music

วันอังคารที่ 6 มกราคม พ.ศ. 2552

Liberate your iPod

When Akio Morita came up with the idea of the Sony Walkman all of his colleagues at the thought he was completely insane. The general consensus was that people wouldn't want to walk around the streets wearing headphones. Everyone thought the idea was ludicrous and that it would never catch on.

That was in the late 1970s. By the early 1980s Morita's vision had proved inspirational. The Sony Walkman became the iPod of the day and it was hard to walk down a street, travel on a train or sit in a waiting room without seeing someone with a pair of headphones on. And this wasn't just restricted to trendy young things. Middle aged people and elderly people also got the Walkman bug.

Quarter of a century later and headphones haven't changed that much. The current craze, started by iPod, is for white in-ear ones, but if you look closely enough you'll still see lots of other colors and varieties adorning people's ears.

But what happens if you want to hear your music without the aid of headphones? What if you want to share your music with the world at large, or maybe just your friends and family?

Well, thanks to a burgeoning band of accessory manufacturers you can now get speakers (and other gadgets) to cover almost every possible situation. Whether you want to use your iPod as the audio focal point of your party or just want to enjoy some Puccini on the beach - there is sure to be something to suit your specific needs and requirements.

At the very top of the tree, in terms of price, is the SoundDock from Bose. Since the 1980s Bose have really made a name for themselves for making high quality small footprint speakers, and their offering for the iPod is an extension of this philosophy. At a touch less than $300 this might not be an affordable option for everyone, but if you have the money to spare and top class sound quality is important to you then the SoundDock is certainly an option worth considering.

If portability is important to you then iSoundz have several options worth a closer look. The iSoundz Wallet offers a practical solution that incorporates a rechargeable speaker and a place to store your iPod whilst on the move. All of this is in a neat leather wallet. The unit comes with all the necessary cables and will cost you less than $50. The sound quality is distinctly mediocre and so this might not be the right solution for serious music lovers.

Altec Lansing offer several options under the inMotion label. These provide superb quality sound at a price that is not the cheapest, but won't cause too much damage to your credit card. Like the Bose SoundDock, the Altec Lansing InMotion system will also recharge your iPod whilst you listen to music.

Speakers are not the only alternative to headphones. You could also consider buying an FM transmitter. These will allow you to transmit the audio from your iPod directly to any nearby FM radio.

Probably the most popular of the current batch of FM transmitters for the iPod is the iTrip from Griffen Technology. This is a very small unit that plugs directly into the headphone socket on your iPod. Select the frequency you wish to transmit at via the iPod display and then just tune in a radio to listen. It takes its power directly from the iPod itself so be warned. If your batteries are not charged or your unit is not connected to a charger you will run out of power quicker than usual.

The iTrip is not the only option. You'll find quality FM transmitters from Belkin, Kensington and many other accessory manufacturers. Prices range from around $20 up to about $100.

I hope the above information will help to release you from the confines of your headphones. Listening to music needn't be a solitary occupation. Using any of the tools above you can liberate your ears and share the contents of your iPod with friends, family, colleagues and anyone else within earshot.

Ivan Gregor is the founder and webmaster of the popular and highly informative the-ipod.com web site, which specializes in all things iPod related. If you are thinking of purchasing an iPod or want to get the most from your existing iPod visit <a target="_new" href="http://www.the-ipod.com">http://www.the-ipod.com</a> today.

วันจันทร์ที่ 5 มกราคม พ.ศ. 2552

Establishing Your Mix

Now that you've spent hours and days and weeks and months recording your musical masterpieces (and you've also read my article "Tips for a Great Recording Session"), you have arrived at my favorite time in the studio; The Mixdown.

But don't think your job is done yet! The mixdown is just as important as recording. As an artist, you have to approach the mixdown from an artist's point of view and stay on the 'creative' side of the fence where it's still possible to shape and mold your songs throughout the mixdown process.

Remember the old "Yin-Yang" principle which states, "whenever you turn something up, something else disappears. Furthermore; whenever you turn something down, something else gets louder". This applies to EQ, levels and almost anywhere you have two or more tracks.

The Beginning Of The End

STOP!! Don't even think about starting your mixdown on the same day you finish tracking. Take a day off, have a break and then come back refreshed with a new perspective.

Now back to business...

First of all, let's "zero the board". This is simply the action of bringing all the faders to the bottom (-∞) and centering all the pan knobs and effects sends.

I know what you're thinking, you're thinking "but our mix sounded good when we were tracking!".

OK, but did the mix actually sound good or were you just accustomed to hearing it that way? That's why zero-ing the board is important. It flushes your memory and allows you to start from scratch. It might even be better to mix a song that you finished recording a while back.

1. Get Kicked.

This is where I prefer to start. Other people like to start with the vocals and build around them. But I'm more rhythm based and prefer to start with the kick drum.

One tricky part of any mix is getting a good gain-stage structure where you don't clip the master faders at the end of your mixing session when all your instrument faders are raised. We must be careful to keep watching the master bus clipping lights to make sure they never get into the red. Here is why the kick is a good place to start.

Play your songs and watch the master bus VU meters. This is probably the only time you will "mix with your eyes". As you're watching the master VU meter, slowly raise the kick fader until the master meter reads about -7dB. If you are a four piece band, then you can leave the kick there and move on. But if you have a really dense tune, then you may have to lower the kick to -8dB or so (to leave room for all the other instruments as they come up).

Now you are set to mix. The kick should be the only channel that you set levels by watching. Every other channel mixed into the song will be with your ears relative to the kick.

2. Moving On

From now on, it's pretty much a free-for-all. Some people like to move on to the bass next, in order to find the balance for the low-end of the song. Other people like to keep working on the drum kit "as a whole" before moving to other instruments. I prefer to move onto the drum kit over-head mics.

They say that a great drum kit sound can be captured using only two over-head mics, and a kick mic. And it's true. Some of my tunes only use three mics on the final mixed versions, even though we had used up to ten mics for the recording of the kit.

If you placed your over-head mics properly (i.e.: so the snare sounds centered in the stereo image, and not skewed to the left or right speaker) then you will have a better stereo image of the drum kit when the mix is finished. Otherwise you might have to do some fancy panning or EQ to get a balanced image with the drum kit.

You can now bring in the rest of the kit underneath the over heads to fill out the sound. I prefer to leave EQ and effects to the very end of the mix, after all of the instruments are playing. Try to place your toms in the same panning position as the overhead mics recorded them. If your floor tom in the overheads is to the right at 3 o'clock then pan your individual floor tom fader to the same position.

And don't forget to check your phase between your mics pointing down and your mics pointing up.

3. Big Bottom

Now I like to add in the bass. Nothing too important here if you have good source audio. I'm also a huge side-chaining fan. I LOVE to side-chain the bass with the kick so the low end frequencies wouldn't fight for space in the mix. It just makes things sound "tighter". Sometimes you may have to eq the lowest of the lows out of the kick in order to make a little more room for the bass to sit in the mix.

4. Pads and More

Here is where I add the "pad" type of sounds. These are sounds that usually have longer sustains and hold the chords of the song. Sounds like strings, sustained electric guitar chords, synth pads, and maybe even some rhythm acoustic guitars are great foundation instruments.

I like to lay these instruments on top of the drums and bass tracks we have already mixed. You can get very creative with the panning of these sounds and create a wide stereo field. This will help make your mix interesting by allowing your lead instruments and vocals sit in the center of your stereo image, attracting attention to themselves.

5. The Vox

Let's finally add the vocals. I usually start off with the lead vocal, and then place all the harmony and background vocals underneath the lead. Sometimes, you can end up putting the vocal a little too high in the mix, and a great way to check this is to turn your monitors way down and listen to the mix at an almost inaudible level. This way of listening to your mix will surprise you, but you have to be confident and trust your ears. If something sounds disproportionately loud at this quiet level, then it is too loud. If you must, then you can compress the vocals too, but that really depends on the song's style. Maybe a few fader rides are a better choice then some static compression.

6. The Rest

You can start adding effects and other fancy shmancy things to your tune. Get funky with automating some pan knobs, fade-in some pads etc.. Here is a good time to get creative.

It's also a very good time to actively listen and re-adjust your mix. Is the kick too loud? Should I put some higher frequencies on the bass? Should I compress the backing vocals more? Is the coffee finally ready?

When you feel you have a good mix, burn it to CD and listen to it EVERYWHERE! In the car, in the bath, at home, on the TV set, at your friend's place etc., and make a lot of notes. And at the end, if all your notes cancel out, then you are finished!

?2005 Richard Dolmat (Digital Sound Magic)

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About The Author

Richard Dolmat is owner, engineer and producer for the Vancouver based recording studio Digital Sound Magic. Visit his site at: <a target="_new" href="http://www.digitalsoundmagic.com">http://www.digitalsoundmagic.com</a>

Shopping For Your First Drum Set

Your first drum set purchase is very exciting! You have probably waited a long time to buy your first drumset and have thought a lot about it. Even though it is exciting, it is important to be patient and do your research before you buy a drum set.

Where Do I Begin?

If you are new to drumming it can be pretty overwhelming and confusing when you start looking for a drum kit. The first thing that you need to know is that if you are just starting out, you should buy a starter drum kit. These drum sets are designed with the beginner drummer in mind because they come supplied with all of the drums that you will need to get up and running.

What Comes In A Drum Kit?

The typical starter drum kit comes with all of the drums that you will need to get started. The drums in the kit include:

* A bass drum
* A snare drum
* A floor tom
* Two mounted tom toms

You will notice that there are no cymbals included in the starter drum kit. That is generally because drum manufacturers do not usually make cymbals and vice versa. However you will want cymbals with your drum set as well, and you can also purchase a cymbal kit as well, which is usually called a pre-pack.

What Type Of Cymbals Do I Need?

When you are looking for cymbals, a good set to get you started will include a 20" ride cymbal, a 16" crash cymbal and a pair of 14" high hat cymbals. This is a good set to get you started and should serve you well.

If you are just starting out drumming you can buy a combination crash /ride cymbal and combine the two cymbals into one piece of equipment. This will help you save a little bit of money at the beginning of your drumming career, however as your drumming skills advance you will want to purchase a separate ride cymbal later on.

You will want to purchase your cymbals from a reputable cymbal manufacturer, and some good manufactures that put out some pretty good pre packs are: Zildjian, Sabian and Paiste.

What Else Will I Need?

Be sure to check out the drumkit that you are purchasing to see if it includes the hardware or if you have to purchase the hardware separately. Hardware is the term that is used to describe the stands, the pedals and the "throne" or drum seat that you will need.

When you are looking for a pedal you may want to consider investing in a medium to professional quality bass drum pedal. This pedal may cost a little bit more initially, however it will save you money in the long run as it will out perform and out last more basic, beginner pedals.

Many beginning drummers think that they can save a little bit of money by not purchasing a proper "throne" or drumming chair for their new drum set. However, even a bargain basement throne is a better choice than a kitchen chair or other stool that you have around your house. You need the proper seat to support you and absorb the impact of the drumming.

Can I Buy Used Drum Sets?

You can buy a used drum set and get a good set for a reasonable price. There are a few things that you should be cautious about when you are looking at used drum kits however.

Be sure to check for quality very carefully, check that the drum plastic is firmly attached to the shell of the drum and is not lifting anywhere. Be sure to check for the plastic lifting around the bearing edges and be sure that there are no air pockets anywhere.

It is also important to be sure that there is no chipping at all along the bearing edge. The bearing edge is where the drum head comes into contact with the drum shell. It is important that this is level as well.

Also be sure to check all of the hardware to make sure that none of the rims are bent and the brackets are all able to hold the drums securely. Do not be afraid to pull on the drums and twist them a little bit. You need to be sure that the used drum set will be able to stand up to your drumming.

What Can I Expect To Pay?

When you are shopping for drum sets you should be aware that the prices will range according the region that you are living in. However you can expect to pay anywhere between $400 to $1000 for an entry level drum set. A used drum set may cost anywhere between $200 to $800.

What Brand Should I Get?

You are probably going to want to choose a drum kit that is made from a reputable manufacturer. There are a few really well known makers of drums and it is best to stick with them. They include:

* Yamaha
* Pearl
* Ludwig
* Tama
* Gretsch
* Sonar
* Mapex

Bottom Line

The bottom line is that you should take your time when you are looking at buying your first drum set. Shop around a few different stores and find a dealer that you are comfortable with. It is best to find a store that has knowledgeable sales people who will be able to help you now, and in the future.

? 2005 <a target="_new" href="http://www.drum-sets-now.com">http://www.drum-sets-now.com</a>

About the Author
Kevin Brown is successful author and publisher of many informative websites including <a target="_new" href="http://www.drum-sets-now.com">http://www.drum-sets-now.com</a>. His websites offer tips and advice on a wide array of topics including <a target="_new" href="http://www.drum-sets-now.com">drum sets</a>, electronic drums, and other percussion instruments.

Chords or Melody First... Which is Best?

There are basically two ways you can compose a piece of music. The first and most traditional way is to write out the melody and then harmonize it. Some call this working from the top (as opposed to the chords on the bottom.) The second approach is where you create some kind of rhythmic harmonic pattern and improvise (or compose) the melody on top. Now, which one is best for New Age music?

The answer is neither approach. Each has its own merits and own special benefits. For example, if you start with a pattern in your left hand and improvise a melody with your right, you are doing what most new age composers/improvisers do. This is what George Winston does most of the time. He has chords he sets to a certain rhythm and does his thing with that amazing right hand of his.

This is the style that I have been playing, but I've recently lost interest in it. Not because it isn't good but because I don't feel like playing that way anymore. Currently I'm leaning towards a softer sound that comes from leading with the melody first. What I do is get the first 2-bars down and then improvise the rest till I fill up 8 measures. This way I can vary the chords and patterns without it sounding very repetitive (minimalism). It's actually another style. You can call it melodic while the other one (Harmony approach) is more textural. IT ALL DEPENDS ON YOUR MOOD!

Don't let one style freeze you into something where you can't maneuver artistically! Remember that your feeling must come first. Everything else is secondary. Let your feeling lead you and your creation will be truly inspired, however, if you try to mold what you have to say into a specific style, the result may be less than satisfactory.

Edward Weiss is a pianist/composer and webmaster of Quiescence Music's online piano lessons. He has been helping students learn how to play piano in the New Age style for over 14 years and works with students in private, in groups, and now over the internet. Stop by now at <a target="_new" href="http://www.quiescencemusic.com/piano_lessons.html">http://www.quiescencemusic.com/piano_lessons.html</a> for a FREE piano lesson!

Five Secrets to Playing in the New Age Style

1. Learn how to Improvise

Learning how to improvise is the key to playing in this style. Period. You must learn to experiment and take musical risks - within certain frameworks of course. You're not going to bang on the keys and expect to make music. This is not the kind of risk I'm talking about. Students thrive best when given a certain set of rules or guidelines to move around with.

For example, in the lesson "Reflections in Water" you are given a few chords and a specific scale to make music with. In other words, I give you a set of limits from which you play the game of improvisation. This will free you up from the thousand and one choices you could possibly have. In fact, if you didn't have a set of limitations, you probably would end up banging on the keyboard because while it is important to be free and spontaneous, it is equally important to understand how the game is played.

2. Develop the proper attitude

This one ties for first place. In my opinion, what stops most students from learning all they can from this style is the attitude that they either aren't good enough, or are not ready to learn how to improvise and play piano. Please don't think that. No one person will ever know all there is to know about any one subject let alone piano playing. You will always be growing but you must start somewhere and you must start from SIMPLE means.

Here's a quote that sums it up best: "In the beginners mind there are many possibilities, but in the experts mind there are few." This means that you have an advantage over so called experienced piano players. Your attitude should always be one of receptivity. That is, never force anything to happen because when you force you are already setting yourself up for failure and disappointment.

3. Forget what you were taught

Perhaps you were taught that you must learn your scales first and that you must learn how to read music before you can do anything else. I'm here to tell you that I can't read music, yet somehow, I've been able to put out two CD's of original music! In fact, if anything, reading music will slow you down creatively! If you want to create your very own music, you must forget what you were taught about music in general and focus on learning how to improvise first and compose second. Both of which can be taught!

I think I read every book at the library on composition and improvisation and what helped me out the most was a very slim volume on chord changes using 8-bar patterns. By playing the chords in a set framework (8-bars) I was able to see how to use repetition and contrast to create with. And of course, I listened to the people I loved and learned a lot from just listening. So forget about what you were taught and start thinking about what you want to accomplish and you can do it!

4. Learn chords

You've heard it before. Learn chords and you can make music. Just learn the 144 chords and voila - you can do it all. Don't believe it! You need to learn chords, but you don't need to learn one hundred chords right away. No. You need to learn probably about 3 chords or less to begin improvising in the "new age" style. And if you think that you need to learn more than this at the beginning you are wrong.

Of course you can learn as many chords as you want but what's the point if you never use them? It's like learning a new vocabulary word each day for the sake of massaging your ego. Nice, but unnecessary.

5. Learn how to use Chords

Let's assume you've learned a few chords. Now what? What are you going to do with your new chords? You are going to use them to create music with and the best way to do that is to choose a key or mode to play in. This automatically limits your choices.

For example, let's say I sit down and start improvising and I start using a C Major 7 chord. I like what I hear but a problem arises - where do I go from here. Now this won't be a problem if you say to yourself. "OK. I started on C Major 7. Let's just stay in the Key of C Major and see what happens." Now, you are ready to go forward because you do not have a thousand and one confusing choices ahead of you. Do you see how this can free you up? You've limited yourself to using just 6 chords from the C Major scale.

วันอาทิตย์ที่ 4 มกราคม พ.ศ. 2552

Beginning Clarinet: The Very Start

Music to Echo Your Mood

In what way do the kinds of music (rock, rap, classical, instrumental, etc.) change or alter our mood and in what way do our moods effect what music we listen to?

Music has been present throughout the history of man. Of course musical styles change but the power and popularity of music never changes. But why is music so popular? What is it that music offers us and is it just a sound to drown out others?

Our emotions and thoughts are altered and influenced by music. Music can influence our emotions and our behaviour to a great degree, it relaxes us, it energises us, it can make us sad, or happy. Of course music isn't some type of mind control but it studies have consistently shown the link between music and our moods.

Slow music calms down. Ballads, some forms of classical music and New Age, as well as meditation music create a peaceful atmosphere that is good for relaxing after a busy day or for a romantic dinner. For most people slow music is de-stressing. It allows them to sit down and relax.

If the music is slowed below approximately 50 beats per minute it can create an atmosphere of sadness, even depression. The slow rhythm of certain music can make induce feelings of powerlessness and desperation.

This kinds of slow music is often found in jazz and classical music, many people listen to it when alone, at night usually, when it seems to suit their mood.

In general, instrumental music (excluding military marches with their fast tempo) is also a way to isolate oneself from the people around. The rhythm is calm and steady, the tune is clearer, since there are no voices interfering.

Faster music (such as rock, heavy metal, and dance music) tends to uplift us. It energises us, and awakens us in a very real way, making us feel full of life.

Dance music is light and yet fast, it fills us with energy and relaxes us but it is not complicated by intellectual overtones. So it allows us to liven up and unwind without having to think or listen very seriously. For this reason it is very popular at parties.

Rock and pop music and rap are also often played at parties, when large groups of people gather together. This is music for socializing and being together. Most rock, pop, and rap songs also do not involve special efforts for listening to and are also suitable for parties.

Rock music is often used to accompany physical labour, its heavy fast tempo speeds up the heart and one almost works in time to the music making the work more enjoyable.

Some people think that rock music can cause road accidents, it is not difficult to see why, it is easy to become 'caught up in' rock music, drivers could become excited by the speed of the music and drive too fast. But on balance there are so many sources of driver distraction that it does not make sense to blame rock music. Nevertheless studies have shown a definitive link between music and mood.

Some kinds of music, like techno, are produced using computers and almost constitute an escape into an alternate virtual world, the music is reminiscent of sci-fi, technology and the futuristic world we imagine.

World music allows a different type of escape - into another country. Often people bring home CDs from holiday and when listening to the music it evokes the spirit of a nation or area and seems to take them back there.

The best music information can be found online at <a target="_new" href="http://www.fbxmusic.com">FBX Music</a>. Devon Rynders is a senior writer and you will find articles, resources and a free newsletter at: FBX <a target="_new" href="http://www.fbxmusic.com/">Music</a>.