Constructive Interference

[Flash 9 is required to listen to audio.]
28 plays

Panto - Minor2Major

finalmusings:

Minor2Major - Panto

So this is the almost complete rip off of L Dopa by Big Black that I”ve been talking about recently, it’s noisy and there’s not much low end and you can’t really hear the vocals, but fuck man, it puts a huge smile on my face every time. 

NOISEY 95 SECONDS OF ARRRGGHH!

# minor2major big black panto steve albini noise rock

Reblogged 3 weeks ago from finalmusings 2 notes
I suppose I should explain this. This is a theory I have on my mixing techniques…and how I think I need to improve. Try your best to imagine, this is a visual analogy that contains mixture of balance, panorama and maybe reverb things, but I think it kinda works.  Right now, I think I mix like the top one, vocals out in front, everything else behind it, like, it doesn’t sound awful, but it seems very narrow, almost detached. The guitars slope inward so…If I turn the vocal down a bit it becomes completely masked out, then I turn the vocals up and it sounds like karaoke.  What I want to try and figure out how to do, is the second one, where the vocals sit in a pocket of sound that is completely their space. The guitars go outward and the snare and kick are more open and available to the ear as the anchor.  I think this is the reason why sometimes my guitars tend to get a bit too loud, trying to make up for the fact that my vocals are too far forward and then I drown out a drum kick left far behind.  Please, feel free to pick holes in my theory, or even better (if I’m even making any sense) offer me some advice on how to do it?I suppose I should explain this. This is a theory I have on my mixing techniques…and how I think I need to improve. Try your best to imagine, this is a visual analogy that contains mixture of balance, panorama and maybe reverb things, but I think it kinda works.  Right now, I think I mix like the top one, vocals out in front, everything else behind it, like, it doesn’t sound awful, but it seems very narrow, almost detached. The guitars slope inward so…If I turn the vocal down a bit it becomes completely masked out, then I turn the vocals up and it sounds like karaoke.  What I want to try and figure out how to do, is the second one, where the vocals sit in a pocket of sound that is completely their space. The guitars go outward and the snare and kick are more open and available to the ear as the anchor.  I think this is the reason why sometimes my guitars tend to get a bit too loud, trying to make up for the fact that my vocals are too far forward and then I drown out a drum kick left far behind.  Please, feel free to pick holes in my theory, or even better (if I’m even making any sense) offer me some advice on how to do it?

I suppose I should explain this. This is a theory I have on my mixing techniques…and how I think I need to improve. Try your best to imagine, this is a visual analogy that contains mixture of balance, panorama and maybe reverb things, but I think it kinda works. 


Right now, I think I mix like the top one, vocals out in front, everything else behind it, like, it doesn’t sound awful, but it seems very narrow, almost detached. The guitars slope inward so…If I turn the vocal down a bit it becomes completely masked out, then I turn the vocals up and it sounds like karaoke. 


What I want to try and figure out how to do, is the second one, where the vocals sit in a pocket of sound that is completely their space. The guitars go outward and the snare and kick are more open and available to the ear as the anchor. 

I think this is the reason why sometimes my guitars tend to get a bit too loud, trying to make up for the fact that my vocals are too far forward and then I drown out a drum kick left far behind. 

Please, feel free to pick holes in my theory, or even better (if I’m even making any sense) offer me some advice on how to do it?

# Sound music production advice? mixing balance recording music

Posted 3 weeks ago 3 notes

Nailed It.

Passed my live mix assessment with a tidy high B. Only missing out on the A by 3%. I’m not all that crushed about that though, The way it was being marked, any awesome thing I did would get me 5 marks and any minor mistake would be NEGATIVE 15!!!

So apparently I’m “almost there” when it comes to live sound, which is a nice confidence boost before a big sound engineering baptism at a gig on Thursday in Huddersfield, before I set off to work on the show that’s on next week. 

Happy face. 

# Live Sound Music Production mixing Sound Engineering

Posted 3 weeks ago 3 notes

Nothing’s a Problem.

So after half a year being out of technical theatre, I’m going back in guns blazing next week.

Can’t Stand Up For Falling Down  is going to be performed next week, presented by fringe drama company Unholy Mess.

From what I’ve read about the play, it’s a mixture of monologues from three female characters all about how much a tool an unseen man they all have a connection to is. Mostly about exploring female oppression.

And yeah, I’m going to be Sound, Lighting and AV technician for the four night run in this little studio space on top of a pub that holds about 60 people. 

And I’ve been reunited with the most infamous of lighting desks….

 

The fucking Jester. Man…I’ve almost missed this thing. Almost.


Hey ho, this could be a lot of fun, and the play interests me and apparently won awards at Edinburgh fringe festival, the director and producer seem cool. Gonna be good! 


 

# technical lighting theatre drama sound jester zero88

Posted 3 weeks ago

STUDIO PROJECT/MUSIC PRODUCTION PROJECT LATE NIGHT BLAST PRE SESSION NOTES

  • So, it’s crunch time with my music projects, I really need to get them done. 
  • I’ll be tweaking the speedboat salesmen song “Getting Over Girls with Fast Food and TV”, adding a bass line and a synth in order to make it coincide with the brief.
  • I’ll then be recording bass, guitar and vocals for the 97 second thrash of a song based on my chosen producer’s (steve albini) band “Big Black” 

CHANNEL STRIP + MICROPHONES

1. Bass - Recorded live using an SM57 and D112. NOT DI!
2. Guitar - RODE NT2000 in omni set a few feet away. Going for a big room sound. 
3. Guitar mic 2 - Possibly a ‘57, but I’d really prefer some that has a dark sound? Might use the mic I’m using for vocals….
4. Vocals - Electrovoice RE20. 

NOTES

The plan is to focus on getting the Speedboat Salesmen parts done asap, as that’s the deadline that’s closer, it should be quick though, I’ve written a bass line that works with the song and as long as I don’t make it all muddy. Everyone is happy. The synth line will be played by Jason, I’m gonna ask him to play relatively short, almost stab’s on a synth lead, that I can then bus to a delay and get mucho marks for “use of effects” 

The Albini track is gonna be a bit of a ball ache I think. If I can lay the bass down quickly I can work with Jason on how to get that hyper abrasive, angry tone that Big Black had. I’d prefer to be using a ribbon mic, but unfortunately I’m not allowed to until 2nd year. 

Need to write some lyrics for the track, might just be a shopping list, I’m not marked on quality of word thankfully. 

HOPEFUL OUTCOMES

We finish all tasks, are happy, leave studio with smiles on our faces. Happy to tweak a couple of things before handing in. 

 

# Music Production Studio Production SSR Sound Albini Recording

Posted 1 month ago