link1284 link1285 link1286 link1287 link1288 link1289 link1290 link1291 link1292 link1293 link1294 link1295 link1296 link1297 link1298 link1299 link1300 link1301 link1302 link1303 link1304 link1305 link1306 link1307 link1308 link1309 link1310 link1311 link1312 link1313 link1314 link1315 link1316 link1317 link1318 link1319 link1320 link1321 link1322 link1323 link1324 link1325 link1326 link1327 link1328 link1329 link1330 link1331 link1332 link1333 link1334 link1335 link1336 link1337 link1338 link1339 link1340 link1341 link1342 link1343 link1344 link1345 link1346 link1347 link1348 link1349 link1350 link1351 link1352 link1353 link1354 link1355 link1356 link1357 link1358 link1359 link1360 link1361 link1362 link1363 link1364 link1365 link1366 link1367 link1368 link1369 link1370 link1371 link1372 link1373 link1374 link1375 link1376 link1377 link1378 link1379 link1380 link1381 link1382 link1383 link1384 link1385 link1386 link1387 link1388 link1389 link1390

Editing and Mixing 68 Socially-Distant Orchestra Members Into One Composite Performance | Production Expert

Editing and Mixing 68 Socially-Distant Orchestra Members Into One Composite Performance | Production Expert

This is why the Wisconsin Youth Symphony reached out to our studio. They wanted us to put together individual videos of each member of the orchestra so the students could have a “performance.” The students would film on their own at home, send us the files, and our team would create a composite video and mix the audio. The song? Rossini’s William Tell Overture Finale.

Stems In Music Production — Everything You Need To Know | Production Expert

Stems In Music Production — Everything You Need To Know | Production Expert

The main thing to bear in mind is that you’ll need to duplicate some resources here. On a regular mix you only need one of every effect, say reverb and one delay. But when stemming you need one of these for every stem, routed to the relevant stem bus. Otherwise, you’d have the effects of all the different stems on one stem, and the point is to separate things. So if you’re creating four stems you’ll need four sets of effects busses. You can imagine how quickly this will start to take up system resources if you’re printing a lot of stems, and especially if you’re working in 5.1 or 7.1

Simple enough to create effects tracks for each stem. Just have to remember to do it when mixing the project.

In the Logic Pro X world, if you’re using summing stacks, you might simply want to insert the effects on the stack and use the mix control knob to adjust the levels appropriately. If the recipient of the stems insists on separate effects tracks per stem, well, OK…that’s just not that hard to do.

A good practice would be to create a track for the effects bus (need to do this anyway if you want to bounce the stems) and place it right along with the summing stack in the arrange area.

Understanding the Difference Between Gain and Volume — Produce Like A Pro

Understanding the Difference Between Gain and Volume — Produce Like A Pro

Many of us have wondered if there’s a technical difference between gain and volume. The answer is “yes,” even though the terms sometimes seem to be used interchangeably. The most important distinction between gain and volume is how, or more precisely “where,” they factor into the signal path.

Gain and volume. Keys to good recordings and mixing. It’s hard to mix tracks that aren’t “printed”. If I’m trying to level/balance one track and I can’t pull down a fader on a different track (and have it stay there) then I can’t easily adjust the levels of tracks.

The 10 Most Used Chord Progressions in Pop and Rock and Roll | Thinking in Music

The 10 Most Used Chord Progressions in Pop and Rock and Roll | Thinking in Music

This text is entirely a “quote” from the above website.

Number one is the Don’t Stop Believing Progression, I — V — vi — IV (G — D — Em — C). The Axis of Awesome did a great bit about this one in which they play 40 songs in a row that all have the same progression including, No Woman No Cry, Let It Be, I’m Yours, etc… and over the past few years, that list has become a lot longer!

The second is the 50’s Progression, I — vi — IV — V (G — Em — C — D). I call it this because it was hugely popular in the 50’s and 60’s and is still used today. Notably used recently by Justin Bieber for “Baby” (Justin was like baby baby baby oh… what a pity) and Sean Kingston for “Beautiful Girls,” though Kingston really just ripped Ben E. King’s “Stand By Me” off.

The third is the Canon, I — V — vi — iii — IV — I — IV — V (G — D — Em — Bm — C — G — C — D). It was the chord progression used by Pachelbel for his Canon in D (not G as above). The piece, forgotten soon after it was written (around 1694), was rediscovered in the early 20th century and has influenced a number of songwriters. It is, however, simply an extension of the basic I — IV — V — I progression that was used by nearly every composer for hundreds of years up to about 100 years ago.

The fourth is the Blues Progression, I — I — I — I — IV — IV — I — I — V — V — I — I (G — G — G — G — C — C — G — G — D — D — G — G). This is the way Chuck Berry played it in Johnny B Goode though the last 4 chords are often V — VI — I — V (D — C — G — D). There are 12 chords because it follows the standard 12-bar blues progression. In this progression it’s common to switch freely between major and minor. This progression has been used in thousands of songs outside of the blues from Cream’s Sunshine Of Your Love to Tracy Chapman’s Give Me One Reason and beyond.

The fifth is the Smoke on the Water Progression, ii — IV — V (am — C — D). It’s usually used as part of a larger progression and was used in Purple Haze, Iron Man, House of the Rising Sun, Stepping Stone, etc…

The sixth is the Good Love Progression, I — IV — V — IV (G — C — D — C). This was used in Wild Thing, La Bamba, and Good Love, etc.

The Seventh is the Sweet Home Progression… (god, how I hate Sweet Home Alabama!) V — IV — I (D — C — G). Can’t Explain, Sweet Child of Mine.

The Eighth is a rearrangement of the Don’t Stop Believing progression vi — IV — I — V (em — C — G — D). I’m not sure what to call this one. The song that always gets stuck in my head with this one is The Red Hot Chili Pepper’s Snow, though I know Taylor Swift uses it in at least three songs (as well as most of the other progressions above…), Green Day used it in Holiday, and The Cranberries used it in Zombie, just to name a few.

The ninth is the stereotypical Descending Flamenco Progression vi — V — IV — III (em — D — C — B (not Bm!)). This one has been used in songs from California Dreamin to Stray Cat Strut… I’m sure you can think of a few more! A variation on this is vi — V — VI — V (em — D — C — D) which arguably may be more popular today…

And the tenth that I see is the As My Guitar Gently Weeps Progression. This one straddles two keys and it’s basic representation is ii — I — V6 — bVII (- VI) (am — G — D/f# — F (- E)). It looks like a variation on the Descending Flamenco Progression and is presented with slight variations by everyone that uses it. The Beatles actually substituted an am7/G for the G chord and left out the E. Chicago, in 25 or 6 to 4 focused on the root notes in the bass -> A — G — F# — F — E. Led Zepplin, Green Day, and Neil Young all offered their variations as well.

3 Tips for Mastering Indie Rock

‘[3 Tips for Mastering Indie Rock](https://www.izotope.com/en/learn/3-tips-for-mastering-indie-rock.html)’

3 Tips for Mastering Indie Rock

by Jett Galindo, iZotope Contributor May 28, 2020

Rock music has stood the test of time, making it one of the most enduring genres of the modern era. With today’s production tools becoming more and more advanced—and more accessible to a wider audience—one particular rock subgenre is thriving more than ever. In this article, we’ll take a look at some tips and tools for mastering indie rock and nailing the indie rock aesthetic.