Category Archives: Music

The Importance Of Making Music For Yourself – Personal Projects vs. Regular Work

As some of you may know, I’m a commercial TV and Film writer so most of the time I’m writing to a brief. The last few years have been very productive, but I’m hoping that very soon I’ll be able to carve out enough time to do some personal tracks – perhaps even a whole album. In our house we are jokingly referring to this as going solo…. Which is funny because I already work completely solo! So what’s the difference? 😉

Well for starters I won’t have a director or my publishers guiding me on the brief. That might sound like a good thing, but when you’re producing dozens of tracks a year to a high spec having people around with an outside perspective is really useful. They can steer a project back on track when it goes slightly off course [it happens!] and pick up on a whole bunch of issues – track length, mix issues, versioning, etc. Plus, there’s the fact that somebody else is invested in the deadline which helps things move along nicely.

Interestingly enough, now with my own ‘solo’ project on the horizon, I’m becoming aware that I’m so used to working to a brief that I will probably have to write my own brief just to stop from going off the rails!

Blocking out the time

I was chatting to an animator friend the other week and he’s just finishing a big personal project. He had a team of animators all working long hours as volunteers. I’ve never met an animator who didn’t do crazy hours and these guys were no exception. Their goal is to have an excellent showreel piece – and to be honest, so is mine. We were discussing personal projects and he said that in order to tie up his project he ended up having to a take a month off from regular ‘paid work’. That’s a tough call, especially with a family, but his team were all putting faith in his abilities as director/producer to reach the finish line.

I’ve always tried to do my tracks on spare days and evening’s and I think I’ve proved to myself that it hasn’t worked too well. Perhaps its time to try the month out idea. As for my current situation – I’m lucky I can do that so why not go for it.

How to make it do-able

I’m a guitarist and the way I see it, this is just what the world needs.. Another instrumental guitar album! I have a whole bunch of tunes from over the years that I would like to do proper justice to in a recording, and that’s great BUT many of them are suffering from “demo-itis”. In other words, I’m kind of tired of them so will need to give them all some kind of refresh. In my experience that can be a massive drain. So my solution is to split the project into 6 old tunes and 6 brand new tunes. That way I can always switch from an old one to a new one when I’m struggling to re-imagine a track, just to keep the energy up.  

Pre Production to avoid Option Paralysis

You’re reading this site which means you’re using a DAW, so you likely already know a thing or two about option paralysis. Studio One offers a tons of choices but somehow we still add more plug-ins and in the end you find you’re spending ages just picking them out.

These days, I’m mostly using Softube’s Console 1 system and my mix process has become much calmer. No more scrabbling around to choose a comp/eq combo. But the same can’t be said for my choices in other areas. This can only get worse without a producer breathing down your neck. And with the self indulgence brakes set to ‘off’ it could be easy to spend way too much time on unimportant details. So pre-production will be super important. Just off the top of my head I’ll need:

  • An outline to describe the overall aims of the project. Some do’s and don’ts perhaps. 
  • A brief for each track, especially with new writing because it can help with scoping a whole album and prevent it from being too samey. Also I’ll likely set out start points for tracking like ‘use the strat on this one’ or ‘not too much overdrive’. Anything that helps it to take shape in your mind. 
  • A really good template that anticipates all the recording I/O needs and also outputting needs via busses and VCAs for stems, different versions etc.

So now that I feel I’m off to a good start, the next thing to do is put the recording dates in the diary! But more on this later..

 

 

 

 

 

Meet Our Newest Sister Site! – Synth Expert – The Blog For Synth Lovers Is Now Live

Synth+Expert

After months of planning, and building the new site – The latest member of the Production Expert family, & our newest sister site ‘Synth Expert‘ is now live! As with all the expert sites, this one will aim to hit a specific audience, that being all the Synth users out there – both hardware and software.

As for the captain of the ship, here’s what the Editor, Stephen Fortner has to say about his new role;

“After a duly diligent amount of reflection, I knew that this was the major new adventure I had been looking for. I saw a gap in media serving musicians who use synthesizers. Some sites had excellent information but skewed towards one specific musical subculture or another. Some sites aggregated very click-worthy tidbits from around the web but were short on original content. And the magazine (Keyboard) I’d loved since I was about ten years old ceased publishing a stand-alone print product as of the April 2017 issue.

For all these reasons and more, it’s my intention that Synth Expert become a “big tent.” Analog and digital. Hardware and software. Mono and poly. Keyboard synths and modular gear — and the musicians who prefer one or the other. Whether your idea of a synth hero more closely resembles a Herbie Hancock, a Richard Devine, a Jordan Rudess, a Deadmau5, a Timbaland, or a Jean Michel Jarre, my fondest hope is that as the site adds more and more content in the coming weeks and months, you’ll find things here that will keep you coming back.”

So if this is something that’s up your alley, then be sure to head over to their blog, and show them some love! 

How To Export A Tempo Map From Studio One To Use With 3rd Party DAW’s

As much as we would all love to be able to hand off a neat & tidy Studio One Song to another engineer for additional tracking/overdubs, this simply isn’t possible all the time. I mean let’s face it, we now live in a day & age where producers and engineers are all using various DAW’s in their workflow. In fact a lot of colleagues I know, are proficient in at least 2! Couple that with the fact that for now – a lot of the major Studio’s are still running Pro Tools HD/HDX systems as their main DAW for various reasons such as a significant financial investment in the platform. But thats another topic all together.

This isn’t a bad thing by any means, it’s simply the way it is. However, speaking from personal experience of being the “overdub studio”, there is nothing more tedious than having to redo a complex tempo map when receiving audio/stems from another Studio. Time Signatures, Tempo Information, and Markers are really key to keeping a session organized, and as we all know – time is money.

I got a call from a client today, asking me to prep a song we are working on for his upcoming album, for some overdubs that would be happening at a Pro Tools based studio. Essentially they will be doing some overdubs and need to work with what we’ve laid out thus far. The tracks they lay down, may or may not come back to me for the final mix, but as a professional courtesy to the engineer who will be doing the overdubs, exporting a tempo map is something that I don’t mind doing.

Having spent 15+ years in Pro Tools, thankfully I understand what Pro Tools needs to be able to import a Tempo Map, Time Signatures, and Markers. Although I must admit, the first time I had to do this – it did initially take a bit of digging for me to figure out how to go about it from Studio One’s side. But while I was prepping this session today, I thought it may be useful information to some of you, so why not do an article / video on the subject.

This same method can also be used for various other DAW’s, although its worth mentioning that each DAW may have a slightly different / unique approach on how it deals with importing that same tempo map.

In the meantime, if this is of any interest to you, have a look at the above video for how to tackle this process!

Cheers,

Marcus

3 Signs That Tell Me I Am Close To Finishing A Mix

Dan from our sister blog gives his advice on when to know the mix is finished.

We have all heard the expression “a mix is never finished, it’s abandoned”.  I mean really, when does any artist know when to put the brush down and declare to the world that their masterpiece is done?

Mixing music is a full on emotional rollercoaster.  We rely on emotions to mix feeling into a song so that the finished product has the best chance of connecting “emotionally” with listeners.  

The problem is that these emotions can often stop us from finishing a mix.  I remember from my past inexperienced days that I would find it easy to not finish a mix as the lure to polish and perfect tracks beyond what was reasonable started to become a better solution to actually focusing on getting the job done.  

Over the years I have discovered that I have developed some signs that I now always look for as these signs tell me I’m close to finishing a mix that I will be happy with.

Taking A Step Back – The Bigger Picture

The first sign that tells me that I am close to finishing a mix is that I rarely reach for a control, fader or plug-in.  Instead I find myself listening to the music as though I have just heard it again for the first time.  This maybe because I’m started to get bored of hearing the song with forensic ears but rather I like to think of this as a sign, my intuition listening from a different perspective.

Does That Add Anything?

Another sign that alludes to a mix being close to finishing is that I find myself looking for things to remove from the project that don’t actually add anything to the bigger picture of the music.  Sometimes it can be as simple as removing a plug-in that doesn’t add anything audible or in some cases just rolling back a small send amount to an effects aux.

Fear Of Over Egging The Pudding

When using my control surface I will physically put my hands up as though I’ve made a mistake, some of my clients laugh when I do this.  For me it’s a way of saying to myself “Dan you went a step too far, there was nothing wrong with that vocal or bass, stop fiddling, you had it”.  This is the fear stage of messing up or “over egging the pudding”.

When mixing for a client it is never ultimately complete without their approval, which is usually around the time their budget is spent.

  • How do you know when you are close to completing a mix?

Dealing With Rejection In The Music Industry

Rejection is a hard thing to take at anytime, but as Songwriters/ Producers/ Mixing Engineers we have to deal with it much more than the average guy.

I’ve been doing this for about 20 years, and even after all that time I still sometimes find it hard to take rejection. I recently was involved in a project where I was all 3 of the above so I had to wear a good few hats during the project, The first 4 songs I thought I could conquer the world as the Artist/ Management/ Record company had nothing but praise. The 5th song was a different story, it felt like I couldn’t do anything right in their eyes. Sometimes we can be clouded by compliments, We become a little over confident and when we get some feedback that is the opposite it hits like a ton of bricks.

Confidence

Confidence can be a good thing if you know how to not take it to arrogance. Always remember that there are always better people than you. We can always learn something from someone who has been doing it less than us. I remember walking into a studio a few years back and hearing this track written by a guy that was half my age and thinking wow.

Criticism

Take peoples criticism a learn from it. If someone doesn’t like what you have done thanks them for it, this is the only way we can learn and improve. Sure there are guys who just love to put people down when in reality they are just disappointed with there own self worth, you can normally spot these people a mile off. But most people want to help and there might be something you can learn from improving what you first submit.

Tenacity

At DWB Music ltd, We have a roster of writers, some of these writers submit over 100 songs a year. Most of these guys will probably expect to have 10 songs cut a year. This past week I have had three songs go on hold for major artists and 2 of these songs were written 5 years ago. As long as its a great song and the production is still current the song will still have legs and could get cut at any time. We see it time and time again, where a writer starts feeling despondent and all of a sudden they become the writer who gets cut after cut after cut. Now this can tip the writer to arrogance and most times they will take a hard fall. Just remember to keep a level head and importantly, DON’T BELIEVE THE HYPE! 

 

 

Make Some Decisions – You Can’t Fix It In The Mix

Before the DAW, multi-track tape was how most music was recorded. Usually a 16 or 24 track tape machine. At the time, this was looked at as a limitation.

When producing and arranging a song you would spread all of your tracks across the available channels on the tape recorder, sometimes bouncing a group of tracks down to a single or stereo pair of tracks. This meant committing to many decisions for the outcome of the song during tracking.

With this track count limitation it forced producers and engineers to record one great guitar performance. One lead vocal track. One keys or organ track. The track count limitation required committing to the development of the song while recording.

With the modern DAW track count possibilities, it’s not uncommon for a mixer to receive a song with 10 takes of the same or slightly varied guitar part played with different guitars and amps. And often ten vocal takes with no indication or organization. 

Usually the idea behind this is, give the mixer options and they will know which is the best take to use in the mix. Having options when creating music is great. But these options should be considered and choices should be made during the arrangement and production phase of the song.

When mixing you should be doing just that, mixing. I’m repeating myself, but deciding which vocal take or guitar part to use in the mix should be decisions made before mixing, typically by the producer.

Whenever given a song to mix you should be able to pull up the mix and everything already work. The song contains the guitar track that will be used and all of the vocal take decisions already made. Sometimes guitars are doubled and vocals also, these takes and edit decisions should already be made prior to mixing. Meaning during production the decision was made what type of guitar sound this song needs. It’s always nice to have a D.I. box recording of the guitar also to blend in additional amps if needed, or to replace the original recorded Plexi with a different Plexi amp. But when replacing the recorded amp the mixer knows the vision of the song was a Plexi guitar sound, the choice of amp has already been made before the mixer ever heard the song.

Another trend is to provide 4 different kick drums, not intended to be blended but options for the mixer. The same applies here. Commit to a kick sound before mixing. The mixer may replace your 808 kick with a different 808 kick, but if this decision for replacement is made during the mix the fundamental kick vibe doesn’t change.

If you mix your own music, or someone else mixes your music then commit to things early on during the arrangement and production process.

What once was considered a limitation (tape track count) forced one to make decisions to be made during production. Some may think that the unlimited options of the modern DAW may be a good thing, I’m not so sure.

Quick Tip: Using Nashville Tuning On Acoustic Guitars

If you aren’t familiar with Nashville tuning, Nashville or high strung tuning is replacing the wound E, A, D and G strings on a six-string guitar with lighter gauge strings to allow tuning an octave higher than standard. 

One advantage to Nashville tuning is less expensive instruments are ok to use.  If you have a beginner guitar lying around or a lower end guitar that plays well.  Nashville tuning may be a perfect way to repurpose that instrument that doesn’t currently get much attention. String manufactures actually make string sets for this type of tuning.

Once you have a guitar setup for Nashville tuning most people quickly become comfortable playing it. Having a guitar in the studio strung up to Nashville tuning is a nice option to have available for clients. A cool effect is to double a guitar part with a Nashville tuned guitar. However, some very popular songs have been recorded with Nashville tuning as the main guitar part. Nashville tuning is an interesting way to achieve some nice layered guitar sounds in your productions and mixes.

What about you? Have you ever used it?  If so, tell us your thoughts in the comments below.

Studio One User Profile – Cleon Richardson (on Keylon Whitlock’s “Higher”)

We like to see people really putting Studio One through its paces and getting the most out of it. Recently, we were treated to a music video by Trinidadian Gospel artist Keylon Whitlock. Keylon is popular in his native Trinidad and Tobago and his positive words and infectious music are garnering much attention abroad. The song was co-written by Whitlock and Writer/Arranger/Mix Engineer/Producer Cleon Richardson. Richardson was kind enough to share with us his process of creating and recording this track.

He started with several soft synths and some samples (one shots, tambourine, etc) in Studio One and then worked with Keylon on the lyrics.  The next day, they recorded Keylon’s vocals through “a Rode K2 going into a PreSonus Eureka Channel Strip and into a PreSonus AudioBox 1818VSL….to Studio One.”

Cleon Richardson at Camari Music  

Cleon Richardson at Camari Music  

Richardson then added (former student and vocalist) Nataki Lendor to the track.  The recorded her vocals on about 40 vocal tracks. He bused her vocals together and then ran through the gamut of Slate Digital plug-ins including, the Virtual Tape Machine, Virtual Console Collection and VMR. He favored the Neve EQ and FG-116 compressor, using them in parallel with the mix knob. He also used AirEQ to shape the overall tone of the female vocals.

More of Keylon’s vocals and ad libs were recorded and given a similar Slate treatment.  Richardson worked back and forth on the music in context with the vocals to ensure they complemented each other and finally added bass to the track to help drive the rhythm…while keeping it in check to allow the vocals to really shine.

Richardson’s Master Bus consisted of the VCC, VBC FG-MU, VTM, AirEQ, Kush’s Clariphonic, and Flux’s StereoTool. After getting some feedback from colleagues and his mastering engineer, Lauritz Liddelow, and making a few more tweaks, he sent it off for final mastering. The song is getting daily play on radio throughout Trinidad and Tobago. The accompanying video is gaining momentum and, as you can see, has a very positive vibe and energy which has helped propel the track into unexpected stardom.

I use Studio One because the workflow allows me to create effortlessly. Everything is done “in the box” and I actually mix using Beyerdynamic headphones and a Focusrite VRM Box, checking it on my speakers. My mastering engineer is more analog focused and adds the icing to the cake.

Click to find out more about Keylon Whitlock and Cleon Richardson.

To see the full video, click here:  Keylon Whitlock’s “Higher”
 

BIG NEWS: BIG ANNOUNCEMENT COMING FROM PRESONUS!

We here at Studio One Expert Headquarters were just hit with the following poster and are not sure what’s going on or what’s going to be announced but, according to the poster, it’s going to be BIG!  Make sure you register for the webcast.  They’re going to have special performances, interviews, giveaways, and more!
 

To register for this exciting even, click here.
 

The Edit View – Part II: The Music Editor

In Part I of this article, guest contributor David Mood explained the Audio Editor and its most important features; now let’s have a look at the Music Editor in Studio One.

The Music Editor is used to edit or create notes and other musical-performance data on Instrument Tracks. In many other DAWs, this would be called the MIDI Editor; but Studio One does not use MIDI data internally (to avoid some of the limitations of the MIDI protocol); hence the different name.

You can access the Music Editor in exactly the same way as the Audio Editor: by selecting an Event and clicking on the Edit button, pressing [F2], or simply double-clicking on any Event on an Instrument Track. The latter method provides the advantage of the Music Editor automatically opening zoomed in horizontally and vertically on all the notes in that Event.

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In the same way as the Audio Editor, the Music Editor can also be detached from the Arrange view, enabling us to place it on another monitor or maximize it to full-screen.

If you’ve ever worked in a DAW with any kind of MIDI editor, the Music Editor in Studio One will surely look familiar to you. We have the piano roll on the left and the notes represented by horizontal bars placed on white or grey lines – which stand for the white and black keys of a piano respectively. The notes can be moved up or down to change their pitch and left or right to change their timing – you can also select multiple notes to change their pitch and/or timing at once.

The color of the notes mirrors the color of the Instrument Track in the Arrange view – while selected notes are always displayed in orange.

Here is a useful tip which I think you will use a lot (I certainly do!):  To select all notes of just a specific pitch, hold down Ctrl/Cmd and click on the desired pitch in the piano roll.

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Below the Piano Roll is a lane for editing Velocity, Modulation, Pitch Bend and many other types of musical data – we will cover these in a separate article.

Now let’s have a look at the tools we have at our disposal in the Music Editor.

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The Arrow Tool is certainly the one you will use the most. With it selected, you can click anywhere on a note and drag it up, down, left or right. If you move the mouse to the edges of the note, you can resize its beginning and end – you can also resize several notes at once if you have more than one selected.
Holding down Alt/Opt while dragging a note copies the note instead of moving it.

The Split Tool lets you chop up a note into two or more notes. If you hold down Alt/Opt, you can also split the whole Event on the Instrument Track.

The Paint Tool lets you draw in new notes, but also delete existing notes. Clicking once will create a new note, clicking on it again will delete it.
The length of the new note is determined by the Quantize settings at the top of the Music Editor. If you need longer or shorter notes, simply drag the mouse left or right while holding down the left mouse button. If you drag the mouse up or down at the same time, you can change the velocity of the new note immediately. This is a very cool feature, and enables working very rapidly!

The Eraser and Mute tool work just as you’d expect and their name implies.

The Listen Tool plays back the Instrument Track from anywhere you click, and soloes it at the same time. This can save a lot of soloing/muting in the Arrange view.

It’s important to note that you can access the Arrow Tool temporarily from any other tool by holding down Ctrl/Cmd. So you can e.g. draw in new notes with the Paint Tool selected, and by holding down Ctrl/Cmd you can quickly move or resize them afterwards, without having to change the tool completely. If you have the Arrow Tool selected, holding down Ctrl/Cmd will give you the Paint Tool temporarily.

These are all very clever and well-thought-out features, which if you embrace and use them, can speed up and lighten your workflow dramatically – which is what Studio One is all about!

Let’s have a look at the left side of the Music Editor.
The narrow button with the two arrows lets you link the Track selection in the Arrange view with the Track selection in the Editor – so that whatever Track you select in Arrange will be selected in the Editor as well.

The button next to it opens the Music Editor’s own Track List.

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All Instrument Tracks in your Song will be listed here, so that you can immediately view and edit them without having to close the Editor once.
Studio One also lets you view and/or edit multiple Instrument Tracks at once!

By clicking on the small round buttons on the left of the Track names, you can show or hide the respective Tracks in the Editor; by clicking on the Pencil icon buttons on the right, you can include Tracks for editing.

In the screenshot below, we have selected two Tracks to view and at edit at once:

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If you tick the checkbox at “Scale,” newly drawn notes will snap automatically to the scale you select in the drop-down menu below; as will existing notes if you drag them up or down. The notes of the selected scale get highlighted in blue on the piano roll.

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The Velocity slider and the Quantize settings below determine the velocity and the length of new notes drawn in with the Paint Tool.

Finally, I would recommend ticking the checkbox “Audition Notes.”  This enables you to hear the notes changing as you drag them around in the Editor.