Dap kings studio
This is pretty old, but I find these guys so inspiring:
They did a lot of Amy Winehouse’s backing
The only bit of digital gear in their studio is a CD player. They went to great extents to get all the original analogue gear, and I just bought their album from 2011 and it could have been recorded in 1974. Great authentic sound.
Using Live and Logic together – or any other DAW really
I finally got Logic again after starting out on it, just for MIDI many years ago. After experimenting with using it with Live, the limitation of not being able to use control surfaces when Live is in rewire slave mode is really irritating. The inability to host VSTs/AUs I can Live with, but not being able to jam loops with the launchpad takes away half the fun of using Live. So my advice: don’t use rewire.
The following is how I’ve done it in Logic, but I wrote this on the Ableton forum and was trying to keep it more general for Mac and PC and any DAW.
1. load Live first
2. if you are on mac download and install soundflower and set it as the output for Live (use the 16 option if you want to have a few inputs/outputs separate), and don’t forget to enable them in Live’s output config in the Audio prefs. If you’re on PC there is probably an equivalent but I’m not sure what.
3. again, for mac go to audio/midi setup and make sure IAC bus is on, for PC you could use something like MIDI yoke
4. in the program you were using as rewire master, set the audio input to ‘sound flower’ (16 if you used that before), then in the MIDI preferences send MIDI clock over IAC/MIDI yoke. MTC I found not to be as reliable and was out of sync.
5. In Live MIDI prefs turn the “sync” button for IAC/MIDI yoke input on.
6. press the EXT button in Live’s transport, top left.
Doing all this might not be super tight, but it will keep them in sync enough for you to work on what you are doing, then export what you’ve done in Live as stems (individual audio files) when you want to start arranging/mixing.
Rewire might be more reliable and solid, but the limitations are really irritating.
Tao story
http://www.itmonline.org/shen/chap2.htm
I posted this here, because to me it is about the life of an artist (musician…philosopher…etc) – I expect Hui-Tzu and Chuang-tzu were considered the same in their worlds as artists are today.
… ‘I have a big tree,’ said Hui-tzu to Chuang-tzu. ‘Its huge trunk is so gnarled and knotted that no measuring string can gauge it, and its branches are so bent and twisted they defy compass and square. It stands right beside the road, and still carpenters never notice it. These words of yours [referring to the stories of Chuang-tzu recorded in this chapter], so vast and useless, everyone ignores them the same way.’
Chuang-tzu replied [after giving examples of his point]: ‘Now, you’ve got this huge tree, and you agonize over how useless it is. Why not plant it in a village where there’s nothing at all, in a land where emptiness stretches away forever? Then you could be no one drifting lazily beside it, roam boundless and free as you doze in its shade. It won’t die young from the axe. Nothing will harm it. If you have no use, you have no grief.
The tree that is logically useful (its wood is desirable) will be cut down; the tree that is logically useless (its wood too gnarled to be of value) is spared. So, which is better? To be useful or useless? And who is to decide whether something is useful: the gnarled tree serves just fine for shade and is not in danger of being cut down for its wood.
In Chapter 22 of the Tao Te Ching, Lao-tzu says (3):
Wise men embrace the one, and set an example to all. Not putting on a display, they shine forth; not justifying themselves, they are distinguished. Not boasting, they receive recognition, not bragging, they never falter. They do not quarrel, so no one quarrels with them.
The tree, in the story above, may be huge, but carpenters never notice it. The Taoist is likewise unnoticed because he does not try to call attention to himself; not calling attention to himself, no one quarrels with him. But, this does not mean that he is without value. Like the Tao, he is “great,” like the tree, he can provide welcome relief (shade) and a break from desolation (absence of wisdom and virtue). He is not so useless after all. How many people fret over not being as “great” as another or as they dream to be, feeling depressed about it, yet can do things that are truly important for another person, and so they are doing their part?
Keeping it simple…. Future proofing your projects.
I was telling someone I was teaching the other day about the long term dangers of using this/that/the other VST plug-ins or samples you’ve downloaded from somewhere or your “mate gave you” and I realised just what an important point this is, so I want to re-iterate it here.
With the turning of the century computers were just getting fast enough to do some really impressive things, internet speeds were getting fast enough to allow us to download decent sized programs, and hard drives big enough to take a whole bunch of samples. With that came an explosion of different home-spun VSTs, not to mention the thousands of user presets for programs like Reaktor. I know there was definitely a point where I was downloading all kinds of mad, interesting plug-ins that I just had to have. Likewise, I gradually built up a multi- gigabyte library of samples, most of which I’ve never used but I’ve had to keep just because there might be the odd project here and there that used some of them.
But there is something really important to consider in all this. Computer power, internet speed, and hard disk space have not stopped increasing. What this means in real terms to a lot of us is that you are highly likely to upgrade your computer maybe every 2-3 years, you will probably buy at least 2 new external hard drives in that time, and the way things have been going the last 3 or 4 years a lot of people are ditching PCs in favour of the now more affordable Macs.
So speaking from experience, if you’re planning to do this for a while, at some point you are going to have to migrate all your project files, VSTs, samples etc from one machine to another, to another, to another, via several external hard drives, possibly also from Windows to OSX. In my case there have been countless projects I’ve tried to load up down the line that used a certain obscure VST, or one that was PC only, or used a couple of samples that were in a pack I decided to ditch 3 years ago… and so on, so I just can’t easily load it up and hear it how it was meant to sound.
So the moral of the story is, give some serious thought to what you use and really think twice about whether you REALLY need those different VSTs, or samples, or even presets downloaded from somewhere – because you are also going to have to be sure that at least they are saved somewhere that will survive all the migrations you’ll probably go through over time.
I am now down to Ableton Live suite, NI Komplete 7, Waves Gold and Antares auto-tune. That’s pretty much it. That means when I get a new machine I only need to install those programs, copy over my projects folder and my sample folder and most projects will open.
Unfortunately it’s not always that simple – if I used Absynth 2 on an old project, unfortunately it doesn’t automatically load up Absynth 5 with the same preset – so even there it’s not perfect, but you can imagine how much worse it is when you have all kinds of other VSTs in the mix and you don’t even know where they came from.
These days there are so many great tools at our disposal, and if you learn to use what you have properly you’ll more often than not do just as well, probably even better to just make do with what you have.
Now I should add that this doesn’t mean don’t ever try anything new. But if you do, freeze/render the track and choose “collect all and save” from the file menu so you have it as a WAV/AIFF saved to the project.
And don’t assume because something’s old there isn’t potential to it. I just recently released a song where the lyrics were first written about 10 years ago and the production has gone through many incarnations, but the bulk of the groove that remains was also done several years ago. It didn’t take that long for any reason other than I just forgot about it for a while, came back to it every now and then and eventually made it ready for release. I’m not suggesting this is a good way to work for everyone, but I’m just pointing out that sometimes old projects are well worth reviving – hence the need to future proof your projects.
AES “Audio myths” workshop
this relates to the previous post on placebo:
The placebo effect
I’ve always been a big believer in the placebo effect whenever these stupid conversations come up about sound quality. “X DAW sounds better than Y DAW” threads seem to come up almost daily in our over-indulged times. Especially when those discussing it don’t have the perspective of having started out recording with a sewing needle onto bees wax from a rusty tin and a long piece of string like we did in the good old days.
If you can’t make good quality sounding music with ANY of the DAWs available in 2011, then you really just need to spend more time learning about audio. And so with that in mind, this fills me with a smug feeling of satisfaction: http://scienceblogs.com/cortex/2008/01/expensive_wine_tastes_better.php
There have been similar studies done specifically on audio, including an “accidental” one where “audiophiles” were asked to judge the best quality of 3 recordings from hand-held recorders, and they all picked the most expensive one, when it actually turned out that the person who uploaded them actually posted the same file 3 times by mistake. If I find the link to that one I’ll post it, but I can’t remember where it was off hand. It may have been AES.
So whenever you get too caught up in the sound quality debate, go and have a break and listen to Sgt. Pepper’s lonely hearts club band, in mono if you can, just to give yourself a bit of perspective.
[/rant]
quickly making patterns with Live’s MIDI editor.
This will be a fairly basic beginner tip for a lot of people, but it’s such a good way of quickly making your own MIDI clips that I like to always make sure people know how to do it. I’ve seen videos around with some awkward ways recording MIDI into Live, such as using the arranger, for one. To me that kind of defeats the point of using Live, as the main thing that sets it apart from other DAWs is the session view.
So to some people this might be an exercise in sucking eggs, but I think there’s probably a lot of people out there who have missed a couple of the key points below.
I just spent a bit of time typing it out for someone, so I figured I might as well copy it here.
This assumes you already have a drum rack loaded, either one of the Ableton kits, or a loop sliced with the “slice to MIDI track” function.
1. press the KEY button top right and map the OVR to a key on your computer keyboard (I usually use the “/” forward slash.)
2. do the same with the metronome (top left, the two little circles in a rectangle) – usually I use the “‘” inverted comma because it’s next to the other one. – (you might not need the metronome mapped to a key, but it means you can turn it on and off really easily without touching the mouse)
3. use the ‘ to turn on the metronome
4. go to the “edit” menu and make sure “record quantization” is set to 1/16th” (you may prefer not to do this so you can have more control over the groove of the notes, but I find it makes it easier to start with it on, then move them later or use Live’s “grooves”)
5. make sure the record arm track is enabled for the MIDI track, and starting with OVR turned OFF, use the computer MIDI keyboard to play some notes on the drum rack (the little keyboard icon, top right needs to be yellow for the computer MIDI keyboard to work) and work out what you want to record – of course you could use a real MIDI keyboard instead if you have one set up already, but personally I find it so much quicker to just use the computer keyboard to start off because it’s right in front of you and it makes the whole process feel really quick.
7. double click on a slot on the MIDI track containing the drum rack to create a new MIDI clip – it will be 1 bar by default. If you want it longer, change the length of the loop, either by manually typing it in to the loop settings, or by dragging the right end of the loop brace to the length you want. (TIP: you can just select the loop brace and press CMD/CTRL + the up or down arrow key to double or halve the loop length. This is what I normally do).
6. hit play on the clip and when you are ready to record in the first part hit the / button to enable OVR, then start playing in the first note – usually this will just be a 4/4 kick ( you can use the kick from a sliced loop) – you’ll notice that when OVR and the record arm buttons are enabled, the clip will turn red indicating it is recording.
7. select the clip and press CMD/CTRL + D to duplicate it – that will make an exact copy of it below
8. trigger the newly duplicated clip below
8. hit / again to turn off OVR – you might also be able to press ‘ to turn off the metronome as the kick will now keep time for you
9. now you can work out the next part, figure out what you want to record next, maybe hi-hat, then when you are ready hit / to turn on OVR – Record in the new part, press / again to turn off OVR, duplicate the new clip, trigger the new one and so on, repeating the process. Because you duplicated the clips before recording a new part you’ll have built up a bunch of new patterns you can trigger in different order to make a song.
I just find doing it that way, you can use the / key to turn OVR on and off and it’s like a record button and with the Computer MIDI keyboard it’s all right there in front of you.
when using the computer MIDI keyboard, the notes follow the shape of a single octave MIDI keyboard (i.e. a,w,s,e,d,f,t,g,y,h,u,j…) but the Z and X keys move it an octave up or down. The C and V keys change the velocity of the notes up or down.
While we’re on TED: Evelyn Glennie shows how to listen
I remember this one well also. Very inspiring.
[TED talk] Benjamin Zander on music and passion
might pull a tear or two if you’ve ever lost a loved one, but it’s worth it I think.
http://www.ted.com/talks/benjamin_zander_on_music_and_passion.html



