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Tutorial: Working with EQ

I’ve added a new tutorial to the Audio Engineering section which aims to demystify EQ. In it, I look at different kinds of EQ available, and how to use them.

In part 4 (coming soon), I’ll be looking at Filters and how they’re different from EQs (hint: they’re not). I’ll cover both how to use filters to clean up sounds, and how to use them to create effects.

Read the new tutorial here.

In unrelated news, District 9 is the most awesome film ever made. Go and see it immediately.

Remix: Newtown’s “I’m OK”

Where's Leroy?

Where's Leroy?

The term “remix”, like the term “R ‘n B”, has taken on different meanings over the years. Back in the day, it meant that if you didn’t like the levels and EQ that your engineer had done, you handed over the reel-to-reel master tape of the song to a different engineer, who would perform a “re-mix”.

Nothing changed about the performance or the arrangement, it was purely a dynamic adjustment of the original recording.

Of course, that’s not what it means today. Today, when a remixer produces their take on a track, the result is usually in a totally different genre and tempo, and only the vocal gives a clue as to what the original recording sounded like. 99% of the time, it’s designed for the club.

Now, Leroy (Newtown‘s keyboardist and 12th dan technological wizard) gave me carte blanche on these remixes, and in the case of I’m OK, I decided to exercise it in an unexpected direction.

Leroy had told me that, of all the songs on the Newtown debut album, this track was probably most suited to a balls-to-the-wall house/dance remix. While I don’t disagree, I tried three different clubby versions and they all sucked.

Actually it’s not so much that they sucked, but more that they didn’t elevate the track; they didn’t add anything new and they all sounded like they were going through the motions.

You see, the original of “I’m OK” is an amazing track. It really shows off what Newtown can do, and it’s a beautiful piece of work. You can hear the original on Newtown’s Facebook page, or listen to a clip of it here:

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The way the chorus works in the original – well, I didn’t feel that a club version was in any way superior.

Now, it just so happens that I’m gearing up for a movie soundtrack job, so I’ve been doing maintenance work on my orchestral templates in between remixing … and in the midst of that, I had an idea. And so this mix happened.

It’s not a club remix. It’s not a groove remix. I suppose, technically, that it’s more of a rearrangement than a remix, and I can’t say whether it’s better than the original or not, but I do feel that this has more integrity as a piece of music than a club mix would.

Take a listen:

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Tutorial: Recording and Monitoring Audio in FL Studio

fl-studio-logoAt the request of Jesus Prieto of USA Indie, I’ve created a new FL Studio tutorial. This one covers how to go about adding your own vocals to an FL project that you’ve created, and how to hear yourself back in your cans as you sing. Read it here.

As always, if you have a question about FL Studio, or audio production in general, you can request a tutorial here.

In completely unrelated news, we’re down a peacock. We acquired a purebreed staffy puppy about five months ago, and she’s turned out to be (apart from totally cute) a stone cold killer.

I let her out at 6AM to do her ablutions, and she scampered off to explore (as she does). Unfortunately, coming across the peahen still asleep was too much of a temptation for her, and she pounced on the poor creature and killed it. She was later discovered eating it on the front lawn.

The remaining peacock seems a bit depressed about the whole thing.

Tutorial: Working With Subgroups

I’ve added a new tutorial in the Audio Engineering section suggested by Vorgan. This follows on from part 1 which covered some basic conceptual stuff.

This tutorial starts to look at more practical approaches, and kicks off by teaching you about subgroups – what they are, why you need them, and how to go about setting them up.

In part 3 of the series (coming soon), we’ll be looking at EQs, how to use them, and how to get the most out of them.

Read the new tutorial here.

FL Tutorial: Setting up a mix with Templates

image01I added a new FL Studio tutorial to the site today, which covers how to use Templates to make your life so much easier. Sure, it’s fun to just start from an empty project and see where you end up, particularly if you’re in an advanced state of refreshment at the time, but you can often create a brilliant sounding mess that has to be organised before you can mix it (the next day, obviously).

Plus, if your style means that you use the same core synths regularly, using templates can save you a ton of time – you open the sequencer and have all your favourite tools pre-loaded. This is particularly useful when you’ve got an idea lurking at the edge of your brain and you need to get it down quick before the mundane task of picking a synth chases the idea back into the depths of your subconsciousness.

Read the tutorial here.

Remix: Newtown’s “Rises”

newtown Newtown are an extremely interesting band from Johannesburg, comprising Pebbles (vox), Ryan (guitars), Amy (bass), LeRoy (sonics, guitars, sundry noodling), Doug (drums) and Ernest (trumpet). It may seem completely odd in this day and age, but this band actually plays real instruments, with extreme competence. Live, even.

This is my first of two remixes that I’m doing for the group, and it’s called Rises. The original is a slow, soulful, jazzy, laidback track, heavy on the brass and guitars. Naturally, I sped everything up by 20bpm, but I also ended up keeping a lot of the live elements of the track, which doesn’t often happen when I remix live material.

However, when you’re dealing with such quality musicianship, it’d be a crime not to use at least some of it. Granted, I chopped the guitars and the brass up and changed their time signatures (REX is a seriously underrated file format), but a lot of the resulting remix is pure Newtown. Wellllll … it’s Newtown, but not as we know it, Jim.

If you’d like to hear more Newtown, check them out on FaceBook, and watch their new music video on Vimeo.

Listen to it here:

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As always, if you’d like to commission a remix of one of your own tracks, get in touch via the Contact page.

Sennheiser Rocks

sennheiser_logo1The Internet is littered with stories of companies that get it wrong, and of people that have to go to extraordinary lengths to get companies to pay attention to their poor service, like this recent story. What you don’t hear about is companies that just get it right straight off the bat. And for that reason, I’d like to contribute the tale of my experience with Sennheiser.

Sennheiser make (amongst other things) some of the best headphones in the world. They’re superbly comfortable, and extremely easy to listen to, particularly for long periods of time. In 2004 I bought a set of HD-497 headphones from Sennheiser – not their most expensive brand by a long shot, but at the time they suited my need and my wallet. And I fell in love with them.

The 497s are not a complete replacement for studio monitors the way some of Sennheiser’s cans are, but their sound is clean and crisp, and doesn’t overly flatter or colour the sound. I often use them on the road, and although you can’t rely on them for a complete mix (the bass extension doesn’t quite reach the subs), you’d be surprised how close you can get.

Now, Sennheiser make a whole bunch of their cans with detachable cables. Think about it – what’s the first thing that usually goes wrong with a set of cans you use a lot? The plug goes funny, or you get a break somewhere in the line. 90% of headphone replacements are because of shot cables rather than blown drivers. Well, Sennheiser are smart enough to make many of their headphone cables replaceable, so that when you find a pair of cans that you like, you can stick with them and just replace the wire when it goes.

I have had two occasions to replace my wires, both of which were entirely my fault. In the first instance, I was making beats while on the train and someone tripped over the trailing wire, tearing it out of my laptop, and in the second I closed the line in the car door and dragged it along the freeway.

But in both of these instances, I was living in London. Getting the cable was as simple as clicking on my favourite audio gear site. But when I returned to South Africa … I got stuck. Most sites won’t deliver out here.

The Sennheiser website doesn’t sell product to the public, preferring instead to direct you to a local rep. In my case, living where I do, that would be a company called Audio Colonoscopy (may not be their real name). I strolled into my local branch and spent half an hour explaining to a sales person what I wanted.

No, not new headphones. Just the cables. Yes, the cable detaches. Seriously, it does. Yes, I am 100% sure, not new headphones. Just the cable.
Look, I’ll show you, you can detach them. Yes, it’s an amazing idea. No, I have no idea why other manufacturers don’t do this. Etc.

Eventually, they placed an order for me, and asked me to pay up front. It was due in a week. Three weeks later, the cable still hadn’t arrived. A different sales lady eventually admitted that the order had not even been placed yet, and offered me my money back.

This is all well and good, but I actually need the WIRES. So in desperation I wrote to Sennheiser themselves, begging them to let me buy the wire directly from them.

They responded in less than 12 hours, and sent me the wire completely free of charge.

Kudos, Sennheiser. Thank you for making some of the best audio equipment around. Thank you for having the foresight to build your products to that they’ll last. And thank you for looking after your customers with amazing service, even if some of your suppliers are idiots. You guys rock.

Oh yay

I have no idea how this happened, but it appears that Joss Whedon’s Dollhouse has been renewed for a second season. YAAAAAAAAAAAAY! Of course, this also means that my existing review, which is basically an anti-fox rant, is now redundant.

Which means I get to review it again – YAAAAAAAAAAAY!

Also, new tutorial up, this time on the basics of mixing. Thanks Vaughan for the suggestion.

Review: Joss Whedon’s “Dollhouse”

dollhouse-posterI’ve just added a review of Joss Whedon’s new show, Dollhouse. Basically, while I acknowledge its flaws, I think the show is genius – particularly once it’s got past the initial few “set-up” episodes.

I’m just a bit frustrated with how network television works – it seems like there’s no place any more for intelligent content. Higher audience numbers are valued more than integrity – but this is what TV is about. We can’t be upset with something simply for being what it is.

But it does make me wonder about the general relevance of TV in the future. How we consume media is changing – perhaps we don’t need TV anymore?

Anyway, read my review of Dollhouse here.

First tutorial

fl-studio-logoYAY! Today I added the first of (hopefully) many tutorials to the site. This one is about my favourite app, FL Studio, and aims to teach a basic understanding of how routing works in the mixer.

I chose this subject because this unstanding is critical to everything else I want to teach, and it is (in my opinion) the single most useful thing you can know about FL Studio.

Read the tutorial here.

Incidentally, I am experimenting with a new anti-spam method on the commenting system. I apologise for the annoyance of having to fill out CAPTCHAs, but it’s the only system I can think of right now.