Filed under Music

Just what do you spend an HMV voucher on?

 

HMV

HMV: Top Dog no longer.

I woke this morning to the news that HMV is closing 60 stores throughout the UK after a significant slump in sales (more).

 

I should have foreseen this, as it was only a week ago I trudged into my local HMV, clutching the £10 voucher someone bought me for my birthday. Which was last October.

This was my second visit to the music/game/you-name-it-we-got-it store and I was met with the exact same problem. What do you buy at HMV these days?

Music? No, iTunes exists.

A book? No, Amazon and iBooks exist.

A DVD? No, Play.com exists.

A computer game? No, Game Station exists.

A JLS calendar? No. Just, no.

Suffice to say, I walked out empty handed, again. There is a very real chance the voucher will spend the rest of its sorry life nestled in my wallet behind the dog-eared National Insurance card.

As someone I follow on Twitter eloquently put it this morning: “…what I most miss about buying cds and records is the artwork, reading the credits, etc. Music is so fucking disposable now…”.

And it is. What a shame.

…anyone want to buy a £10 HMV voucher?

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Trevor Horn – An easily overlooked yet deserved CBE recipient

Trevor Horn

Trevor Horn - Ignited my passion for making music

While browsing the New Year Honours list, one name in particular stood out – record producer Tervor Horn. He has been awarded a CBE for his services to music.

About time, and rightly so.

The list of records he’s worked on is staggering (viewable here) and always springs a few surprises. For example, I had no idea he worked on Jeff Beck’s recent Emotion and Commotion album, although now I know, it’s obvious his unique polish is present on that record.

And therein lies the problem. He whistles by most of our ears unnoticed, with only a few gear headed geeks like me aware of his omnipresence in and continuing influence on popular music. I’m sure a lot of people will only have a vague recollection of his name and its tie with The Buggles’ famous MTV opener Video Killed The Radio Star. That’s a great shame.

Anyone who knows how hard it is to write, record and produce catchy, memorable music will know just how enviable Horn’s talent is.

More importantly, this guy ignited a passion in me for making music, which still captivates me to this very day. As a young boy, on first hearing Frankie Goes To Hollywood’s Relax, I was instantly addicted to its thumping kick drum/slap bass rhythm and explosive synth sounds (alas, I was far too young to understand quite what both the lyrics and aforementioned sounds were referencing).

Innuendos and bans on radio play aside, Relax inspired me to sit at my Dad’s Atari ST for hours on end, surrounding myself with midi cables, GM sounds, Steinberg’s Cubase and straining sound modules to within an inch of their lives, endlessly trying to reproduce that sound, which I would hear again on countless Horn-produced tracks including most notably Yes’ Owner of a Lonely Heart. Sampled drum breaks and double-tracked acoustic guitars? On the same record? Mega, as I’d probably have said back then.

I’m yet to find that sound, but I continue to make music. Trevor Horn is up there with my dad in terms of inspiration; two men I’m immensely jealous of in terms of how they fill their working day.

I won’t delve into his other work, as there’s a great BBC article which recalls it perfectly, but I will conclude by saying that in this world of overhyped fly-by-night talent, those pioneers who have shaped the sound we hear emanating from every radio and music tv station are so easily overlooked. Rather than mourn yet another year without notable mention of Mr Forsyth, I suggest we celebrate the inclusion of one of the best producers of all time. A man worthy of mention alongside the great Quincy Jones.

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Maschine/Logic Workflow For Non MPC Heads

 

Native Instruments Maschine

Maschine - Not a natural partner for Logic

 

Feeling I needed something a little more ‘hands on’ for my beat making and sampling needs, it was with a degree of caution that I added Native Instruments’ Maschine to my studio.

If you’ve arrived here, you’ll most likely know what Maschine is, therefore I won’t bother explaining it in great detail, only to say that it is NI’s attempt at drawing the beat making crowd away from their MPCs and into a very clever marriage of dumb midi-driven hardware and powerful plugin-based software.

Does it work?

It’s a complicated answer, unfortunately. Certainly, from an MPC-syle beat creation perspective, Maschine is a joy to use. Sampling, too, is brilliantly implemented, making the process of building loops what it should be – fun and endlessly addictive. Time simply disappears while you’re using this thing.

Hip Hop producers will love it and will be able to create sparkling productions completely within Maschine itself, with no need to switch to a DAW. Me? Not quite so simple, unfortunately.

I have no interest in working with scenes and building up entire songs in that manner. The reason I bought Maschine was to gain an easy, more old school way of sampling and creating loops and drum tracks. The problem arises when you move over to your DAW of choice and mine happens to be Logic which, I’m sorry to say, is simply not a good partner for Maschine.

Yes, you can drag and drop midi, but its a little cumbersome and, due to limitations with Logic’s use of AU plugins, Maschine itself is pretty much useless as a soft synth. That’s unless you’re willing to start adding the ancient art of program changes into your projects. I’m not.

While considering the very real prospect of giving up and selling my shiny new bit of kit I came across a number of workflow suggestions and one in particular caught my eye.

If you don’t mind (or even enjoy) working with Audio as opposed to midi, I highly recommend using that method of getting your Maschine-created beats into Logic. There’s one problem, though. Maschine will only allow you to drag entire groups into Logic which is fine and dandy unless you take some pride in the individual processing of your sounds. The solution is stupidly simple, but easily overlooked.

Before dragging your audio across, solo one of your sounds in Maschine (for example, the kick). Then drag the audio into the DAW. The resulting audio file will contain just the soloed sound. Repeat the process for each sound and you’ll relatively quickly have individual audio files for each of your Maschine parts, all ready to be processed and arranged in Logic. A little bit long winded, but effective.

It’s convinced me to keep Maschine, anyway…

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New Track: Excuse Me

Thanks to http://www.acapellas4u.co.uk/ I’ve been experimenting with some acapellas recently, following a glut of writers block.

They’ve helped immensely and I’d recommend the site to any producers similarly struggling with sources of inspiration.

Anyway, here’s what happened when Jay Z met a lesser known Stevie Wonder track:

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Production Tip – Side chaining in Logic Pro

Logic Compressor

Logic's Compressor

Few electronic music genres fail to benefit from the pumping, sucking sound of side chain compression, yet it is one of those effects which many new producers struggle to get to grips with – not least because there are so many different ways of achieving it.

Finding the easiest method has troubled me for a while, but thanks to a recent issue of Future Music, I now have just that and feel it worth passing on to anyone who cares to read this blog.

I won’t bother explaining what side chain compression is. Partly because it’s almost impossible to put into words and partly because, if you’ve reached this page, there’s a damn good chance you’re familiar with it anyway. If you’re not, listen to the opening few bars of Eric Prydz’s Call On Me. The ‘ducking’ string sound at the beginning is probably the most commercial example of it.

The tutorial I’m using is based on Logic Pro and its bundled compressor, but the same principle will apply for most DAWs. It also assumes a fairly good working knowledge of Logic.

Make sure you set this all up in your standard template so it is always present for every project you start.

The key is to create a hidden, silent, infinitely looping midi track. Pick a sound or single hit, although don’t be naturally tempted to reach for the kick drum bank – a tight hi-hat or short, snappy snare will actually do the trick better. These types of sounds are far tidier, frequency-wise and will ensure that they trigger a clean side chain signal when played. It’ll probably also help here if you boost some of the mid and top end and roll off some of the lower frequencies in the EQ.

Stick your chosen sound on a four bar loop and loop infinitely. Depending on what type of sound you’ve picked, you may need to whack the level up to get a good signal, but I’ll let you be the judge of that. Regardless, this can be tempered for each project, depending on how severe you want the side chain effect to be.

Send the output of the track to a bus and mute the bus track.

To keep things tidy, hide the track you have the looped four bar hit on by clicking the ‘H’.

That’s your side chain trigger set up. Simple as that. Now, whenever you want to squash the bejesus out of a synth patch, for example, add a compressor to the track in question and choose bus 3 in the Side Chain drop down box at the top right. Bring the compressor threshold way down to -30-40dB, the ratio as low as you like, knee at 0 and bring both the attack and release down to around 10ms. Adjust as you see fit.

As with many side chain tutorials, the above may seem complicated at first, but this is in fact the simplest method I’ve found yet. Have fun.

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New Track: The Mack – Update (Persona1600 mix)

I’ve been a little quiet on here recently, but that’s mainly due to a renewed focus on production. So, here’s my latest – ‘The Mack’, which includes a tasty sample from Sir Mixalot…

UPDATE: The Mack makes an appearance on a rather tasty mix from a good colleague of mine. Check out Persona1600′s mix below and find out more about him here: http://www.to/1600

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Goodbye PowerPC, some of us will miss you

If a PowerPC Mac were a chicken, this would be the announcement of Christmas

If a PowerPC Mac were a turkey, this would be the first mention of Christmas

Having installed iLife ’09 on my Apple Mac G5, I launched Garageband, eagerly awaiting my first experience of the much hyped music lessons included within.

What transpired was both surprising and teeth-scrapingly frustrating. You see, while Apple will allow you to install their latest consumer software suite on your old PowerPC-based Mac, they will quite happily deny you access to one of its main features. Because you don’t have an intel chip, like.

Alarm bells started to ring.

iLife ’09 was joined by Google Chrome and, perhaps most disconcertingly, Snow Leopard. None would entertain my sad old G5.

I’m sure there are plenty of other instances of similar intel-only programs, but the three above signaled the final nail in the coffin for my studio workhorse.

Frustratingly, my G5 would be perfectly capable of running these pieces of software (and Apple’s new operating system, no doubt). Apple have simply closed their doors to what was once hailed as the most powerful consumer computing platform around. And they can. They have the power to do this when their entire hardware platform is proprietary. What they say, goes, and there’s only so long you can hold on before succumbing to the inevitable.

I now sit typing this on my new MacBook Pro. Everything suddenly works. There are no restrictions. I just have a somewhat lighter wallet…

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New Track: You’ve Got Something

This week, I’ve been experimenting with the EVOC20 Logic vocoder, mastering and, for the first time ever, some harmonies. From my own mouth. Sorry.

For those interested, this track features elements of ‘I Can’t Wait’ by ‘New Shooz’.

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Production Tip – Walk Away

FaderAnother quick, non-technical production tip, for anyone that cares to take notice of this section of my blog.

Anyone who makes music will know the eternal frustration that comes from listening to the same eight bars of a melody or bass line 300 times in a row. Those poor people living with bedroom producers will also be keenly aware of how hugely irritating this practice can be.

It’s easy to loose sight of what you’re doing or trying to achieve if you over-listen. Whilst it might seem necessary to loop those eight bars and jam over the top in an effort to inject a new lease of life into your first verse, it can also be very counterproductive.

Like many people, I’m always working on two or three tracks at any one time. As soon as I start to get frustrated with something, I’ll save it, bring up another project and move on. Leaving it to settle, even if only for a couple of hours, can work wonders. When you come back to it, it’ll sound fresh and you’ll instantly be inspired to add to it*.

Quite often, I’ll bounce a rough mix, or even just the basic outline of a track to MP3 and stick it on my iPod. Then, using the ‘I’m just going out to walk the dog’ excuse, I’ll get some fresh air and have a listen. It’s incredible how different a track can sound when you take it out of the studio. Just remember to make a mental note (particularly if you are dog walking) of any changes you need to make on your return.

Try it. Walk away from what you’re doing. Like a good bolognese, music needs some time to settle. Daft analogy, but true. Sort of.

*Very occasionally, it’ll sound like dog shit. In this case, consign it to your trash can – you were right in the first place.

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