Monday, July 21, 2014

How The Ancients Used Sound

Hal Saflieni (ca. 3600 BCE)There's a little-known scientific field known as archaeoacoustics that studies the sound of historical environments and its effects on the human body. These environments can vary from ancient temples to caves, but it's been discovered that they all have a similar quality - a resonant frequency between 70 and 130Hz.

Most of the cavities that archaeoacoustics study are spiritual in nature, and the theory is that the exposure to the resonant frequency of the chamber has a physical effect on human brain activity, even to the point of triggering a different state of consciousness without the use of chemical substances.

One of these chambers currently under study is a 5,000 year old Hypogeum, an underground mortuary temple on the Mediterranean island of Malta with a space known as "The Oracle Room" that yields strong double resonant frequencies at 70Hz and 114 Hz. A deep male voice tuned to these frequencies can stimulate the resonances and create a bone-chilling 8 second reverberation that reportedly provides the illusion of sound reflecting from the body to the ancient wall paintings, but leaves the listener with a great sensation of relaxation.

What's especially interesting is that the acoustics of this chamber didn't come naturally. Man-made carving on the ceiling revealed what amounted to a wave guide, suggesting that the designers of the room knew much more about acoustics and their effects on the human body than we know or care about today.

W e often think that because we have such sophisticated gear that it automatically makes us superior to those that have gone before us. In reality it seem that there's been a vast treasure trove of knowledge that's been lost through the ages that we're lucky to discover enough bits and pieces of every so often.

There's a really great website at archaeoacoustics.org that has a lot of information and audio samples regarding this discipline and its work. Not only that, it's a lot more modern and accessible than most sites about scientific research. Check out the video below as well.


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Sunday, July 20, 2014

New Music Gear Monday: UAD Valley People Dyna-mite Plugin

There are already so many cool compressors and limiter plugins available that you'd think there was none left to either invent or emulate. You might change your mind after hearing the new Universal Audio/Softube emulation of the Valley People Dyna-mite limiter/gate though.

The Dyna-mite was an interesting hardware device released by the short lived Valley People Inc in the 80s, which was the brainchild of the great audio designer Paul Buff. It was perhaps the least expensive pro unit available at the time, mostly because it was supplied in a plastic box instead of a 19 inch rack mount. It did have a couple of very unique functions and sounds though, and Softube and Universal Audio have managed to emulate them all.

First of all, the limiter is about as kick-ass on percussion as you can get. If you want an aggressive sound that really smacks, this plugin can really give it to you. Most unusual is the fact that the plug (like the hardware device) also has a de-ess and gate/expander function, and like the limiter, they react differently than most of the other plugs that you're probably using.

If you want a plugin with some real character and you already have the UAD hardware to support it, make sure you try the Dyna-mite. It's $199, but I think it's worth every penny. Find out more on the UAD Dyna-mite site.


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Thursday, July 17, 2014

Eric Clapton "Layla" Isolated Guitar And Vocals

Here's a rare treat. It's the isolated lead guitar and vocal track from Derek and the Dominos (Eric Clapton's band with drummer Jim Gordon, bassist Carl Radle, and keyboardist Bobby Whitlock, and supported by guest guitarist Duane Allman) hit "Layla" from the band's one and only album Layla And Other Assorted Love Songs.

What you'll hear is a combination of a number of tracks - one of the rhythm guitar tracks in the chorus, the lead in the verses and choruses, the slide lead solo at the end of Part 1, one of the slide leads in Part 2, the end acoustic guitar, and the Leslie guitar at the end. Of course, you'll also hear Clapton's lead vocal as well. Here's what to listen for.

1. The high lead guitar in the intro and choruses is doubled, which isn't apparent on the final mix of the record.

2. The high lead guitar leaning to the left plays throughout the verses against Clapton's vocal, which is a violation of basic arrangement rules since it takes attention away from the vocal. Didn't seem to matter in this case though.

3. Clapton's vocal is doubled on the choruses, which again isn't very apparent on the final mix of the record. There's also a lot of reverb on it, and the verb really doesn't sound all that good, which is unusual for the time when everyone was using plates or chambers.

4. Duane Allman's slide solo at the end of Part 1 is truly killer, as he plays up much of it above the fretboard.

5. There are two slide leads on Part 2 (drummer Jim Gordon's piano part of the song). You hear Clapton's part here, which changes to an acoustic guitar during the last verse.

6. Check out the Leslie guitar at the very end at 5:25. Criteria Recording (where the song was cut) had one of the first guitar input devices for the Leslie that could vary the speed with a footswitch and Clapton loved it (and reportedly absconded with it back to England after the session). There's plenty more on Leslie guitar on the final mix, but you only hear that one piece here.



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Wednesday, July 16, 2014

Celebrating The Legacy Of The Ramones

The Ramones image
Today’s post is for celebrating the legacy of The Ramones, a band that managed to change the face of music in some small way by staying true to their vision.

This all started when I read with great sadness that Tommy Ramone (real name Tommy Erdelyi), the last founding member of band, passed away over the weekend. I only met him once at a Grammy event a few years ago, but he was a charming, soft spoken man if our brief conversation was any indication. Tommy played a major part in the success of the band, acting as their drummer for the first three albums and as one of their producers on several others, but also primarily responsible for their sound in the studio in the early days.

I hate to admit that I was never a big Ramones fan while they were at their peak. I shared a stage with them a few times and experienced their bandstand fury up close, which eventually led to a growing admiration for their singular journey through the music business, as they chose to stay the course of their vision at the expense of major commercial success.

Years later I was lucky to work on three Ramones DVDs (Have A Nice Day Vol. 1, Have A Nice Day Vol, 2, and Around The World) that definitely gave me a different appreciation of the band. Around The World was comprised mostly of behind the scenes footage shot by drummer Marky Ramone (Tommy’s successor) while the band was on tour, which gave an inside look at what the band was really like. So many artists have a different stage persona than their real lives (and there’s nothing wrong with that), but The Ramones were always just a garage band from Queens at heart, and that never changed during the course of the band’s existence. 

For a glorified garage band, The Ramones made a major mark on the music world that we’re still feeling. “Blitzkrieg Bop,” “I Wanna Be Sedated,” and “Rock n’ Roll High School” are songs that will survive for generations, which is more than 99% of so-called “hit” artists can say. There was a quiet genius in their music though, which is a good lesson for anyone getting into the music business today or any other day. Read more on Forbes.
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Tuesday, July 15, 2014

The 4 Families Of Compressors

compressors image
Ever wonder why there are so many different compressors and why they all sound different? That's because back in the analog days there were a number of different ways to achieve compression depending upon the type of electronic building block that you used. Here's a brief excerpt from The Mixing Engineer's Handbook that covers the 4 families of compressors that we generally use today.

"In the days of analog hardware compressors, there were four different electronic building blocks that could be used to build a compressor. These were:
  • Optical: A light bulb and a photocell were used as the main components of the compression circuit. The time lag between the bulb and the photocell gave it a distinctive attack and release time (like in an LA-2A). Optical compressors don't react very fast to the oncoming signal, but that actually makes then sound pretty smooth, which is why they've become a favorite on vocals and bass.
  • FET: A Field Effect Transistor was used to vary the gain, which had a much quicker response than the optical circuit (a Universal Audio 1176 is a good example). FET compressors are often used on drums because of their quick response.
  • VCA: A Voltage Controlled Amplifier circuit was a product of the 80s and had both excellent response time and much more control of the various compression parameters (the dbx 160 series is an example of a VCA-type compressor, although some models didn’t have a lot of parameter controls). VCA compressors can be very aggressive, which is why the dbx 160 series have long been a favorite on rock kick and snare.
  • Vari-Gain: The vari-gain compressors are sort of a catch-all category because there are other ways to achieve compression besides the first three (like the Fairchild 670 and Manley Variable Mu). You might think of a vari-gain as the ultimate smooth sounding compressor because it was originally made for a radio signal chain, something that had to be as transparent as possible. That said, it's hard to beat a vari-gain compressor across the mix buss for the added "glue" that's difficult to get any other way.
As you would expect, each of the above has a different sound and different compression characteristics, which is the reason why the settings that worked well on one compressor type won’t necessarily translate to another. The good thing about living in a digital world is that all of these different compressor types have been duplicated by software plugins, so it’s a lot easier (not to mention cheaper) to make an instant comparison on a track and decide which works better in a particular situation."

To read additional excerpts from The Mixing Engineer's Handbook and my other books, go to the excerpts section of bobbyowsinski.com. Also check out The Audio Mixing Bootcamp video course on Lynda.com.
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Monday, July 14, 2014

Another Historic Nashville Studio May Fold

Ben Folds Nashville Studio - the old RCA Studio A image
Industrial progress has been cruel to some of the great old recording studios where so much history was once made. We've seen wonderful rooms in every major city disappear because of rising real estate costs, while the amount of money that a studio can charge a client has actually dropped.

I was recently in what used to be the old RCA Studio B space in Hollywood to sit on a panel about YouTube. Everyone from Sinatra to The Stones recorded there at one time. Now it's a very nice theater owned by the LA Film School. Not one person I talked to knew they were standing on hallowed ground.

Now it looks like RCA Studio A in Nashville will meet the same fate. The studio is now rented by singer/songwriter Ben Folds, who has just been informed that the studio will be sold to a developer who plans to turn the space into new condos, an awful fate for a studio that once hosted the best of the best of Nashville, from Waylon Jennings to Eddie Arnold to Roy Orbison and many more.

Ironically, the studio is owned by Harold Bradley, a former member of the famed A Team of Nashville studio musicians who played on literally hundreds of hits. It was Harold and his brother Owen, along with Chet Atkins, who created the "Nashville Sound" and built the city into a music powerhouse.

Bradley is quite aware of the history of the place, but states that he's wanted to sell the studio for more than 20 years and it's only coming to fruition now. He's also not as sentimental about the space as many others are, stating that the music made there will still live on.

That said, Folds is trying to get the studio designated as a historic site and have the developer incorporate it into the project that will be built.

Many of the other great studios in Nashville have been bought by Mike Curb (like RCA Studio B and Oceanway) and donated to Belmont University when threatened with a similar fate. Will he come through again?
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Sunday, July 13, 2014

New Music Gear Monday: The Hammer Jammer

It's really hard to create a guitar product that's completely new and not just evolutionary. We see this every NAMM show where we hope to find something new and cool, but are usually disappointed. The Hammer Jammer is different though, as it's both new and evolutionary at the same time, and will definitely give you a sound that you really can't get any other way. It's an easy way to get the hammering effect on a guitar, but with much more precision and dexterity than ever before.

The Hammer Jammer is the brainchild of Ken McGraw, who initially developed the idea in 1985. He formed a company called Guitarammer and received some input from both Ricky Skaggs and Chris Martin (of Martin Guitars) in 1990, but abandoned the idea after initial manufacturing problems and when other business opportunities came about. Now he's back with a new Kickstarter campaign to get the project rolling again.

For only $65, you can get in line for one of the first models. For another $25, you can have one donated to a disabled person (since this is a great way for someone with disabilities to enjoy the guitar again).

We spend so much more money on pedals that we generally don't need, since they more or less do the same thing. Spend a little to get a new sound and help a company get rolling. Go to Kickstarter to check it out, or to the Big Walnut Productions website for more into.



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Friday, July 11, 2014

Hear Why Expensive Cables Can Improve Your Audio on the Latest Inner Circle Podcast

Bobby Owsinski's Inner Circle Podcast image
The wires that connect our audio devices are something that we all take for granted, but Wireworld national sales manager Larry Smith describes why some of those expensive cables we read about can be way better for your signal chain on the latest version of my Inner Circle podcast. 

Believe me, what you'll hear is a an education in a part of the audio world that we seldom look at. Find out more about Wireworld Pro Audio cables on their website.

You'll also hear about Yahoo's new video service, and the possible demise of the 1/8th inch audio plug on the analysis portion of the show.

Remember that you can find the podcast either on iTunes or at BobbyOInnerCircle.com, and now also on Stitcher

Hope You Enjoy.
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Thursday, July 10, 2014

David Bowie's "Space Oddity" Isolated Bass and Drums

Bowie "Space Oddity" Record Cover image
Here's a fascinating piece of music history. It's the isolated bass and drums from David Bowie's first hit, the classic "Space Oddity."

The song features a completely different lineup from future Bowie albums, and included session drummer Terry Cox, legendary bass player Herbie Flowers (also responsible for the famous bass lines on Lou Reed's "Walk On The Wild Side"), Mick Wayne on lead guitar, and Rick Wakeman on Mellotron (who did play on subsequent Bowie records), was produced by Gus Dudgeon, and engineered by Trident Studios staff engineer Robin Cable.

This was quite a controversial song in its day since the BBC claimed that it poked fun at the British space program and kept it off its playlists until after the return of Apollo 11. Here are some things to listen for:

1. The rhythm section seems to get lost when listening to the full track, as we focus more on the vocal and lyrics, but the playing is very interesting all the same. The bass plays no distinguishable part, and the drums play very free for the verses of the song, almost like something you'd hear in be bop.

2. That said, the drum part plays very straight in the choruses and bridges, with the snare played quite forcefully. Check out the long plate reverb (sounds great) which only appears on the snare.

3. The kick isn't heard much although it's actually played a lot. It's not featured in the mix and is actually mixed down in the track. It's not the kind of song that relies on the power of the kick though.

4. The bass sound is great. but so is the drum sound (except for the kick). The drums are also in mono.

5. Listen through to the end if the video for the ending you don't hear on the record.

You can hear the leakage in the distance as the video begins, but the bass doesn't enter until about 0:23.



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Wednesday, July 9, 2014

The Carol Kaye Documentary

Bassist Carol Kaye is a studio legend unfortunately that has never gotten enough notoriety. As the only female member of the infamous Wrecking Crew group of LA studio musicians, Carol played on so many of the hits that have since gone on to become classics (think "Good Vibrations," "California Girls," Scarborough Fair," "Feelin' Alright," "River Deep Mountain High," just to name a few) as well as many television shows and movies from the period. It's no surprise that she became the go-to bassist for Brian Wilson, Phil Spector, and even Frank Zappa.

Now a documentary about Carol's life is being shot, and below you can see the trailer for it, as well as a long interview with her. If you love music history and great playing, make sure you check both of these out.



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Tuesday, July 8, 2014

3 Tips For Managing Your Studio Time

Studio Time image
Many producers (particularly if you're on your first project) are great at the creative part of the job but can't get their arms around the concept of time management. A music production project, regardless of whether it's being done in a home studio or a commercial one, requires a great deal of time management, especially if you have a deadline. Here are 3 tips from The Music Producer's Handbook for managing the time on a typical album project, both in the studio and out.

"Managing both project and people time is one of the more difficult jobs of a producer since it involves a lot of educated guessing. You never really know exactly how much time any one segment will take, but you do have a general idea if you’ve done your production homework. So how do you figure out how much time you’ll need? Just like any project in any company, you make a timeline that has specific milestones while leaving a little leeway just in case the unforeseen happens.

1. Take stock of the situation. Let’s say that the record label wants to have the project in their hot little hands on October 1st and you’re coming in on the project on May 15th. There’s no way that you can determine just how long each project segment will take until you evaluate the songs, listen to the demos, listen to any previous recordings, hear the artist or band live or in rehearsal, and generally get a good feel for what’s possible and how much must be fixed or tweaked. This evaluation period might take a week or two but could be compressed into as little as a day if necessary, depending upon your experience in these situations and the quality of the songs and players. 

2. Approximate how long each project segment will take. After you evaluate the artist’s or band’s songs and get a feel for the arrangements and how well they play them, you can determine how much pre-production time it will take to get everything into shape. You might determine that you’ll need a month of preproduction because the arrangements are weak, or maybe just a few days for some song tweaks. If you don’t have that kind of time or the artist is resistant to more rehearsal, then you’ll have to allot more time for basic tracking, maybe an extra day for each song, instead of the 2 or 3 songs per day that you might expect if everything is finely tuned.

During preproduction, you’ll also get a feel for what kind of overdubs you’ll be doing and what kind of time for experimentation you’ll need. Unless most of what you’re recording during tracking is a keeper, you usually figure at the very fastest that it’ll take a day for all the overdubs from each instrument. This means that you’ll record all bass fixes for all the songs one day (if there any are required), one day for guitars, one for lead vocals, etc. If you have more time and budget, you would stretch that out to a day to record the lead vocal for each song (10 songs = 10 days), a day of guitar fixes from the basic tracks, a day for guitar overdubs and a day for guitar solos, a day for background vocals for each song, a day for percussion for all songs, etc. Ultimately, overdub time will be determined by the number of overdubs that you have in mind, their difficulty, and the skill sets of the players and singers. Better players = faster overdubs.

3. Develop your milestones. First, work backwards from your delivery or completion date. You now put in the time allotted for mastering, mixing, overdubs, tracking and preproduction. From there you can put in your milestones for completion. For instance: 


Preproduction start - May 21
Preproduction complete - June 7
Tracking start - June 10
Tracking complete - June 17
Bass fixes - June 20
Guitar fixes - June 21
Guitar overdubs - June 22 - 29
Guitar solos - June 30
Keyboard overdubs start - Aug 1
Keyboard overdubs complete - Aug 7
Lead vocals start - Aug 8
Lead vocals complete - Aug 18
Background vocals start - Aug 20
Background vocals complete - Sept 1
Percussion overdubs - Sept 3
Extra - Sept 5 - 10
Mixing start - Sept 11
Mixing complete - Sept 26
Listening session - Sept 28
Mastering - Sept 30
Delivery - Oct 1

Notice the extra days in between preproduction and tracking, tracking and fixes, lead vocals and background vocals, background vocals and percussion, plus the extra days built into the schedule. This is to make sure that there’s plenty of leeway should something take longer than anticipated or unforeseen circumstances arise."

To read additional excerpts from The Music Producer's Handbook and my other books, go to the excerpts section of bobbyowsinski.com.
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Monday, July 7, 2014

How The Soviets Saved Rock n Roll With Bone Music

Russia is fairly open and Westernized today, especially when compared to the old Soviet days. Back then, anything Western was forbidden, especially music. In those pre-Internet days (we're talking the 50s and 60s), unless you had a radio and lived near the border, you had a tough time hearing the music that the rest of the world was digging.

Bone Music Record image
A "bone music" record
The Russians are a resourceful people though (as evidenced by their programming skills today), and the hipsters of the day found a way to copy American music using an ingenious DIY method they called "bone music."

Vinyl bootlegs of popular artists did occasionally make it into the Soviet Bloc in those days, but vinyl was a scarce commodity so that there was no way to make vinyl copy of it. That's until someone got the bright idea of using another piece of plastic that was plentiful at the time - exposed X-rays.

They would look through hospital waste bins for discarded X-rays, cut a copy of the album with a standard disc cutter, then use a cigarette to burn a hole in the middle so it could be played on a standard turntable. These "records" only played on one side and the fidelity was low, but they were cheap and easy to get, and gave a big boost to Western music in a land where it had no traditional exposure.

Soon a whole network of bone music distributors sprang up, but not long after the police caught on and formed a group of anti-Western music patrols to break up the distribution rings and confiscate any X-rays found.

Ironically, it wasn't that long after that the West created its own version of the X-ray disc with its own "Flexi-disc," a very thin piece of plastic which sounded equally as bad, but was cheap and easy to distribute in books and magazines.

This is just a great example of people that are deprived of something they desperately want being resourceful enough to overcome any barriers in the way. You can read more about this topic in an excellent article by John Brownlee on fastcodesign.com.
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