuctive interference

destructive interference

tracking technqiues

recording and tracked

consider how you may use double or multitracking techniques to bolster a sound and build dynamic through songs,

digital / tape mentaility

also studio time mentality

recording to time contraints

digital vs tape would be you can only really get a super clean take the first time on tape otherwise for industry standard recordings new tape will be required

the tape mentality comes in when using that approach to digital so that you can set better time management

how you record live in one take or digital being constant new iterations

how you record like all in one take or digital being constant new iterations.

lo-fi alternative track spacey, open, slower

*next week sketch track

ideally 2x demos of each version

(minimum 1x)

create in one daw and master in another daw maybe beneficial.

different approach to the track when in the later stages of post processing.

1.5 weeks case study formative submission

2.5 weeks 2x tracks formative submission

• track types

summarise direction for formative in the form of SMART targets

S.M.A.R.T.

Specific -

Make a cover of I Miss You blink-182 and a chiptune 8-bit version.

measurement -

achievable attainable

vocals, main structure - creating a demo

relevant

timely/timebound

working in pairs we interviewed each other

using the questions provided

1. track processing mic techniques practical sonic ph use sync midi to audio file

2. broad spectrum

3. phase cancellation awareness bleed

refer to picture

timeline of mixing tracking, research, when you need to work with others, when you need to book studio time for

approach to planning and documentation of progress so far.

• personal development plan

what can you learn from others methods and how do you relate or differ to your own.

conculsion was that we both use the same method of recording info (voice notes, notes and physical notes) and expanding the final draft later.

gibbs reflective cycle

key skills leant each week

conclusion key takeaways

ranked at gibbs

gibbs in action

• reflect on progress each week

Description -

made the initial workings of the track after scrapping most of the original

Feelings -

overall very satisfied with the energy of this track and the potential

Evaluation -

I would be implementing a lot more into the track still need to be inspired of what my alternative track should be

Analysis -

There's plenty of time to work on the tracks experimenting a bit may help fast track it.

Conclusion -

add additional tracks

action plan

Plagiarism

We looked at the concept of ai influencing the creation process and directly being involved in the process.

the conclusion being that ai is suitable as an initial idea structuring tool, but not to in anyway create content for the work.

any ai used within work should be disputed and evidenced.

tools such as grammarly should be evidenced.

utilising chat gpt for research is an option but needs declaring and only as meaning and translated into your own words.

I will not be using ai for my work.

What do you understand about deals with labels and publishers.

What revenue streams did you identify with your case studies and how are you presenting this information in your work.

what did you explore in the third session highlight at least one takeaway.

case study

introduction

label overview

mca

key tracks

all the small things, i miss you, first date, the rock show, what's my age again,

All of This (collaberation, robert smith), pretty little girl (collaberation, yelawolf)

fireflies, when will i see you again (collberation, wreck it wralph), good time (collaberation, carly rae jepsen)

revenue streams

-merch

manager, publisher, sync, deals, wider collaberations etc.

logo and branding -

how does this represent who they are, is this linked to revenue streams i.e. merch

bring in examples.

go on canvas at post case studies

Branding

blink-182

Had transitioned over the years from a simple font to the iconic smiley face.

Owl City

Has for the most part remained the same.

The Art of Production - Bob

Flow State

in the zone

improved quality

domino effect of work

hyperfixation

practical

directing all attention to task similar to mindfulness

workflow

switching between creative and technical thinking

sorting things prior to performance allowing the creative mind to be clearer.

keeping things aligned

planning track etc.

saving presets

daw settings layouts

keep things out to show creativity to flow like keys.

in class task first typical steps when starting a project

drums are my initial step

begin with tempo and drums and add in the next elements of the song.

I would like to add my own solo to the song too.

improving my workflow allowing myself a clean empty enrichment to begin so that my mind is clear also have any tasks for the day completed and then through to the late evening.

templates

what might they be useful for

inspiration for work

workspace template

which can be beneficial

when working on multiple monitors.

We looked at how we could oragnise elements of the daw.

We were shown the signal flow/path and the template oragisation of Bob's (the lecturer) Daw

We were tasked to create a template for our daw of choice that would be a good starting point for creation.

save default set

Navigating the Music Industry - Lawrence Roxanne

Recap your essay

music teams and management

composition (publishing)

composition performance royalties

mechanical royalties

master (recording)

digital performance royalties

master recording references

recording rights

publishing rights

jnr choi - to the moon

jnr choi released a song "to the moon" which used a sample of bruno mars' talking to the moon

although his song was different and written differently

jnr choi had his recording

the original publishing rights were bruno mars

bruno mars also being a more established artist and his team having more control jnr choi had to reliniqush his rights to revenue over a legal battle.

although is potentially entitled to some recording rights

jnr choi got a lot of exposure and therefore despite the lack of revenue his brand is better known for his song.

ppl and prs all royalties are collected and returned to you.

goals to evaluate

how the industry has changed over ti e

implications for emerging artists

"Michael Jackson released these three albums" - needs reference even if crossed referenced

intext citation

(last name, date)

(company, date)

• refer to falmouth referencing info

key areas to explore

di / indie / major label structure

income streams

ask to see slide for key areas

composition writing royalties publishing rights

What purpose does a demo serve when working in the studio

guide track/scratch track

if certain instruments need to be aware of

figuring out the arrangement

recording amp tones

center edge bright / harsh

edge of the cone

sweet spot - balanced

on axis -bright

off axis (45 degree angle)- dark dull muddy

behind (open backed) thick muffled

room mic space / reflections

di

waveform transients

• dynamics

sm57 on center

421 mic

mics in v shape

for contrast of positions but also to prevent phase issues

found in the mix that the room mic really helped bring presence into the mix filling in the ambience

1 - Di

2 - SM57

3 - 421

4 - U87

All tracks - click create track

then we tried positioning more towards the edge of the cone, off axis making a dark and more dark off axis and room mic at the ceiling

then behind amp

option + click takes slider back to normal

when micing back of amp point at cone

behind amp

and room mic in cubby hole in hallway ceiling

heard some rumbling due to our creative mic placement in a non sound isolated area of the ceiling so put a high pass filter on to mitigate that interference

we neglected phase prevention however it wasn't an overall issue in the mix

hole in the ceiling sounded unique and good high pass was on.

looked at using chords and manipulating them

converting audio to midi

chord trigger

create a simple melody using the major scale

Chord inversions

four chords that you think fit with your melody

Production Tools - George

talked about the pros and cons of amps and amp sim

amp

pro

genuine

con

cumbersome

loud

amp sim

pro

easily portable

easier workflow

many sounds

for cheap

pedals etc.

audio technica at2020 mic

amping techniques

having di in conjunction with

reamping

checking phase relationships

approaching to tracking

panning, double tracking

double tracking

second recording is different not duplicate - rather a slight difference.

triple tracking

lcr - left center right

ten and two (10&2)

parallel processing

focus on take - duplicate

create tones

and do right tone

10 and 2 -

soft panning

10 and 2 refers to the position of the panning knobs as if they were an analogue clock

which enables depth in the track

then we use tracked two guitars and amped with one mic and panned then recorded another panned right and with different mic techniques/mic.

compile reference list and bullet point notes prior to the formative submission

have sources for each subheading in brief

key areas to explore

• DIY / INDIE / MAJOR LABEL structure

• Income Streams

• Team Structure

• Promotion & Marketing

• Audience Engagement

• Music creation approaches (business context)

For Submission:

Studio - Upload and link to submission from studio

formative diary + 2 songs

health and safety in music

physical and mental risks

cable management

sleep

lifting

people anxiety

burn out

ear protection

eye protection

steel toe shoe

potential ricks

cables

falling equipment

hearing

eating

put into groups to figure out how we would control precaution

• food allergies on in studio

• covid-19

catering food is made within needs of crew and performers.

prior to gig is. Any very specific needs e.g. vegan gluten free are provided exclusive meals.

covid-19

regular tests and temperature measurement multiple times a day and masks are made easily available as well as hand sanitisiser stations.

mental risks

impact through drugs and alcohol

• tired all the time

• emotion issues aggression/sadness

identifying control

measures

plenty of rest

protein / smoothies vitamins

prescription withdrawal aids

therapy/medication/rehab

electrical equipment will require pat testing reason is that the equipment is compliant with safety regulations and all insurances so that all liability isn't on the venue.

pat testing can be done through waterbear.

visible pat test labels are typically the only requirement for equipment in most venues, whereas some may not be so picky on if an item is up to date pat tested or even pat tested in the first place

acknowledging use of ai in work

"I knowledge the use of ai (here)(here)(why)"

Disclaimer: This is a note I am not using ai in my work

what strategies do they take to promotion and marketing

socialmedia videos

quirky announcements

with engaging humor aimed at their fanbase

blink-182

repetative teasers music videos lyric videos,

a release of a breakdown of fireflies stems

live music sector to case study career

blink-182 have a arsnel of songs that eager fans will pay extrodinary amounts to see live -

the live/merch sector is blink's ideal revenue stream.

Owl City has a far wider audience variety (need evidence to back up) demographic wide but not as large

amount of fans merch and digital sales benefit him best

identify at least one interesting approach

• blink-182 was highly anticipated for the original members to reform

the released a video teaser for their single "Edging" as well as them confirming their reunion three days later tickets were released for a world tour

(see if it broke any records/made big news)

critical listening

in class activity to listen and analyse a song

dark horses

production techniques eq panning

arpeggitated pattern

eq open and closing range

panning

EQ panning clarity

double tracked vocals

reverse cymbals

time signature changes

4/4 5/4

think about techniques and processes needed to help the vocals fit the mix.

consider volume, EQ, Compression, timing, spacial effects.

and other character effects

making sure there is contrast but clarity when vocals are applied.

reverb - slap delay

compression - bring out brightness

tremelo special fx

boost thr high end - pultec style EQ

Double Tracking - Panning

side note - figure out compressors

We played around with the mix for an in lesson task

I triple tracked had a left and right and a center

navigating the music industry - lawrence and roxanne

Iyamah

We had a special guest speaker Iyamah

a featured performer working with sponsers

She spoke about a rayban collaboration which involved her featuring in a video

Brighton upbringing music/creative orientated friends/family. going to local festivals

moved away to a closed off villiage found it difficult to move in to a typical non diverse british villiage

wrote music like a diary on piano

moved bakc to brigjton found her love of drum and bass

released track - senses

moved to london as an adolecent

was profiled immediately by the industry and felt it tough to allow her intended creation to come out

crucial team members like her lawyer has been her longest time team member from the start

working with AWAL - a record label

for distribution with extras and support

she self released a song cryptic love, shot the video in her garden she utilised her friend who animated elements in the video

released another song with her distributor

distributor wasn't necessary to notify with the video release whereas a major label would have been,

expressing her flexibility on creation and her own artist path.

she released another song prior to tour - which helps with a release campaign and tour hand in hand to gain interest.

covid impacted

she moved from awal to believe

riot noise - charity

they invest in music artists

production fees, vinyls etc.

found that there are ways of funding artists

• Doc Martens brand association and that she wears them

  
  

portfolio career

talks about building momentum that would have been more beneficial to sell for the tour that she had.

what was the main source of income

pubs, bars & cafes from age of 16 moved out at 17 struggled and was fed up left last job on universal credit

struggled but made it through to borrow money from music budget

learning the basics -

I wanted to go back over this to make sure i had a good start to my project

these are some of my notes for myself as a reminder and my learnings

Buffer Size - smaller when tracking/recording bigger when mixing

smaller decreases latency.

replace button to punch into a recording

looks like a shield with an x in it.

loop "L" when cycle range is selected on region it will loop to infinity

ableton live

collaboration within the same project multiple users

human ear 20hz - 20,0000hz

cmd + k for virtual keys

option + click + drag for time stretch

may be cmd

approximate recording volume -6 to -18db

bleed

cymbals

We looked at drum mic placement with a limited amount of microphones.

Kick reverberating reproducing sound - drums can be known to interfere with other drums as they each absorb the vibrations of the nearby drums

akg 414

the sucessful setup was at the knee

left of the kit if you are the audience

another balanced setup was pointed at the high tom and about a foot under and in front of the ride.

glen johns measure distance with a cable from overhead mic to snare and other mic to snare make sure the length is about the same length.

we setup the kit with the daw with audience's perspective

although drummer's perspective is also suitable

meaning left to right is swapped depending on the perspective

kick - rm22

snare - sm57

ohl - coles (ribbon)4038

ohr -

room - akg4klb

phase

perfect triangle in listening to monitor

great balance

Terminal Velocity

• looked at arpeggios

• midi effect ableton arpeggio

humanising velocity

by utilising the Ableton push controller

As a class we looked at the arpeggiator with a synth and ableton's clip function.

using midi transformation tools, midi generative tools

a lot of randomisation options especially useful for making a unique beat.

most combinations and configurations sounding like a fever dream.

side note:

The lfo transformation sounds like animal crossing

transformation generators

showing that these generative tools are beneficial however do take away the human element of creation away

Production Tools - George

Drum Recording Technqiues

my hero drums

transients roomy decay of the drums clarity

boomy - can hear the large room

californication drums top end less prominent

amy winehouse marvin gaye song

balanced kit mix prominent percussion

• st anger - metallica

trashcan cymbals dull drums

• hero - don't know band

balanced

snare prominence,

ghost note prominence

• superstition - stevie wonder

snare highhat prominence

balanced drums

knocky kick

pickup before main beat

mo town - some drummers

have a pickup beat

elements to consider

when recording drums

what the track sounds like or intended to be

tuned drums

room you record in

dampening tea towels, mallet, moon gel, tape

drummer's skill

method glyn johns gabriel ross technique

kick, room mic, high hat mic three mic

same distance from snare to overhead left and overhead right measure from the capsule on the mic

stereo matched pair overhead

xy mono methods

begin mixing stems

mono overhead, snare, toms, loh, roh

to build the image

put into folders

group cmd + shift + d

• Shells

• Cymbals

• Rooms

• Kick

• Snare

• Toms

• OH's

• Rooms

OH-Mono

reinforce them with kick in snare top

toms

start with room mic reinforcing with close mics

need to check phase polarity

next week corrective and creative EQ

rating on my own competitence

in the approach to recording drums hadn't really evolved

ground lift button - potentially removes any unwanted noise by regrounding.

live tracking

bass and drums

• reason for recording both live

  bounce off eachother better by being in the same space and sharing the same musical energy.

• quicker than doing seperately - overdubbing

professionalism

to look at research and back it up to evidence.

on snare mic foam for bleed

dynamic mic

adding knee mic technique or "werst"

(SEE PICTURE CHANNEL LIST)

channel 8

missed out to mix both overheads together

kick in

kick out

snare top

snare bottom

hi hat

rack

floor

OHS - overheads

circles in mixer make channels left and right

notes: slowly bring gain up

We had to go through patch bay as direct in was glitchy

phase check

bring in gain only when fader isn't meeting a full sound

note: rack tom is the high tom/s - or mid/ high tom

communicating with artist in talkback mic to stage up and gain mics to equalised levels

hearing kick we found we liked the boomier sound

floor tom was on speech setting and not music - as that particular microphone functions differently to the frequencies (can't recall the name)

after matching mic distance OHs diaphrams pointing at the snare

we found overheads were nicely balanced

knee - fills in with audio

as a creative choice we also used a bucket mic stand and put the neumann u87 under it for some creative depth in the mix

monitored level of slapbass

headphone monitor on drums & bass

take 1 overheads different levels to other take

note hyper cardioid on cymbals due to finite range to isolate close range elements

bucket contains unique charactaristics of resonance

knee mic

audience perspective close between snare and kick

Sampling

We looked at different samples used in today's famous songs

Amen brother being the extremely famous break beat used in 100s and thousands of songs probably millions

we viewed an example of sampling with magnetic tape.

stem splitting and using q-sampler to cue samples of a track

drag split stem into left side grey panel

• select sampler

cmd + F or infinity looking symbol which is flex time to sync the tempo

Timo demostrates by using a box of porridge with an elastic band to sample for a bass.

Production Tools - George

3 factors that make a big drum sound.

Mic position,

room mic

Type of drummer, type of kit

all things which alter the sound of drums and are factoring elements

glyn johns

polar pattern

recording in external places like stairwell

bleed

room type phase

drummer competence

turning

frequency spectrum

Parametric EQ

Graphic EQ

live environment EQ for avoiding bad frequency conflicts

parametric allows decibal primary frequency and bandwidth range

fixed band large ranges control

sweepable band

frequency ranges for different instruments/elements

EQ filter types

low cut/high pass

high cut/low pass

parametric EQ finding frequencies that are unnecessary and panning for the clarity of the sound.

pinching a frequency and dragging/sweeping back and forth to expand it and increase volume allows you to find the flaws that don't sit well and by applying that peak negatively it will be an effective fix for the project.

how ever there will be a slight loss of frequencies from that audio source.

We were tasked to apply corrective EQ then creative EQ to the track

room mics are good to excersise on first attempt

corrective EQ - necessary to filter out flaws, tidy up the audio

and then creative eq - low cuts or high cuts utilising automation by using the eq as an opportunity for creative effects

similar to creative eq utilising a small speaker e.g. tiny amp/headphones

inserting elements like this into the mix

-making unique results from unique EQ

whistle/sing unneccessary unlikable EQ or sweep for corrective eq

(basically honing in on the undesirable sound and eliminating it)

not always necessary sometimes ear fatigue is a factor of accuracy

frequency analyser on own ears can help better assess your analysis capablilities.

looked at example for group critical thinking activity

what is your thought process when determining wether you accept, agreee or disagree with this statement think process not specifics

"The Arctic Monkeys are more important to the uk alternative music scene than Biffy Clyro"

back up with evidence from multiple sources

Arctic Monkeys vs Biffy Clyro

who said it?

when and why context, was this said?

Why could this be argued to be true

who, what ,when, where, why

for arguments

notes

cognative dissonance

the discomfort caused by holding contradicting beliefs

inductive reasoning specific examples observations

occam's razor the simpliest explination is usually the correct one

purpose of brainstorming

• to generate a wide range of ideas

a credible source of information is characterised by

- verification and excersise in the field

ad hominem fallacy occours when personal attacks are used instead of addressing the argument

critical thinking involves questioning and evaluating information

logical fallacies refer to flawed or misleading arguments corfirmation bias is the tendancy to seek out information that confirms our existing beliefs.

the purpose of evaluating evidence is to assess the reliability and validity of the information.

class task

pros and cons of autotune

i was assigned as pro autotune team

cher "believe" was the first song to be used with autotune

As an argument it removes the need for human natural range and skill and talent

-some lean into the "autotune" sound a leading example being t-pain who rose to fame as a result of utilising the pure autotune sound in his music

which reached the top charts

"i'm sprung" "i'm n luv"

"rappa trent sanga" number 8 on the top 100

sources billboard, youtube, knowledge

What can you find out about the approach to release strategies/methods applied by your case studies

print ads for releases

promo cds, single cds, released to market their album prior to release.

typically a release would also be during the time of a large tour wether national or international

• no source

take off your pants and jacket have hidden tracks on each of the seperate releases, the album features three different icons which are linked to each member of the band, also used as a promotional tool each had hidden tracks so die hard fans had to purchase all three for the complete set.

magazines

owl city being featured in monte soundmakes

The Art of Production - Bob

professional relationships, find on canvas

what are ways we can manage our professional relationships as producers.

prioritising other's opinions

seperate business + socialising

keep things under control -

keeping calm

being prepared

meeting planning - manage expectations

networking

reliability - consistency

make a list of people you can call on for your music production

other musicians

other producers with specific skills or equipment

studios

mixing and mastering engineers

business side

agents

promotors

managers

labels

put into diary

small pond

musicians

jack keane

jamie pazza

sound engineer

Dan Noble

maintaining professionalism

is key

payment

-taking a cut of royalties being credited as a writer

logistics can be arranged

opportunity to travel -

exchange of services, the opportunity may not include pay but instead free food and travel which is like a holiday you pay for while working almost.

importance of reviewing briefs

what things might be detailed in a brief for the following

The recording of a band's EP/Album

A collaberation with a singer/songwriter?

A sync track(s) for a film TV show or computer game?

format of delivery

Navigating The Music Industry - Lawrence and Roxanne

Academic Guidence

In groups we were tasked to estimate the costs of a mini tour from brighton - london - manchester - glasgow - birmingham

the train would not be able to haul all of the equipment even divided by 5 members

£26.30 x5 = £131.50 for london to manchester using that as a rough estimate for all the trips x5= £657.50

a rental van would have to be rented for 5 days and returned back in brighton

based off figures on a rental site notionwidehireuk.co.uk a van a suitable size for equipment and band members

the cost for 5 days is £518.62

a collective estimated miles of 973x.45p(if 45p is per mile) £437.85

total is £956.47 not sure if van insurance is included.

other related touring insurances are not.

creating a brief

recording a band's EP

outline another brief and how you might approach tackling it.

-powerpoint

available canvas

• all facts require a source

• disclaim use of ai

• appendendencies possibly

tour - fanbase

experience

merch sales

per diems - all food per day

Compressors

threshold is the level for setting dynamics

Ratio

compression of the waveform after threshhold

2:1 ratio 6db = 3db

attack

how fast it takes for compression to start

release - how fast to stop

knee - hard knee / soft knee (soft knee typically better for vocals)

downward compression

upward compression

quiet louder

high cut, low cut,

bell, notch, high shelf, low shelf

tube compressor

vintage - warm

running through vaccum tubes

-valves 8816

optical compressors via a light element and optical cell

notes: analagy withj guitar amp what sound does it create?

FET compression

Field Effect Transistor

Emulates a tube sound with transistor circuits - fast, clean, reliable.

EX1176LN classic limiting amplifier

vca compression

vca or "voltage controlled amplifier"

solid state or integrated circuits

-less colouration than optical / tube compressors like digital vs tape

Ex. DBX 160 COMPRESSOR/LIMITER

The more colouration based compressors are more creative EQ vs corrective clean EQ

native instruments super charger VT tube compressor plugin - George states that a plugin has the closest comparison.

the hard knee goes 2:1 to e.g. 20:1 but soft knee transitions on a smooth gradient from 2:1 6:1 8:1 12:1 16:1 20:1

the hard knee is great for drums and transients and making them pop

the soft knee is smoother for transients and complements nicely with vocals

more attack you turn the attack down

pumping the track pumping aided by track and release

note - record in parallel if using outboard gear

makeup gain

-making up the correct level

use slate - distresser

-picking a ratio

-cycling through release

finding the sweet spot

-cycling through attack

for sweet spot

-cycle through ratio

- the point is to saturate the performance

-using the compressors in series one for the grit and another for the flavour

-if a compressor level isn't necessary or wanted split the desired source into different tracks for different levels of compression

Identifying learning outcomes in development diary L01 - professionalism, L02 Technique, L03 performance

Edit if necessary

making sure to evidence all necessary learning outcomes in your diary

ask about formative feedback

ask about if a performance is necessary

ask about where the learning objectives are.

Evidence any extra curricular activities and progress

Target audience - who is it?

1. Why is understandiong your audience important? to tailor the music to them

2. how can you identify your target audience for your music

   what inspires your music that you create. sources from your inspiration

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

   The anticipated outcome based on prior research / audience focus groups.

Your audience

choosing a song intended for submission. Undertake research into the demogrpahic

• create a profile of the potential audience of the band / artist or track

if an original you can highlight similarities in another sucessful track / selection of tracks that feel similar research and highlight their audience profile

pop punk punk rock alternative 15 - 35

critical reflection

evaluate the possible implications, arising from the differences between the two artist case studies - consider the pros and cons of being an artist / band

both eras and how your case studies operate in the music industry reviewing research and findings so much

• owl city is an artist - blink-182 is a three piece band

• owl city does however have a touring band

The workload of a band will be much easier

both blink-182 and owl city rely on many elements in their tracks, owl city being electronic music has many more tracks

pros & cons

Art of production - Bob

Sugarhill gang - rapper's delight used chic's good times

note find previous week's class work and put in padlet

producer research task

Research a producer from within a grenre you work in

Are there any specific techniques that stand out

John Feldmann

what's useful about his approach is his lyricical concept emphasis prior to writing

Echoboy creative use

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

Why do they stand out in their genre?

John Feldmann is known for shaping the modern pop punk scene and being apart of the ska band goldfinger, ska is full of energy and likewise with pop punk. he knows how to keep the mix interesting.

https://www.soundonsound.com/techniques/inside-track-blink-182-california

tapenotes.co.uk

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

(use references)

note : bullet point out everything as structure piror to embelishment

Navigating The Music Industry - Lawrence and Roxanne

Branding importance

• Aesthetic

• Story

Electronic Press Kit

Musformation

Music business youtuber

we were told to pick our favouite influences and collaborate them with a fun adjective

box car racer meets avril lavigne with a healthy dose of angst

(i didn't know what adjective to use)

• the importance of an epk

  -djs can scan the information and read the important information on radio

  epk starts with key info further you go more deep info

made to not lose interest of the reader but entice into further information if that information is required

• epk typically to promote upcoming music

• from look aesthetic easily indentifiable from imagery to what radiostation it should go on - this particular artist - e.g. BBC4

• he is making music influenced by world music

• One Sheet

  -Simply a detailed sheet backstory of info

paragraph, photo, socials

• sending one sheet to studios as a producer

  -explain interest in getting involved even as an intern

• 8-10 weeks prior to release

contact a producer or a plugger

pay for a response though other people

Reamping

Signal path/flow & labelling faders etc.

checking latency

playing click through signal & has to record reamped signal back in

• issue with phase cancellation using DI

• Compressor Release first

first di - bass

second - drums

conclusion at end of each blog/week

reamping involves a raw quality loss

one speaker had a bad input - so we troubleshooted everything else contemplating other singal flow inputs, cables, reamp box etc.

Fortunately the speaker had another input which worked no longer with annoying buzzing.

note: mic stand line up mic with on of the legs at bottom so mic can't fall over due to the hanging weight

We used the pa speakers - typically used for talkback and audio playback since they were already setup

• used dual room mics

snare reamped by the coil reacting to the vibrations from the speakers - so we turned the snare on the kit off

serving the track meaning - what the track needs improvement wise

marketing strategies

blink-182

follow the typical style of marketing tiktok, reels, shorts

short content

captivating captions

• teasing merch

• merch site with more causal merchandise

• the reuinions captivate the fans stirring up social media sprawling into trending and local media stations and news channels journalism etc.

• brining in new audiences

Composing with technology - Timo

creative effects + plugins

time:delay reverbs

tremelo flanger

modulation: pitch vibrato phaser

chorus

distortion: bitcrusher

dynamics: compressors limiter expander noise gate

filter: EQ

pitch: vocoder

stereo delay

tape delay

multipressor - compressor for multiple frequencies

conclusion - experimenting with creative effects

match EQ - use a reference track to extract EQ setting

Fuzz wah

beat breaker

Quantec Room Simulator -

SOS sorta sounds

-Free plugins

valhalla space modulator

valhalla freq echo

valhalla supermassive

valhalla dsp

AI triggergate - ai audio

bedroomproducerblog.com

pluginboutique.com - filter free plugins

TV3 plugin boutique synth

Tape emulation plugins

Case Study Notes

-call in/text number for marketing calling plays a clip of audio maybe cryptic causing fans to speculate on forums/social media text linked to website like a treasure hunt

citing from forums etc. how does that work as a source

Owl City lacks marketing strategies, lacking a push for selling merch

marketing based on singles and albums

music videos - lacking

latest singles, one more time, dance with me accompanied with music video

Owl city Vitamin Sea music video

Production Tools - George

Reverb

stereo image

left and right

reverberation - psycho accoustic

chamber

plate

spring

room

hall

room - basic room

nothing in it

hall - church performing

chamber - reflective - small room imitating hall

plate - metal sheet

sound played through rich warm tone, low end not much top carried through.

spring - typical for use with guitar, bouncy, punchy - tarantino typical guitar

reverb parameters mix - dry and wet reverb time

early reflector

We looked at a few songs that utilised different reverbs

song 1 sad gloomy - dreamy

recolection - room

rooms can be car parks unless they share specifc charactaristics with the other types of reverb

song 2 - warm - plate

song 3 - hall

song 4 - spring - tarentino esc sound

song 5 - chamber - dense

note - utilised dead spot on ribbon mic in a chamber

apply hall then plate

note utilising a bit of reverb like a glow of enhancement

Routing in parallel - sends to put effects in parallel

to demonstrate technical ability show full understanding of what i know

Identifying improvements the overall process - going well

tracking recording - could be better

Evidencing creative utilisation re-amping in studio i intend to improve on

part of confidence loss

Explain how the track influences where you're coming from and sign posts where you're going creatively

discuss the following in your works

what influences can you hear in your track/playing

how are they apparent?

performance, technical, production, tone, songwriting etc.

where are they most obvious in your music?

how the track illustrates where you're coming from?

my cover of I miss you is to add slight production differences and a riff/solo at the end

my other track which is 8-bit/chiptune is simply a 8-bit/chiptune take on the track

what have you leant about the overall sound you are going for

going a bit deeper and more subtle

what creative doors are you opening through the writing arrangement production/performance of the track.

vocals go a different direction - more casual -

what are you learning about your own sound - how are you making your mark, stamping your stamp musically.

bending genres

articulate and show a working knowledge

tempo 110 bpm?

key signature: B

time signature: 4/4

what is the structure?

identify this in bars

what harmonic ideas (chords)

are you using?

power chords root and 5th - i believe

what are the main rythmic melodic ideas you're using (scales etc.)

solo riff just major notes chromaticaly acending and decending pull offs and hammer ons slides etc.

lyrics include tabs/charts generated by me to help illustrate your musical parts

what are the key technical / performance techniques you're using in your track and what is achieved.

I made a lyric sheet which corresponds to the different vocal tracks so that when I enter the studio i can best optimise my time and record multiple takes ensuring the best use of the time.

https://drive.google.com/file/d/1iS8BiDa8I_OEpMbqfADAh8pLBcyOi3Ty/view?usp=sharing

performance techniques - i would like to do some re-amping if i have time

i will be utilising corrective eq

my guitar isn't properly intonated - which only has been a problem from recording annoyingly and there is very obvious buzzing in the track so corrective eq will be necessary.

what are the key production techniques you are using in your track and what is achieved by these

corrective EQ

sonic PH

Navigating the Music Industry - Stu

What you've learnt from research

branding import in artist's career

merch forefront in this age blink-182 have ties in the industry but not a direct brand influence

Owl City sleek - worked with apple although not publicly disclosed by him, introduced in ios 7 the ringtones and nightowl is a definite trademark sound of owl city , if the name didn't give him away too.

his reputation is family friendly making his demogrpahic and work much wider

owl city

-sleek

-family friendly

blink-182

-gritty, multiple eras

critical reflection

what elements of the industry have changed the artist?

studios have become far less of a necessity.

elements of in person collaberation will never change

The Art of Production - Bob

production skills audit

various skills related to music production

-mixing 3/5

-compression profficiency 3/5

-compentence in a daw 2/5

-recording ettiquete - mic positions

comping vocals 3/5

skills audit previously

attempted in your music

versatility

what are some skills and concepts we can embrace, learn and develop in order to become more versatile producers

versatility in music involves a blend of technical skills, creative adaptability, and a forward thinking approach to music trends and technology

mastering the art of switching between genres, tools, roles, and creative processes enables us to create engaging and innovative music in a variety of contexts

theory - music - language

open mindedness

versatility in daws protools ableton - logic creating flexibility

skills in various technical roles

engineering

mastering

-proficiency in fixing devices

creative innovation - pushing aspects thinking outside the box genre bending - bringing aspects of different genres

global influence

adaptability with technology

research the various daws on the market

pick one that either you are interested in trying or you know little about and compare its features to the one you regularly use.

outline the pros and cons of both daws

logic

logic pro drummer

cons -

dropping support of older macs

pro/con

is some of the new features which are only exclusively available to the m1+ macs

reaper

script customisation

reaper reamote

load balancing feature

references - reddit what certain daws do best or what is unique to them

ozone plugin for mastering

pros and cons

ease of use

workflow

creativity

using a different daw to find intuitivity

I ventured into pro tools and looked at applying plugins

Inner working of a tour

Lawrence is a stage manager and as of writing this he has toured with Nas, Nas is a industry established rapper who is known as one of the greats.

Tour bus, trucks carring stage and

marley - the floor of the stage

Lampy - lighting tech

Production manager

front of house

LD, VFX, Sound Engineer, monitor, stage manager

frequency that they use to communicate with each other often clashes with taxis so the setup has to often be tested multiple times

their days were 2am - 9pm to setup and pack up

orchestra 40 miles with own sound engineer and they send a stereo mix to nas sound engineer.

lawrence has asked a question for how did you become such a high profile stage manager to which he replied

blagged it!

- of course this was a joke

he has worked his way up the industry

he explains how you typically have to be a yes person he said he would work on a lot he made a song which allowed him to buy him mother a flat.

He said he showed good leadership qualities under pressure and was asked to do stage management.

he talked about the minimum amount of consecutive work days without break is 4 days then followed by a break day

he talks about a drummer

"haze" who was the drummer for the whole tour.

he has prominent brand association

known as the guy with a huge smile

he is his own social media director and recording himself with drum tricks and doing a consistent live stream for his fanbase answering drum questions and questions about himself

he also has his own merch and wears it and promotes it consitently.

Serving the track

adjustments

• vocal comping

• more drum mics

• room mic drums

• compression required for drums to be tone defined sound

the process of cleaning muddiness

thinking about sonic PH switching from mono to stereo

comping, vocal tuning

multiple vocals - chorus even on select parts

backing vocals - double track

mix recording

gtr + tone + width

comping - vocal

taking a suitable double track from other takes dbl

vocal-bv (backing vocals)

harmony

-double track

reamping synths

tamborine/percussion

note:

speakon cable designed for speakers

1/8inch patch cable

reamped synth

we decided to utilise a synth however it was switching it's voice to a different synth sound like it was on automation so we were had to vito that idea

whiney - gain - phase

use chip for synchronisation

room mics dual width

so we reamped through a marshall cab and to a room mic

when reamping we use a reamp box we used an amp head i believe

EQ

Freqeuency layout

Timo showed a balanced layout in a 2D diagram

pre master - master

leaving headroom for master

peaking around - 6 normal

levels around -9

high cut / or low pass filter

to remove some volume

dsp computer?

mastering chain

Mastering

EQ - multimeter - exciter - multipressor - stereo spreader - adaptive limiter - analyser

lufs - lufs are a level of audio anything around -16 lufs will be compressed on external platforms make different compies depending on if you are a label etc.

meaning you may be able to push out more density to other platforms depending on what their limit is.

exciter

vintage EQ

multipressor

A/B to compare back and forth version of track.

stereo spread

-adjust the stereo spread of frequencies

adaptive limiter

youlean loudness meter - free

lufs&rms

solo tracks and listen individually for all the frequencies coming through properly

making sure the music translates to the majority of different speakers

listening in different environments with different people

placit free plugin

reverb and EQ types

Deadmou5 10 min edit have more views on youtube than the radio edit - people may like elements of the full track but also can skip to their favourite part.

building an image of the desired stereo mix will help gain an idea of the desired track

we were asked to analyse each other's track - didn't have mine present

phase cancellation when both left and right are too similar can be combated with modulation of sample delay to left or right channels (not both)

sidechain vocal on compressor

e.g. reverb - audio ducking priority over the

different edits reach new avenues but also serves content for current fans

like a house edit from a classic rock song may introduce the fans to house music and gathering house fans to maybe take an interest in the classic rock.

delay a few ticks forward - and a few ticks back - fine tune a few cents lower or a few cents higher. to avoid these phase issues.

EQ to separate out the instruments in the mix

Dub version - no vocals

vocal mix

instrumental

Production Tools - George

-room reverb is any room that inhabits any audio

typically thought as a small space - though hall - made for music large - open

prepping the mix -

sort session layout and labelling

track

editing and tuning

balance mix

-goal is to create as an organic mix as possible true to the original sound of the tracking session

prioirity on beginning on what is prominent

typically begin on drums or vocals

Gut The Junk

removing unnecessary frequencies

compressor / compression

creative input

reverbs

modulation

chorus

delay

creative EQ

Distortion

Stereo image

Bounce Track

Rinse and repeat going away and coming back

mastering is like an editor of a book regarding fixing and enhancing with a new set of eyes.

mastering is polising the track but also to know how it will distribute to different media CD, tape, vinyl

lufs awareness -

to meet the level so that the platform doesn't compress it.

basic mastering tools

compression corrective and creative EQ

saturation

limiting

-lufs decapitator

turning all ultra dub down below 30hz

-anteres tube

-fresh air - boosting mids

-limiting -

soft clip limiting

-compressing

low end only in middle -

for his example

to get the track pumping more.

-fabfilter pro (helps to find frequencies not coming through

-reference 2 - for comparing master

levels plugin

to listen to the mix in mono and panning so you can hear the balance using one audio level

using amp sim stltonality

plugin

dubbing guitar

compression FET plugin

corrective EQ

• showing proof via video summary recording with phone

flow chart

mic choices (duplicate amp sims)

corrective EQ

Balance

Comp

Creative EQ

detail process and thoughts

One thing you've learnt/you're learning about yourself as an artist/performer/musician/producer for this module

it is tough - that a new genre/sub-genre is capable adapted to new genre

one thing you've leant / you're learning about yourself as a professional from work you're producing for this module.

tidy cables - sometimes

safety

submitting assignment studio there link in studio

padlet is PDF & link

take a screenshot when it is submitted

10% wordcount either way on written work with exception of development diary

minimum of 5 references test meets criteria

using gibbs reflective cycle

first 4 of gibbs reflective cycle

i've learnt i tried to make 2 tracks and a case study

i have learnt a lot regasrding the recording and capture process

conceptualising a track suddenly and mixing it in reality wasn't working out for me so I ended up doing a cover.

I've learnt a lot more about music creation but dwindled during the fleshing out process in the production.

further look into music creation with less expectation taking it to basics

your reflection

explain rationale

I wanted something with a pumping beat and to use more synths

summative your contribution to finished piece

tracked guitars, vocals

examine the learning that has taken place during this module

approach to recording physically rather than through amp sims

draw conclusions and make reccomendations for future improvements

text and sources should be appropriately referenced harvard style

to think at an achiveable level rather than an extreme level

thinking realistically is tough for my sparratic mind

WB01 module checklist

see checklist

disregard prompt number 1

2x tracks

dev diary

reflection 1000 words 10% either way

evidencing risk assessment planning and safe working practicles week 5

references - need to be in alphabetical order

case study

markerting promotion

case study reflection

see comp for lead guitar should be added as an additional guitar track

its around take 25

creative addition

• little riffs - there's an additional note every other little riff

• 
  

• possibly a pick slide on start of last chorus

• following is a solo/riff end of chorus/outro

consider some additional notes added to riff however as an additional instrument/guitar.

Finishing a track.

We discussed what prevents us from completing a project.

Limiting to working to your ability

allowing yourself to be prolific and not hinder closure of a project.

Limit perfection

Get feedback from a credible ear, who can give sufficient critical feedback.

deleting unused channels and plugins - optimising the workspace, labbeling and grouping instruments/sections.

also allowing the project to become more portable especially if and when transferring project files to a masterer

listening to the track on a variety of devices and speakers big and small and in different environments and both mono and stereo to shape the track the way that is intended.

Utilising a reference track of a similar genre. to extract an idea of the mix and the genre's balance of frequencies.

Prep Prior to mastering

Clipping may not be visible in a daw

comparing a bounce to the mix due to different bit depths and sample rates.

Headroom

Allowing enough headroom, many opinions of this are shared by many industry professionals however it is best practice to keep the mix below 6db.

Master bus empty of FX

necessary for exporting the pre master prior to external mastering.

Exporting the track

making sure the file is uncompressed

samples of waveform per second

bitrate is the total resolution of the track

exporting multiple versions e.g. radio edits acappella dub mix.

For my main track i require a full vocal record, i initally recorded on a cheap condenser microphone I bought from ali express for around £7, the studio had a warm audio w87 with an isolation sheild and pop filter on a stand which i adjusted to my comfort. I premade a lyric sheet layed out the lyrics to I miss you and highlighted the sections that would be recorded on separate tracks.

https://drive.google.com/file/d/1iS8BiDa8I_OEpMbqfADAh8pLBcyOi3Ty/view?usp=sharing

i used some tape and stuck it to the isloation sheild so that it would be perfect height for me and i could be hands free, allowing no distraction and thus increasing performance ability.

https://drive.google.com/file/d/1JEKgTY8oB3-aGQ0QcIStrzT9yEjdKo0E/view?usp=sharing

Although my singing ability is not quite there i know with post processing a useable result will show

I recorded through an audient interface ID4

https://drive.google.com/file/d/1tn_M43fDpMzm9cTt5ZXyNBfVaVo4FAGz/view?usp=sharing

I utilised elements of midi in order to simplify my process.

• Harmonium

• Twinkly keys

• Cello

• piano

• drums

  
  

https://freemidis.net/Blink_182/I_Miss_You/

the 8 bit version features adapted midi

had to recreate the instruments using a plugin which reproduces sounds using different synthesis

the drum sound is a noise based wave

treble string types are triangle wave

and various others are 25% and 12.5% pulsewaves

these provide variety in the mix and add depth

due to the complexity of the drums I broke the individual elements of the groove

• Hi-hat closed

• snare rimshot

• snare center

• kick

• hi-hat foot splash

i best replicated mostly using attack, release, sustain, decay on a noise waves.

SMART TARGET

Specific

How to make the orchestral elements + drums (midi) feel fluid and real.

Measurable

Making the Cello and Harmonium and drum kit flow where as in the original track they are acoustic. in my cover i don't have the budget for a cello and harmonium player, and the drums simply couldn't factor in the time.

of course I can tweak midi very easily. playing the drums live would have been much harder to get exactly the result i desire.

Attainable

https://youtu.be/aEy9c7xIvZ4

a tutorial by masterclass

Relevant

adding to the cover making a truer cover by enhancing these digital instruments

Timely

i aim to work on this over the next week and will report on my progress

Progress and Recording

I have tracked the emulated bass - the song doesn't involve any complex newanced bass sounds so bass emulation using a guitar and pitching it down an octave and also changing the formant too and sending it through a bass amp gave me the sound i desired.

https://drive.google.com/file/d/13Z4Oz3Su7T19GTlkkrxQw5SjJZp1RDSK/view?usp=sharing

I also created voice prompts similar to live shows with in ear monitors to prompt the player to the next passage of the song, as i recorded many takes since I was having to learn it as I was recording.

https://drive.google.com/file/d/11F1Y52-a5fFTP4jDaFj3_-3xpYURqmqA/view?usp=sharing

I also recorded voice prompts to aid my recording of the rhythm and lead guitar parts

SAFE WORKING PRACTICE

With the video recording you can see my setup in complete which is simply my laptop, interface everything is modular and is stored away when i am not using it.

Making sure I have eaten properly and slept well puts me in the best mindset for accomplishing goals.

Risk Asessment

https://docs.google.com/document/d/1Xqvc9f-u5ZMH7Vrjk8nWJYTFKbLTVf0N/edit?usp=sharing&ouid=111450071618651770502&rtpof=true&sd=true

previous target: midi flow

I managed to achieve a more cohesive flow rather than these staccato notes, by utilising the release and adding some reverb

https://drive.google.com/file/d/1467LRUje9rEFdMxmi1G1D2dq5W4m4lin/view?usp=sharing

Specific

Building resonance in my guitar tone

Measurable

Creating an increased presence in my main track cover

Achievable

https://www.izotope.com/en/learn/how-to-eq-guitars-in-your-mix.html?srsltid=AfmBOoqeLS26zNC03XYlQKm80lt68ZynveltO2CC6jAjfgsVKnC8WVx0

Revelent

within my mix it is evident the changes i have improved on regarding tone and eq

Timely

the goal was to allow the tone to be present which i have achieved

I miss you - blink-182

This song was released on their untitled album and reached a large success worldwide.

The song incorporates acoustic instruments, a meloncholic tone, and a hiphop drum loop.

the song is relatively simple and the chorus brings in many more elements brining a warmth into the song.

there are many more unique instruments to their typical style for example the cello, and the harmonium

the harmonium is very similar to an accordian.

The song uses brushes on the drums whereas I used a rimshot and rim alternative version that travis barker typically plays on tour which negatives the need for a brush and for me allows the sound to blend a lot more nicely with midi drums.

Key: B major

BMP: 110

Time sig: 4/4

Instrumentation: Rich Texture -

Cello, Harmonium, Acoustic Bass, Acoustic Guitar, Synth, 2 Male Vocals

(My version features an electric guitar, and a single male vocal)

Tonality (Major / minor) Major

Production techniques: Compression, reverb, harmoinized vocals

Structure of track (chord / tab chart)

https://www.songsterr.com/a/wsa/blink-182-i-miss-you-tab-s1386

Lyrics

[Intro: Mark Hoppus]
I miss you, I miss you

[Verse 1: Mark Hoppus]
Hello, there
The angel from my nightmare
The shadow in the background of the morgue
The unsuspecting victim
Of darkness in the valley
We can live like Jack and Sally if we want
Where you can always find me
And we'll have Halloween on Christmas
And in the night, we'll wish this never ends
We'll wish this never ends

[Interlude: Mark Hoppus]
I miss you, I miss you
I miss you, I miss you

[Verse 2: Tom DeLonge]
Where are you? And I'm so sorry
I cannot sleep, I cannot dream tonight
I need somebody and always
This sick, strange darkness
Comes creeping on, so haunting every time
And as I stare, I counted
The webs from all the spiders
Catching things and eating their insides
Like indecision to call you
And hear your voice of treason
Will you come home and stop this pain tonight?
Stop this pain tonight

[Chorus: Tom DeLonge & Mark Hoppus]
Don't waste your time on me, you're already
The voice inside my head (I miss you, I miss you)
Don't waste your time on me, you're already
The voice inside my head (I miss you, I miss you)

[Instrumental Break]

[Chorus: Tom DeLonge & Mark Hoppus]
Don't waste your time on me, you're already
The voice inside my head (I miss you, I miss you)
Don't waste your time on me, you're already
The voice inside my head (I miss you, I miss you)
Don't waste your time on me, you're already
The voice inside my head (I miss you, I miss you)
Don't waste your time on me, you're already
The voice inside my head (I miss you, I miss you)

[Outro: Mark Hoppus]
I miss you, I miss you
I miss you, I miss you
I miss you, I miss you
I miss you, I miss you

threshold

ratio

attack

time to react until full compression

release

time to react to release the compression

makeup gain

physical patching a compressor 

fist from mic to pop shield

recording facinf the window

patch

insert button 

adjustijg the gain needs to be controlled cia compressor 

hardware

always needs to stay same level

leas compression is more in post

pre-chorus 1 quite pitchy in a little bit

verse 2 quite pitchy at the end

assure confidence in first few takes

to get into track when communicating artists

seeing if the precious issues are still issues where noted previously

end of chorus 1 little pitch issue

bit flat at the end of verse 2

chorus 3 middle bit

end of verse 1 issue

checked in with artist

hey becca how did you feel that went, sounded awesome we’re gonna do one more take if that’s cool with you. 

yes defintiely

awesome

pre-ch1 end 

v2 flat

mid 8 flat towards end 

chorus 3 at start

chorus 3 middle

with more time there can be space for creative takes - like adlibs

ok would you like to do full takes or section by section

overall the tracks recorded had enough content to be comped 

look at reamping for next session of recording and capture

and room mics

what is reamping?

import elements from other tracks through files

listening environment 

each studio monitor speaker should be in an equilateral triangle for the best listening experience

tweeters should be ear level

should be 1 foot away from wall to prevent bass buildup

acoustic treatment is to dampen to create an accurate listening environment 

refelective spaces can react negatively on some frequencies and enhance others making an imbalance where as a dampened space won’t

using a mirror with acoustic panels hsing a subject to view the mirror being pushed against the wall from a static position when the monitor is visible in the mirror is where the acoustic panel should be placed

refelection filters for microphones 

specifically for the recording process

audio spaces can be configured with the aid of software some may be free or paid

RMS - Root mean Square Average Levels

Peak - Transients

Frequencies - Hz

Dynamics

Stereo Spread

level meters 

to mesaure the exact levels of audio in your daw

inter sample peaks

rms persieved loudness

lufs measure loudness - loudness units fullscale essential for mastering to streaming platform standards

spl 0 quietest

dbs 0 is like the loudest for the human ear

spectrum analyser 

goniometer visually represents the the stereo field 

then we did a class task where we used the metering tools on our own mixes

Navigating the industry

David Smyth 

Music journalist who writes the music article in the observer i think or something that is by the london tube

also writes the music section in the financial times 

also an editor of music or consultant 

He talks about approaching the 

Publicist Prs 

and showing a press release for jorja smith from the publicist tabatha owen

with key info in bold and important dates (concerts) 

detailing all nominations and statistics

for fans of ffo (for small artists when they sound similar to a larger artist)

in the subject ffo

epk electronic press kit for all content for journalist and to promote the artists info and pictures

publicist advises journalist on what not to discuss

he said he really doesn’t know much about music 

talks about Sunday times culture section 

talks about tones and i backstage and that she wasn’t coping very well and he felt very bad

interviewed billy elish with her mum, dad and fineas at the age of 15 and flying to new york to interview her having no idea she was going to become such a star

Description:

Case study difficulty

not knowing how to format my words in a way that is cohesive to my brain flow

Feelings:

Stress, Anxiety, writer's block

Evaulation:

finding a way to creative expand my points while engaging fully with the prompts provided to me

although seemingly being able to effectively find answers i require for the case study

Analysis:

Self doubt and I have found a lack of esteem drives me in this direction typically.

Conclusion:

using case study examples that are approved by the university will best allow me to understand a credible result giving me confidence to push my writing

Action Plan:

finding a balance in life and allowing myself to push myself and gain esteem - it has really been a booster for my work at times, just finding consistency and a regular routine of that will positively impact my coursework going forward.

I have decided on creating a cover of I miss you by blink-182

the cover will include most of the elements with slight vocal differences and the addition of a riff/solo at the end of the song

my alternative version will be loosely the syle of 8-bit/chiptune which will possibly feature elements of vocals but keeping the style as basic as 8-bit as possible and creating drums to the style of the escapists soundtrack -

https://www.youtube.com/watch?v=VFDPNogBxF8&list=PLIOWA5gF47OYyr8iZEg6f8tiKDmJQ1DXW

key techniques:

compression, making the drums pop

reverb features prominently through the song

balanced mix and full sound with a nice stereo spread

my solo/riff concept which I am continuing to develop

SWOT Analysis of the week

Strengths

my song content is coming together and I know what I want it to sound like

Weaknesses

finding a cohesive mix with all of the different instruments and improvement of the instruments

Opportunities

involving other creative avenues such as alternate instruments

violin, harp

Threats

failure of a balanced mix or lack of true 1:1 cover instrument wise

Main Track:

https://drive.google.com/file/d/1HAqKf4X37PfUvEvxRR88Vu0vM9u87Gy1/view?usp=sharing

Alternate Track:

https://drive.google.com/file/d/1FSC4_ZwSe3z6tIGFx53_DWl7Nf55yqrv/view?usp=sharing