I'm not going to go over the whole process of timing drums with Logic Pro's Flex time. I'm just going to go over a few quick things that others haven't really covered. First off here's a link to Apple's explanation of how to time drums:
http://support.apple.com/kb/HT3656
I'm use to timing drums in Pro tools with beat detective so I'm going to try and translate that process from Pro tools to Logic Pro.
Pro Tools LE won't allow you to fix the timing on multitrack files so to get around that you bounce out a track of the kick, snare and toms (the things you typically focus on when timing) as a stereo file and get your markers based off that file and apply to all the individual drum tracks.
While Logic Pro does allow you to work with multitrack files I find locating the hit points on the kick/snare/toms separately tedious so I tried doing the mix down like I would with Pro tools and this worked out great. Lots of time saved!
So here's a few other notes that will help you get the results you're looking for:
1. Threshold setting: In Pro tools "Beat Detective" you can adjust the threshold (the lowest sound level to which sound markers are placed) within the "Beat Detective" window. In Logic it's a bit different. You have to use the "+/-" buttons on the top of the sample editor page. Please note I'm not saying the +/- buttons on the keyboard but the ones on the top of the sample editor page. Just reiterating cause I made the same mistake when I read it somewhere else. :)
2. After you've gotten the threshold set there will probably be a few problem areas so to get rid of markers that are incorrect double click on them. To create new markers press CMD and click. Thankfully, unlike pro tools when you do this the markers snap to the nearest transient.
I just did it for the first time today and it worked great. I love how you can adjust the strength of the quantizing in real time. Really great feature.
One less reason to be using Pro Tools so I'm happy!
Check out my production/studio site @ www.MorphProductions.com
Friday, March 5, 2010
Monday, January 11, 2010
The Difference between Mixing and Mastering
Many times when I'm working with people the subject of mixing vs mastering has come up. I figured I'd take a second to explain the difference between the two here.
Mixing is taking a multi-track recording and balancing them using volume, eq and effects such as reverbs, delay and compression. The end result of this process is typically a 2 track format (stereo file that can be played on your mp3 player, cd player or dino-phone).
Mastering is taking a finished mix and using processors (generally eq's and compressors but sometimes others) to make the mix sound louder, fuller and cleaner.
The mastering engineer is the last person who works on your project before it's released to the public and therefore it's important you get the right person for the job. Now on a lot of studio blog postings this is where I would be shamelessly saying that person is me haha, but no, it's not.
Generally speaking the person you want to do the job is someone who has (for some reason) dedicated their life to mastering. It's a very specific art and not everyone can do it. Getting your producer or someone who "masters in-between recording bands" is the equivalent of getting a general contractor to do your plumbing. Sure they could do it, but a plumber could do it better, right? Right.
A lot of producers or engineers offer mastering to their clients but this should be avoided for three reasons:
1. As discussed above your producer/engineer isn't a dedicated mastering engineer.
2. The person recording/mixing your project should not be the one mastering. You need someone with fresh ears at this point to be objective.
3. Many times now albums have multiple producers. It's the mastering engineer's job to make the whole album sound like a cohesive piece of art (or commerce depending on who you are).
Now that I've given a basic primer on the difference between mixing and mastering and a bit of info on what to look for in a mastering engineer here's some links to two great mastering engineers I use for my projects on a regular basis. They are:
Phil Demetro:
http://www.lacquerchannel.com/phil-demetro/
Karl Machat:
http://www.about-audio-mastering-software.com/
In addition to my own productions I work on for clients I do take on mixing projects as well. My website as always is here:
http://www.morphproductions.com Toronto Recording Studio
Mixing is taking a multi-track recording and balancing them using volume, eq and effects such as reverbs, delay and compression. The end result of this process is typically a 2 track format (stereo file that can be played on your mp3 player, cd player or dino-phone).
Mastering is taking a finished mix and using processors (generally eq's and compressors but sometimes others) to make the mix sound louder, fuller and cleaner.
The mastering engineer is the last person who works on your project before it's released to the public and therefore it's important you get the right person for the job. Now on a lot of studio blog postings this is where I would be shamelessly saying that person is me haha, but no, it's not.
Generally speaking the person you want to do the job is someone who has (for some reason) dedicated their life to mastering. It's a very specific art and not everyone can do it. Getting your producer or someone who "masters in-between recording bands" is the equivalent of getting a general contractor to do your plumbing. Sure they could do it, but a plumber could do it better, right? Right.
A lot of producers or engineers offer mastering to their clients but this should be avoided for three reasons:
1. As discussed above your producer/engineer isn't a dedicated mastering engineer.
2. The person recording/mixing your project should not be the one mastering. You need someone with fresh ears at this point to be objective.
3. Many times now albums have multiple producers. It's the mastering engineer's job to make the whole album sound like a cohesive piece of art (or commerce depending on who you are).
Now that I've given a basic primer on the difference between mixing and mastering and a bit of info on what to look for in a mastering engineer here's some links to two great mastering engineers I use for my projects on a regular basis. They are:
Phil Demetro:
http://www.lacquerchannel.com/phil-demetro/
Karl Machat:
http://www.about-audio-mastering-software.com/
In addition to my own productions I work on for clients I do take on mixing projects as well. My website as always is here:
http://www.morphproductions.com Toronto Recording Studio
Wednesday, December 30, 2009
Interesting article for indie musicians
Just came across this article and thought some of you might be interested:
http://www.genyrockstars.com/2009/12/2010-indie-music-marketing.html
It's about how indie artists have to take marketing themselves more seriously. Good read!
http://www.genyrockstars.com/2009/12/2010-indie-music-marketing.html
It's about how indie artists have to take marketing themselves more seriously. Good read!
Tuesday, December 22, 2009
Victor Wooten on Tapestry
I listen to the religious program "Tapestry" that airs on cbc quite regularly. This last podcast was an interview of the bass player Victor Wooten who just wrote a book called "The Music Lesson: A Spiritual Search for Growth Through Music" Just thought I'd share the link the podcast:
http://podcast.cbc.ca/mp3/tapestry_20091213_24374.mp3
http://podcast.cbc.ca/mp3/tapestry_20091213_24374.mp3
Thursday, December 17, 2009
Ontario Sound Recording Tax Credit
Just stumbled across this tax credit for ontario corporations in the record business:
Here's the link:
http://www.omdc.on.ca/Page3398.aspx
Here's the details:
Ontario Sound Recording Tax Credit
What Is It?
The Ontario Sound Recording Tax Credit (OSRTC) is a refundable tax credit based upon eligible production and marketing costs incurred by a qualifying corporation with respect to an eligible Canadian sound recording.
How Much Is the Tax Credit?
The OSRTC is calculated as 20% of qualifying expenditures incurred by an eligible sound recording company with respect to an eligible Canadian sound recording by an emerging Canadian artist or group.
Who Is Eligible?
An eligible sound recording company is a Canadian-controlled corporation having carried on a sound recording business in Ontario for at least 12 months as a corporation or, prior to incorporation, as a sole proprietor or partnership.* An eligible sound recording company must earn more than 50% of its taxable income in Ontario for the preceding taxation year and more than 50% of the company’s business must be related to sound recording activities. An eligible sound recording company must have implemented a distribution plan (a plan to market the recording) for at least one sound recording in the preceding taxation year. An eligible sound recording company must enter into contracts with its artists and must bear the financial risks associated with its business or be related to a company that bears the risks.
* If the corporation's taxation year ends prior to May 11, 2005 please contact the OMDC for the applicable requirements.
What Kind of Expenditures Are Eligible?
Qualifying expenditures include recording production costs, such as artists’ royalties, musicians’ session fees, graphics, digital scanning, programming and testing; production costs for music videos that are directed by a qualified Canadian or made at a production facility in Ontario; and direct marketing expenditures including consultants’ fees and certain costs to launch the recording. Touring, performing manufacturing and distribution costs are not eligible. 100% of qualifying expenditures incurred primarily in Ontario are eligible; 50% of expenditures incurred outside Ontario for marketing and music video production are eligible. Qualifying expenditures must be incurred in the 24-month period beginning when the first qualifying expenditure is incurred in respect of the recording. Government assistance received by the sound recording company in respect of the qualifying expenditures reduces the qualifying expenditures. Funding from FACTOR is not considered government assistance.
What Types of Sound Recordings Are Eligible?
A sound recording is an eligible sound recording if the music or the lyrics, if any, on the recording are performed by an emerging Canadian artist and if:
the music was primarily composed by qualified Canadians; or the lyrics were primarily written by qualified Canadians; or the recording production activities took place in Ontario (a qualified Canadian is a Canadian citizen or permanent resident ordinarily resident in Canada at the time of composition or writing),
the total playing time is at least 15 minutes;**
the eligible sound recording company produced the recording and has exclusive contractual control of the master tape for at least 5 years after completion;
the eligible sound recording company has a distribution plan (a plan to market the recording);**
the sound recording is not primarily spoken word or wildlife or nature sounds, nor for instructional use or advertising or promotional purposes; and
the sound recording is not capable of inciting hatred against an identifiable group; the sound recording does not contain undue exploitation of sex and crime, horror, cruelty or violence.
**If the master recording was completed prior to May 11, 2005 please contact the OMDC for the applicable requirements.
Who Is an Emerging Canadian Artist?
An individual is an emerging Canadian artist if, at the time they signed the recording contract, they are a Canadian citizen or permanent resident ordinarily resident in Canada and if they have not had a gold recording as an individual or as part of a group in the USA and either Canada, UK, France, Germany, Asia or Latin America. A group is an emerging Canadian group if at least 75% of its members are emerging Canadian artists.
How Is the Credit Administered?
The OSRTC is jointly administered by the Ontario Media Development Corporation (OMDC) - an agency of the Ministry of Culture. Application is made to the OMDC for a certificate of eligibility, which the production company files with the Canada Revenue Agency together with its tax return in order to claim the OSRTC. The amount of the credit, net of any Ontario taxes owing, will be paid to the qualifying corporation. If the qualifying corporation does not owe any taxes, the full amount will be paid out.
* PLEASE NOTE: CANADA REVENUE AGENCY (CRA) WILL ADMINISTER BOTH FEDERAL AND ONTARIO CORPORATE TAXES FOR TAXATION YEARS ENDING AFTER DECEMBER 31, 2008. PLEASE BE ADVISED THAT AS OF JANUARY 1ST 2009, THE CRA HAS BECOME THE FIRST POINT OF CONTACT FOR ALL CORPORATE TAX ENQUIRIES. (1 800 959-5525)
Here's the link:
http://www.omdc.on.ca/Page3398.aspx
Here's the details:
Ontario Sound Recording Tax Credit
What Is It?
The Ontario Sound Recording Tax Credit (OSRTC) is a refundable tax credit based upon eligible production and marketing costs incurred by a qualifying corporation with respect to an eligible Canadian sound recording.
How Much Is the Tax Credit?
The OSRTC is calculated as 20% of qualifying expenditures incurred by an eligible sound recording company with respect to an eligible Canadian sound recording by an emerging Canadian artist or group.
Who Is Eligible?
An eligible sound recording company is a Canadian-controlled corporation having carried on a sound recording business in Ontario for at least 12 months as a corporation or, prior to incorporation, as a sole proprietor or partnership.* An eligible sound recording company must earn more than 50% of its taxable income in Ontario for the preceding taxation year and more than 50% of the company’s business must be related to sound recording activities. An eligible sound recording company must have implemented a distribution plan (a plan to market the recording) for at least one sound recording in the preceding taxation year. An eligible sound recording company must enter into contracts with its artists and must bear the financial risks associated with its business or be related to a company that bears the risks.
* If the corporation's taxation year ends prior to May 11, 2005 please contact the OMDC for the applicable requirements.
What Kind of Expenditures Are Eligible?
Qualifying expenditures include recording production costs, such as artists’ royalties, musicians’ session fees, graphics, digital scanning, programming and testing; production costs for music videos that are directed by a qualified Canadian or made at a production facility in Ontario; and direct marketing expenditures including consultants’ fees and certain costs to launch the recording. Touring, performing manufacturing and distribution costs are not eligible. 100% of qualifying expenditures incurred primarily in Ontario are eligible; 50% of expenditures incurred outside Ontario for marketing and music video production are eligible. Qualifying expenditures must be incurred in the 24-month period beginning when the first qualifying expenditure is incurred in respect of the recording. Government assistance received by the sound recording company in respect of the qualifying expenditures reduces the qualifying expenditures. Funding from FACTOR is not considered government assistance.
What Types of Sound Recordings Are Eligible?
A sound recording is an eligible sound recording if the music or the lyrics, if any, on the recording are performed by an emerging Canadian artist and if:
the music was primarily composed by qualified Canadians; or the lyrics were primarily written by qualified Canadians; or the recording production activities took place in Ontario (a qualified Canadian is a Canadian citizen or permanent resident ordinarily resident in Canada at the time of composition or writing),
the total playing time is at least 15 minutes;**
the eligible sound recording company produced the recording and has exclusive contractual control of the master tape for at least 5 years after completion;
the eligible sound recording company has a distribution plan (a plan to market the recording);**
the sound recording is not primarily spoken word or wildlife or nature sounds, nor for instructional use or advertising or promotional purposes; and
the sound recording is not capable of inciting hatred against an identifiable group; the sound recording does not contain undue exploitation of sex and crime, horror, cruelty or violence.
**If the master recording was completed prior to May 11, 2005 please contact the OMDC for the applicable requirements.
Who Is an Emerging Canadian Artist?
An individual is an emerging Canadian artist if, at the time they signed the recording contract, they are a Canadian citizen or permanent resident ordinarily resident in Canada and if they have not had a gold recording as an individual or as part of a group in the USA and either Canada, UK, France, Germany, Asia or Latin America. A group is an emerging Canadian group if at least 75% of its members are emerging Canadian artists.
How Is the Credit Administered?
The OSRTC is jointly administered by the Ontario Media Development Corporation (OMDC) - an agency of the Ministry of Culture. Application is made to the OMDC for a certificate of eligibility, which the production company files with the Canada Revenue Agency together with its tax return in order to claim the OSRTC. The amount of the credit, net of any Ontario taxes owing, will be paid to the qualifying corporation. If the qualifying corporation does not owe any taxes, the full amount will be paid out.
* PLEASE NOTE: CANADA REVENUE AGENCY (CRA) WILL ADMINISTER BOTH FEDERAL AND ONTARIO CORPORATE TAXES FOR TAXATION YEARS ENDING AFTER DECEMBER 31, 2008. PLEASE BE ADVISED THAT AS OF JANUARY 1ST 2009, THE CRA HAS BECOME THE FIRST POINT OF CONTACT FOR ALL CORPORATE TAX ENQUIRIES. (1 800 959-5525)
Tuesday, October 13, 2009
Young People in Music
I have a lot of people under 16 contacting me about doing a demo that will get them a deal that will make them rich and famous. If only it was so easy! The real question though is even if that sought after deal came, would it be the right one and the right time?
What I have to say to this is:; what's the rush? Spend your younger years developing as an artist and a writer and figure out exactly what you want to say. The reason most child stars don't have lasting careers is that their inexperience made them make mistakes they otherwise wouldn't have had they been older and more mature.
The way's I encourage young people to develop is by writing songs with different people and try to learn through that experience. Record demos at different studios to get a feel how that process works and more importantly what works for you obtaining the results you want. Most importantly go in with open ears and open to others ideas. There are people with experience that are willing to help and if you listen you'll definitely learn something.
My main point is don't rush into something you're not ready for and remember to take baby steps. It may take a bit longer but your career will be a lot better for it.
What I have to say to this is:; what's the rush? Spend your younger years developing as an artist and a writer and figure out exactly what you want to say. The reason most child stars don't have lasting careers is that their inexperience made them make mistakes they otherwise wouldn't have had they been older and more mature.
The way's I encourage young people to develop is by writing songs with different people and try to learn through that experience. Record demos at different studios to get a feel how that process works and more importantly what works for you obtaining the results you want. Most importantly go in with open ears and open to others ideas. There are people with experience that are willing to help and if you listen you'll definitely learn something.
My main point is don't rush into something you're not ready for and remember to take baby steps. It may take a bit longer but your career will be a lot better for it.
Tuesday, May 19, 2009
Strength in Numbers
Recording music is a lot different than it was over the last few decades. No question things have improved in many respects but a lot of the technology out there has encouraged people to do it on their own at the expense of collaborating. In my opinion this lack of collaboration has really hurt the creative process and the quality of the work.
Technology now allows people to do an album completely by themselves in their bedroom. Recording gear is relatively cheap now and there are instruments plugins that can sound really close to the real thing. While this can be useful, especially for low budget projects, it should not be used to replace other musicians playing on your project. When you have someone who's been playing their instrument for years and years lay down some parts on your song it can really help take it in a new positive direction.
I've been recording people professionally for 10 years now and I've seen it done and I've done it myself. One different drum groove, cool guitar riff or even a mixing decision made by someone else and a song takes a whole other direction that excites everyone in the room. This is something that was forced on artists in the past because there was no other options except have a bunch of people working together because of limits in technology.
The point of this posting is to encourage people to work together more. Whether it's professionals or friends there's a lot of people that can add something to your music and it doesn't hurt to get them to try. That's another benefit of technology. No limits of tracks and no diminished sound quality every time you press record. Don't be afraid to use that advantage in addition to your sea of plugins!
Technology now allows people to do an album completely by themselves in their bedroom. Recording gear is relatively cheap now and there are instruments plugins that can sound really close to the real thing. While this can be useful, especially for low budget projects, it should not be used to replace other musicians playing on your project. When you have someone who's been playing their instrument for years and years lay down some parts on your song it can really help take it in a new positive direction.
I've been recording people professionally for 10 years now and I've seen it done and I've done it myself. One different drum groove, cool guitar riff or even a mixing decision made by someone else and a song takes a whole other direction that excites everyone in the room. This is something that was forced on artists in the past because there was no other options except have a bunch of people working together because of limits in technology.
The point of this posting is to encourage people to work together more. Whether it's professionals or friends there's a lot of people that can add something to your music and it doesn't hurt to get them to try. That's another benefit of technology. No limits of tracks and no diminished sound quality every time you press record. Don't be afraid to use that advantage in addition to your sea of plugins!
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