ProRec Article – Reverb Types Explained

Consider this an extension to this article – I’ve just had another article published on ProRec explaining the different kinds of reverbs commonly used in recordings. There’s good coverage of pretty much all common reverb types and good explanations, but the real jewels (in my view, at least) are the comprehensive audio examples with detailed explanations of what to listen for in each type of reverb.

Check it out here:

http://prorec.com/Articles/tabid/109/EntryId/345/Reverb-Types-Explained.aspx

-Kim.

How to reduce computer noise in the studio

Get an acoustically-designed computer

An easy way to do this is to use a Mac. The latest Macs are already whisper-quiet. And you can also run Windows on them if you prefer to use Windows-only software.

If you don’t want to use a Mac, another option is to use a purpose-built PC. There are companies that build these, but they tend to be quite expensive (and cost is usually one of the biggest reasons not to use a Mac).

 If you’d rather build your computer yourself to keep costs down (or to get more value for your money), keep in mind that parts specifically designed for quiet operation can get quite expensive anyway. You’ll be able to build a quiet computer, but it won’t be for rock-bottom prices.

The bottom line is: expect to pay more for a quiet computer.

Isolate the computer

 The next thing to do is to isolate the computer. How you do this will depend greatly on the physical layout of your studio. The best solution is to have the computer in a separate “machine room” (studios that record on tape often have the tape machine itself in a separate machine room). If you do this, make sure you get the highest-quality shielded extension cables you can find. Depending on your audio interface, you might be able to get by with only three cables:

• Firewire – dedicated to the audio interface
• USB – for mouse, keyboard, MIDI, storage devices, etc
• DVI – for your screen.

Failing that, try to place the computer in a separate enclosure. Here the trick is to balance quietness against airflow. Too little airflow may result in the computer malfunctioning from overheating – especially on hot summer days. Not a good look with clients! For home studios, you might try using a cupboard or cabinet. For professional studios, custom-made enclosures are ideal – especially if they include acoustic dampening, easy access to CD drives, managed airflow directed away from listening/recording areas, etc.

Obviously, the more you can start with a quiet computer, the less you need to physically isolate it. Likewise, the more isolation you can provide for the computer, the less you need it to be quiet.

Avoid recording it…

…by following these tips:

http://kimlajoie.wordpress.com/2009/08/20/tips-for-quiet-recordings/

 -Kim.

How to be more productive in the studio

Get off the internet and make more music.

-Kim.

Reverb on the mix-bus

Under most normal circumstances, using reverb on the mix bus is no different to using a send on every track, with every send set to the same level. Usually this it not a good idea – it’s better touse sends to apply reverb in different levels to different tracks. Some sounds can ‘take’ more reverb than others. Some sounds need more reverb then others to emphasise the depth in the mix. A send level of 0dB (unity – meaning the reverb is the same level as the dry sound) might still be not enough for sustained sounds like pads and organs. On the other hand, a send level of -21dB might sound extremely wet for staccato sounds or hand percussion.

Having said that, there is a place for mix-bus reverb. While it’s not as refined or tailored as using individual sends, it is much faster. I’ve done it myself on occasion when I’ve had a project that’s up against a hard deadline. Mix-bus reverb also sounds different to individual sends when it’s placed after other mix-bus processing, such as compression or other dynamic effects (for example, NOT eq). Whether this sound is useful for you and worth the greatly-reduced flexibility is up to you.

Reverb in mastering is a slightly different matter. In this situation it’s too late to adjust the reverb in the mix, so it can only be applied to the stereo mix. Reverb may also serve a slightly different purpose when used in mastering – to make all the songs in a release have a similar ambience. This might be particularly important on compilation albums or albums with a wide variety of sonic approaches.

-Kim.

Gaining motivation

There are two seeds to successful and prolific work – creativity and work ethic. Work ethic dictates how you apply yourself to your work and consists of a number of factors, including motivation.

Motivation itself is ‘desire that causes action’. It is not mere desire alone. It is not simply ‘wanting’ to do something. It is a kind of ‘wanting’ that causes action – a kind of ‘wanting’ that that makes you do things.

So what does it mean when someone wants to do something but isn’t motivated?

To me, that implies there is a root desire, but somehow the action is not happening. To transform mere desire into motivation, there are two simultaneous strategies that must be taken -

1. Address the things that inhibit action. These are the things that get in the way. They can be psychological, such as a fear of failure or a tendency to be intimidated by large tasks. They might also be physical – such as not having the right equipment available on hand or not having sufficient time. Addressing these things might involve facing your fears (Just do it! Or start small!) or rearranging your lifestyle to accommodate.
2. Address the things that encourage action. These are the things that enable and improve the action. They might be psychological, such as the good feeling of having finished a project or the good feeling of positive feedback. They might also be physical – such as having a dedicated space and time for working. It’s important to keep reminding yourself of the good feelings that you get from working. Likewise, it’s important to keep the work space/time sacred and uncluttered from other distractions.

Some more studio-specific tips can be found here.

-Kim.

Four songs published

Two projects I’ve been working on have finally started to come to fruition.

Jarek

Windy Winds

Jarek is a rock band without a vocalist. With four guitars, a keyboardist and a drummer with only a kick and a tambourine, Jarek play a kind of atmospheric instrumental rock that shifts between evocative samples with ambient melodies and rocking out with heavy riffing. Their Myspace page is here.

The band came to me having recorded an album’s worth of material at another studio. I mixed and mastered this single, and am negotiating to mix and master the rest of the album.

Erin Shay

1. Falling In Love

2. One More Last Kiss

3. Temporary Love

Erin Shay is a pop singerand songwriter. While her voice and melodies have a reassuring (and impressive) familiarity, she has an characteristic approach to composition – particularly harmony and tonality. Her Myspace page is here.

Erin came to me having written a collection of songs, but in need of a producer – as a third party to advise on songwriting and composition, and to guide the recording and mixing process. The drums were recorded at Debasement.

-Kim.

Limitations vs creative direction

It can be difficult to find inspiration in the face of unlimited options. How do you pick a kick drum when you have a thousand to choose from (and are often told to layer a combination of kick drums)? How do you start writing a bassline when you can start in any key, and use any scale or mode? How do you choose what’s right for your song when you can have every sound from acoustic guitars to full orchestras at the click of a mouse?

Modern technology is great because it gives us so many options and possibilities for creating music. Without a disciplined approach, however, it’s easy to become paralysed by indecision – spending hours trying out sounds or experimenting with different grooves instead of making progress towards a completed piece of music.

An often-suggested solution to this paralysis is to impose limitations. This might be to write a song using a particular scale or mode, or to force yourself to only use a certain type of instrument, or to write a song within a certain time period. These are often good starting points to get quickly yourself out of a rut.

These types of limitations can, however, feel unsatisfying. This is because these approaches create a workflow that is defined by what it doesn’t include – it still doesn’t provide much in the way of direction. For example, giving yourself a limitation of only using a guitar as your sound source doesn’t give you any direction of what to do with the guitar. It’s still the same problem as before.

An alternative approach is to think about creative direction. Rather than defining a project by what CAN’T be done, instead define it by what WILL  be done. Instead of providing boundaries, this approach provides focus. This works best if the creative direction you set is independent of tools or composition techniques. Don’t think in terms of what gear you use or which notes you play. Instead, think about colour, texture, pace, etc. Even better, think one level higher – vibe, attitude, mood.

For example, you might begin a project where the focus is on creating “dirty electro rock”. This doesn’t limit the composition techniques or tools you use – you can use whatever you have at your disposal, so long as you use it in a way that evokes “dirty electro rock” for you. It could be anything from pure synths to mangled samples to live drums and guitars.

Another advantage of this approach is that a larger-scale project (such as an EP or album) will have a consistency and identity that makes sense to a regular listener. Non-geeks wouldn’t know or care if an album was only made with softsynths or hardware. Ten songs with the same guitar could be as diverse as ten different genres. On the other hand, a collection of tracks all with the same higher-level focus will sound as though they belong together – even if the instruments change, the harmonies change, or the musicians change. This focus, combined with your own idiosyncrasies will form the sonic identity of the project. The stronger and better-defined the focus is, the more coherent the music will be.

You don’t need limits. You need focus.

-Kim.

(Inspired by this post)

Four basic principles

1) If you don’t know why you need it, you don’t need it.

This applies to almost everything in making music – Whether it be a lyric, purchasing an instrument or other gear, a particular approach to processing audio, or choosing songs for an album. It’s shorthand for an approach towards a kind of minimalism – of not using anything more than necessary to achieve your goals.

Of course, this means you must know what your goals are. For example, you won’t know if distorted guitars are right for your song if you don’t have a clear idea of what your sonic palette is. You won’t know if that extra bridge section of the song is helping if you don’t know how long you want your song to be. 

This isn’t about a zen-style nothingness though, it’s about knowing what you need. To do this you need to be mindful of the barriers in your workflow. You need to know what it holding you back. You also need to know what is available outside your project or outside your studio that may be helpful. This requires an attitude of constantly evaluating your own work (including finished products and workflow) and being aware of outside opportunities (whether they be artists, studios, gear shops, workshops, courses, etc).

2) If you can’t hear it, you don’t need it.

This is a specialisation of the first point above, but intended to apply specifically to hearing the differences between gear. Rather than asking other people whether Compressor A is better than Compressor B, try them for yourself. If you can’t hear the difference, you should leave it at that. Trust your ears.

3) The volume fader is the most powerful tool available to you.

This should be your first port of call for finding the right balance between elements in a song. It sounds simple, but it’s true. Before you reach for any EQ, compression, saturation or anything else, reach for the volume fader. Use it to position the sound where you want it in the mix. This should get you about 50% towards a final mix. Then, think about adjusting the tone with EQ. Getting the volume and tone right should get you about 80%. Then, think about adjusting the dynamics with compression. Volume, tone and dynamics are the three main aspects of a mix. Of these, volume is the most powerful.

4) It took you longer to ask the question than it would have to try it for yourself.

This is primarily in response to questions about specific usage of tools or techniques. It’s actually quite quick to try something out for yourself. Plug it in, twiddle some controls, and pay attention to what you hear. If you don’t know what to listen for, reconsider your reasons for trying it. See the first tip (above). If you try it out and still can’t hear what you’re doing, see the second tip (above).

-Kim.

Reducing the distance between idea and output

The purpose of a studio is to create or record music. Hence, it should foster creativity. Certainly, a lot of creative work happens in the studio.

A lot of non-creative work also happens in the studio. Some of it happens ‘out of session’ – upgrading equipment, cleaning the ashtrays, backing up files, getting to know new gear, etc. Some of it also happens ‘in session’ – routing signals, setting up microphones, tuning up, auditioning sounds, etc.

Creativity is an enjoyable – and sometimes fleeting – state of working. In order to get the most of it, you should try to reduce the barriers to creativity. That means taking a good hard look at the non-creative work that happens ‘in session’, and moving as much as you can ‘out of session’. Technology works best when it stays out of the way.

The options available to you depends on your studio setup and your style of working. Try to reflect on what sort of non-creative things you have to do in order to be creative. Here are some ideas to get you started:

Physical Arrangement

• Keep instruments such as guitars, keyboards, percussion, etc on hand. Within reach, if possible.  You don’t want to have an idea for a part and have to get a keyboard out of storage in order to realise it.
• Have front-ends ready for instruments – preamps, channel strips, even cables. Set up your studio so you can plug in a single cable to your instrument and be ready to go. Of course, you can adjust things if you want, but at least have something ready to capture that idea! Ideally, have instruments always plugged in and switched on – that way if you have an idea you can simply arm a track and start playing.
• Remove obstacles that you have to step over or walk around. You’re less likely to grab that mic or patch that effects processor if you have to wade through piles of junk in order to get to it.
• Make sure your studio is a dedicated space. Having to share a space can make it difficult to get working when inspiration strikes.

Software Arrangement

• Set up a custom template for your DAW software, so when you start up a new project you already have your favourite synths loaded up (if you use soft synths) and you have channels already available for recording from external sources.
• If you use presets, make sure they’re organised by sound category. This is especially important for samplers, which often have a tendency to group sounds by library instead of sound type. That means if you’re looking for a piano sound, you might have to look in many different places to find the right one for the song. It’s faster and easier to work if all your pianos are together, all your basses are together, all your synth leads are together, etc. 
• In the same vein, make sure your plugins are organised by category as well. If you’ve got several compressors from different companies, you’ll find it easier to work if they’re all together.
• Reduce your choices. You’ll work faster if you only have a few filter plugins instead of a few dozen. You’ll choose a sound and get on with making music if you have one or two main synths and one main sampler instead of ten or twenty synths and half a dozen samplers with their own libraries.
• Keep your projects organised on your hard drive and move the finished projects to a separate folder. It’s easier to find the project you need if you don’t have to wade through a bunch of irrelevant files to get there. This is especially important if you’ve got multiple projects active at any one time.

-Kim.

EQ – cutting vs boosting

Never boost, always cut. Or not…

EQ is one of the most important tools available to an engineer (second only the the volume fader). It can be quite a complicated tool to use, and it’s not always easy to know how to apply it. Sometimes advice is given that ‘cutting’ (reducing the level of a frequency band) is inherently better than ‘boosting’ (increasing the level of a frequency band). Inevitably, the converse view is the cowboy “if it sounds good, it is good”. Both camps rarely explain their reasoning, so how do you decide for yourself which approach to take?

The fundamental role of EQ is to change the tone of a sound. Whenever gain is applied to an EQ band, part of the sound is being changed. For the most part, this change only occurs at the area around the EQ band – the rest of the frequency spectrum remains unchanged.

• When reducing the gain of band (‘cutting’), the changed part becomes quieter.
• When increasing the gain of a band (‘boosting’), the changed part becomes louder.

Generally, reducing gain sounds cleaner because the changed part is de-emphasised in comparison to the unchanged parts. As a result, the natural character of the sound remains more intact, and the processing sounds more neutral and transparent. This is a useful approach to take when you want to maintain the general character of the sound, and the EQ is mainly being used to fit the sound in the mix. This works best when the original sound is well-recorded and already has an appropriate character for the mix.

On the other hand, increasing gain makes audio sound modified because the changed part is being emphasised over the unchanged parts. As a result, the changed part stands out and draws attention to itself. This approach works best when you want to change the character of a sound.

Of course there are exceptions to the rule. Often it’s possible to boost the top end of a sound in a way that sounds natural – only brighter. Similarly, it’s common to use dramatic low pass and high pass filters to make a sound radically different.

Personally, I almost always find that ‘boosting’ sounds wrong. The only exception is the top boost mentioned above – adding more high-frequency energy often doesn’t affect the general character of a sound. Still, I probably apply ‘cuts’ about 80% of the time I use EQ. 

Ultimately though, the question of how to apply EQ should be proceded by the question of what you want to achieve.

-Kim.