Roman numeral analysis — Wikipedia

Roman numeral analysis — Wikipedia:

In music, Roman numeral analysis uses Roman numerals to represent chords. The Roman numerals (I, II, III, IV, …) denote scale degrees (first, second, third, fourth, …); used to represent a chord, they denote the root note on which the chord is built. For instance, III denotes the third degree of a scale or the chord built on it. Generally, uppercase Roman numerals (such as I, IV, V) represent major chords while lowercase Roman numerals (such as i, iv, v) represent minor chords (see Major and Minor below for alternative notations); elsewhere, upper-case Roman numerals are used for all chords.[2] In Western classical music in the 2000s, Roman numeral analysis is used by music students and music theorists to analyze the harmony of a song or piece.

A great place to find notation conventions. NNS gives me such grief…

The Reason Why You Can’t Hear Your Bass On Small Speakers

The Reason Why You Can’t Hear Your Bass On Small Speakers — Bobby Owsinski’s Music Production Blog:

Most of the time the problem comes from misunderstanding exactly what frequencies affect the bass instrument. Too many times we think that it’s the frequencies below 100Hz (especially 60Hz) that provide the bass we need. While it’s quite true that those frequencies are important for what we might call the girth of the sound, they won’t reproduce well on small speakers, and that’s where the problem lies. In other words, EQing too low.

Below 100Hz Girth

120Hz to 200Hz Bottom

250Hz to 320Hz Low-end definition

700Hz Body

1kHz to 1.5kHz High-end definition

2.5kHz to 3kHz String noise/buzz

Do You Need A Subwoofer to Mix Music?

Do You Need A Subwoofer to Mix Music?:

An experienced engineer can track, mix, and master records with very little—a few plug-ins, good converters, and yes, even a pair of headphones. Listen to an episode of The Mastering Show featuring Glenn Schick, an engineer who mastered J Cole’s KOD on a pair of headphones and a mobile rig.

But there is also the sense of wanting more gear, and to this I can attest: in recent years, I’ve expanded my mastering practice, working on projects for artists like Leland Sundries, Morphous, Pete Mancini, and others. Before I made the choice to get a sub, it was always more of a guessing game when it came to low-end. Relentless checks on cars, headphones, the consumer hi-fi, and more were required before sending out the final product.

Which led me to the question of the day: do you need a subwoofer?

After all, many great, inexpensive monitors extend to the lower frequencies. Focal, Avantone, and others have models that go down to 35 Hz and below. Headphones from Sennheiser, Audio-Technica, and Audeze easily reach down that low—some go even lower.

So what can a subwoofer get you that headphones cannot?

15 Mastering Engineers Talk about Genre, Part 2: Processing Techniques

15 Mastering Engineers Talk about Genre, Part 2: Processing Techniques:

In this three-part blog series about the role of genre in mastering, we’re exploring the question, “How much does genre determine what happens in mastering?” In Part 1 we explored deliverables and level in general. In Part 2, we get a view of whether the aesthetics of each genre can be correlated with the use of processing techniques.