Summer is here! Well Wimbledon is on, so it must be summer. Our friends at pureMIX are offering a quick summer sale where you can get up to 40% off and save up to $108 on subscriptions to their great tutorial site.
Puremix has created quite a name for itself by bringing really clear and insightful tutorials to the web to assist people who perhaps haven’t had access to the “traditional” way of learning all the tips and tricks that help you to get the most out of mixing and recording and they are pretty helpful to those that did learn the ‘trad’ way too.
Fab and Ben share their extensive experience in a very well thought manner and explain to you the technical methods that take your work to the next level of professionalism and you can see that a lot of time and effort has gone into producing instructional videos and session templates that reveal how audio professionals get their recordings sounding just the way they want them to.
The summer sale only lasts until 5th July so hurry over to the pureMIX site and snap up your subscription now. Good news for existing subscribers, can can take advantage of this exclusive offer, and your account will be credited accordingly.
Editors Keys Headphone Stand Spec
- Made of lightweight acrylic plastic
- Maximum weight 648g or 1.4286lbs
- Height of Stand: 30 cm
- Ground plate 13 cm wide x 12 cm deep
- Max height for the headphone 25cm
This two part series will cover both performance and technical editing of breathing and the voice in Music Production. Georgie Gillis is back again with part one of this series to help vocalists and producers gain a better understanding of the mechanics of breathing when singing.
The Basics Of Breathing For Beginner - A Singer’s Q&A
It goes without saying that breathing is paramount to the singer. Yet so many do not understand how to do it…
It’s The Same As Breathing When You Are Doing Anything Else Right? Breathing Is Breathing?
No. When we speak we take shallow breaths - only using the top part of our lungs. We punctuate our speech with natural breathing points such as full stops(.)pauses(…)or commas(,). Whereas when we sing we need to use defined breathing spaces unique to each song. Every breath has to be substantial enough to carry our voices through an entire line of lyrics. Thus trained singers have learned the technique of intercostal diaphragmatic breathing.
That Sounds Complicated. What Does It Mean?
It is a technical term meaning to take a voluntary deep breath, engaging our abdominal intercostal muscles and diaphragm. Our day-to-day breathing is described as involuntary because we do it without thinking about it. The respiratory system is comprised of internal and external intercostal muscles as well as the diaphragm which work in conjunction with one another each time we take a breath. What we are doing as singers is to artificially use that system to our advantage. This method of breathing is also known by other names such as abdominal breathing, belly breathing, diaphragmatic breathing or deep breathing.
Exponential Audio’s Artist Spotlight is turning into a Who’s Who of the professional audio industry and the latest addition is Andy Bradfield, who knows a thing or two about what a great reverb should sound like, having spent many years working at the iconic Townhouse Studios. It was in the live room at Townhouse where the now famous non-linear, or as some like to say, the ‘Phil Collins’ drum sound was born. For all his work in some of the top studios and with an impressive canon of work on over 270 projects that stretches back nearly thirty years, it would be forgivable if Andy wanted to boast, but that’s not Bradfield’s style, he is down to earth and chatty, a safe pair of hands - perhaps that’s why he is trusted to mix the albums of many top producers.
Andy goes onto talk to the team at Exponential Audio about how he started when he was given a mono tape recorder for Christmas, then helping at a local studio before being offered a job at the then new Olympic Studios.
Read the rest of this story at the growing Artist Spotlight section of the Exponential Audio site and find out what he thinks of reverb, how to use it effectively and much more.
Purchase an ADA-8XR before 31st August 2014 and Prism Sound are offering a free Pro Tools HDX or HD module which will enable you to connect the ADA-8XR via DigiLink to your existing HD or HDX cards.
The Prism Sound ADA-8XR is a third party interface, which with the addition of this HDX or HD module, they are currently offering free, can replace the interface on a Pro Tools HD or HDX rig. Their interfaces have found favour with studios, artists and enginers like Abbey Road, Metropolis Studios, Wisseloord, Sting, British Grove, Stevie Wonder. Mark Knopfler of Dire Starits and British Grove Studios said…
We tried them and they were better
Prism Sound ADA-8XR Features
- A flexible and modular design means the ADA-8XR can be configured to work with nearly any workstation via Pro Tools HD, HDX, AES, FireWire and DSD interface options whilst the analogue I/O can be specified to suit recording, mixing and mastering requirements of any size.
- Dual Path Architecture allows the ADA-8XR’s independent ‘Paths’ to clock internally and slave to an external reference at the same time, and at different sample rates.
HD and HDX users, are you happy to go for a third party interface instead of the Avid options?
We have republished this story as there was some confusion as to what the offer was for. It is for a free adaptor module that fits in the ADA-8XR to enable you to use Digilink to connect an ADA-8XR to a Pro Tools HD or HDX card. It is NOT for a free Avid HDX card.
With the new immersive sound formats, as cinema goers we can now experience sound above us and even over our heads.
The new ‘How To Train Your Dragon 2’ film is ideal for all that over your head sounds as there are one or two scenes of dragons flying overhead.
Waves have started their 48 hour super sale and if like me you have been to look what is on offer, it looks like a very popular sale as their servers are very busy already. Here are some highlights of what is on offer….
- Waves CLA Classic Compressors Bundle $149 normally $500
- Waves Center Native Plug-in $89 normally $250
- Waves C6 Multiband Compressor Native plug-in $99 normally $250
- Waves MaxxVolume Native plug-in $99 normally $350
- Waves Tune Native plug-in $99 normally $400
- Waves Gold Bundle $349 normally $800
- Waves Horizon Bundle $999 normally $3500
Grab them whilst you can. Check out the Specials page for the other deals Waves are offering.
Our friends at HHB have announced the release of their interactive Avid S6 Builder web app that enables users to create their own custom configuration of Avid’s new modular mixing console.
Using Drag and drop you can place modules in the arrangement of your choice and build a bespoke console tailored to your workflow.
The S6 Builder’s sophisticated interface walks you through the process with module descriptions provided throughout. Configurations can then be shared with colleagues or sent to HHB or audio post specialists Scrub for a quotation.
Early adopters like Soho’s Envy Post are already experiencing the flexibility and powerful features offered by S6. It is a fully customisable system that can be scaled vertically or horizontally, with room to grow as needs increase. You can choose between 12 pre-configured M10 and M40 consoles, or custom configure an M40 with up to 64 faders, nine knobs per channel and a maximum of 41 modules.
There are plenty of ways to a better mix and many of them don’t require you to spend any money.
Try these out and let us know how you get on.
Loud, Medium, Quiet
You may mix at the same volume all the time, you may even mix at a predetermined level, one that you’ve been told is the correct level in db. However there are plenty of top mixers who break that rule and mix at varying levels, many of them quiet. One thing to do when mixing any music is to listen to it loud, medium and quiet, by doing this you’ll start to hear how the mix changes at different volumes - it’s not magic, it science. Try it and you’ll find you start getting better balances in your mix.
Solo And Mute
The solo and mute buttons are vital when mixing, the solo helps you to get the sound you want in isolation beforee tweaking it in context, but the mute button is equally useful and I’m not talking about the banjo tracks either. Often as mixes get more complex and filled up we can wonder if a particular track is right in the mix, sometimes they may not be the star of the show, but they still have their place, almost in an inaudible way - by using the mute you can see how each track is contributing to the mix, even if they are not right up in your face.
Stereo And Mono
It is vital to check mixes in both stereo and mono and make sure that you have not lost stuff by pushing it too far to the outer reaches of the stereo field. Any modulation, reverb and delay effects are all different when summed, so make sure you hit the mono button at least once during the mix. The same applies for post production, some people may still have mono TVs, or worse those weird crappy stereo simulators that really mess with phase.
Move Around The Room
Yes there is a sweet spot in your studio where the stereo image is going to be best represented. However you’ll find that by getting out of the sweet spot and moving around the room it can also help as you listen to a track, especially if you mix in an untreated room. Some swear by the idea of going out of the room and listening, they often hear more bass - again this isn’t magic it’s to do with the length of the wave on lower frequencies.
Speakers, Pro Headphones And Earbuds
As with any mix it is worth checking it on a variety of sources, some swear by car stereos. One thing I always do is to take a listen on headphones, some also check mixes on earbuds. Like it or not, a lot of our tracks are now listened to on crappy headphones and earbuds - I don’t suggest you mix to the lowest quality repro device, but at least it worth checking on those things to see how they sound.
All the above are not rules, but suggestions, in the end the more tricks we have up our sleeve when mixing the better mixes we end up with.
Don’t forget to head over to the Pro Tools Users Facebook page, where you can enter to win a free Pro Tools 11!
Hurry, the last day to enter is June 30th!