I finally released my album in 2016 after changing the name to “O Sweet Cacophony” as it seemed more intriguing and different than “Deus Ex Machina” (which also reminded me too much of a recent film).
Luckily a good friend of mine stepped in and helped me curate the final track listing, and even booked the venue for the release listening party at Brothers Beer in Auckland.
Mixing engineers and producers generally have a bunch of internal metaphors for visualising or handling the various aspects of a song mix, depending on what they’re working on and their own personal preferences. Some stick with the same ones all the time, but most dynamically shift between a selection of metaphors as they go. It can be a way of keeping certain mix “rules”
Many engineers and producers love the sound of analogue, despite (or perhaps because-of) the superb quality of digital audio products. Analogue is felt to be more musical and it seems easier to mix songs done in analog formats. Why is this?
Most people, when asked why they like the sound of analogue,
(Some thoughts on the idea of conversation as a way to visualise the interaction of parts within a song).
Both music and its production involve various transactions, or a dialogue, or a conversation, between interested parties.
This might be between the artist and the audience at a gig, as the audience responds to what the artist is playing,
One of the dangers of nibbling away at mixing songs – commonly with your mouse rather than a dedicated audio control surface or mixing desk, is that it’s easy to be far too conservative when adding effects and the like.
What typically happens is you slowly push the level of an effect up until it starts to sound like it’s too much –
As a producer, one of the things that is most apparent to me is the difference between an amateur and professional songwriter – even if that amateur is talented and doing well in their career. Many bands and artists come into the studio with what initially seems to be a great song, but in the process of putting down the vocals,
UAD Apollo under laptop with heaps of UAD plug-ins showing
It’s no secret I’ve been a fan of UAD since I purchased the little UAD-2 Solo/Laptop card. Since the Solo has only one of the SHARC plug-in processing chips in it, my plug-in demands quickly overloaded it. This was usually accompanied by the fiddly and annoying juggling of said plug-ins and bouncing or freezing of tracks in Logic.
Bounce Track in Place
Here’s 8 of my top features in Logic pro 9. If you have any others – feel free to comment!
Click on the pictures for larger versions.
8 Bounce-in-place, for either track or region. Bounces down either your audio instrument MIDI regions or your audio regions –
Before I get started I just want to reinforce something I’ve mentioned in earlier posts – sometimes a reduction in parameters actually generates more creativity. Being aware of a set of limitations, or guidelines, can actually allow you much more creative control over your final mix.This could mean limiting the amount of effects that you allow yourself to use,
This is a handy tip for those moments when you’ve gone to see a loud band and forgotten to take earplugs, and one that I’ve used numerous times to “reset” my ears after a gig. I was shown this trick about 20 years ago by a friend and have been using it since then, but in preparing this blog I’ve also found lots of supporting evidence on the web that reinforces the basic concept.