Mar 23

This post is about sharing our work with other musicians, producers, and folks in-the-know that we trust to get a second opinion on things.

A couple of days ago I was sitting on my computer getting ready to do some work when a friend of mine from high school came online.  He’s been doing very well for himself doing commercial music for film and advertising, while also performing his own music as Glorious Monster.  Every now and then we’ll contact each other and get a feel for what we’re up to.  It’s really nice to have other people who produce music to talk to and geek out with.  Anyway, he was working on a potential soundtrack for a theatrical trailer and wanted to get my opinion of the piece.
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Feb 14

This post focuses on the practice of sampling and its legal ramifications.

Sampling has, for years, been a routine practice in the music industry.  Sampling is taking a part of an already recorded musical composition and repurposing it in a new composition.  It used to be that people would simply sample freely, release the material, and pay up if they got caught.  But, there were a good number of high profile court cases in the early 90s that showed that this wasn’t a very legally sound practice. The whole process of sampling is complex because the owners of the composition (the publisher or the artist) and the owners of the masters (probably the label or the artist) don’t have to let you use the material at all.  This means that they can essentially ask whatever they want from you if you a) approach them with an offer or b) get caught after releasing a sampled track.

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Jan 12

This post focuses on the basics of digital audio: sample rate, bitrate, and how analog signals are represented digitally.

We use digital audio all the time, but I am surprised on a fairly regular basis how many people are unclear about how digital audio works. Digital audio has two primary qualities that compose the way the audio is described. These two qualities correlate to the qualities of real world sounds more like metaphors than anything else. Real sounds have frequencies and volumes. In order to measure real world sounds and represent them digitally, we have created sample rate and bitrate as digital’s audio qualities. Sample rate determines how analog frequencies are described digitally whereas bitrate determines how analog volume is described digitally. The two qualities need each other in order to describe a sound. You can’t have volume without frequency or frequency without volume.

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Dec 8

This post describes how to create your own multitrack drum kits by creating and layering samples from existing multitrack drum recordings. Despite the samples being sequenced, you’ll end up with separate, mixable tracks for each mic just like you would have from a live drum performance.

 

Samples are a reality of modern music production. Whether you’re recording a live band and need to augment a weak drum sound or you’re putting together a song that’s entirely created electronically, samples have become a indispensable tool for the producer. The most common application for samples is definitely percussion. One thing that kinda sucks about straight up samples is that they aren’t very flexible. With professionally recorded live drums you generally will have your choice of room, overhead, and close mic tracks with which to paint your the kit’s sound. A single sample is the equivalent of a single microphone - not too much to choose from. There ARE a big variety of sample packs available out there from hip hop kits to samples that mimic the feel and sound of live drums.

 

Despite the inherent limitations of standard sample packs, one of the coolest features of the more expensive ‘live’ packs is the ability to change the sound through the placement of virtual microphones in a virtual room inside the virtual instrument’s interface. I know the BFD series has this sort of flexibility. You can actually adjust the type and placement of things such as the rooms and overheads. Each of these virtual microphones can be mixed as if they were genuine tracks that you recorded into your DAW from micing an actual kit. But you don’t necessarily have to pay big bucks to get that kind of flexibility. Nor do you have to use someone else’s sounds. What I’d like to show you folks is how to roll your own multitrack drum kit with a virtual room track, virtual overhead track, and individual close mic tracks.

 

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