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There’s also an analyzer you can put in a tracks effect bin, if you haven’t seen it. I think it’s Direct X | Cakewalk | Analyzer. I use it to compare two tracks to each other, because you can have multiple instances open.
Double what it was just twelve years ago
And it sure was reasonable when I graduated, dare I say it, back in the 80’s. I just can’t imagine what the kids graduating now face, trying to make a living in music. I found a way to scrape by with music over all my years, but wouldn’t know where to tell a recent graduate to even begin…
Hi Art, you use Sonar, don’t you? Each tracks Pro Channel EQ has a spectrum analyzer built in. Just expand the eq to its large view and you’ll see it.
I do use a High Pass Filter around 30/40db depending on the mix
You might have meant 30/40Hz not dB? Doing that on the mix is good; my tip is to high pass all tracks at the frequency it stops being useful. For example, a tambourine typically is a midrange instrument, so pulling out all frequinces below say 800Hz will remove any unnecessary low end. It’s subtle, but doing it on all 20 or whatever number of tracks you have makes a difference.
Any recommendations on getting each instrument to “fit their space” better?
Think about carving out a frequency in one instrument, to make room for another instrument in the same range. This is typically done with the kik drum and bass instrument. For example, if the bulk of the sound for both is around 80hHz, pull a bit of 80Hz out of one to make room for the other. You could even raise the other at 80Hz, if it sounds good.
Any tutorials you’d recommend
In addition to “Recording Magazine” whom I write for occaisionaly, I have a few issues of MusicTech Magazine. The focus issues where they concentrate on a subject like mixing or mastering are useful. Same with Computer Music Magazine. Also on my shelf is Bob Katz’s Mastering Audio the art and the science.
I agree with Chuck, the mix could use some improvements. Do you use a high pass filter on all your tracks? If not, this could help clean things up. Also, if you don’t already, consider converting some stereo keyboard tracks to mono. This will give you more panning options and clarity. Big sounding stereo keyboard tracks can take up too much space.
No trouble, except I usually see more new cue sheets posted than I have recently…
P.S. the back is a sheet of 1/4″ Masonite hardboard.
I have three homemade baffles in my “live” room. I built frames out of 1×6 pine, mounted to a plywood base with angle brackets, filled them with six inch open face fiberglass, covered them with cambric cloth and painted them black. The three are all two feet wide, two are four feet tall and one is five feet tall. They’re good for many uses; I’ve placed them on the sides and in front of acoustic guitar before. These days they are mostly left in the corners of the room to absorb bass frequencies. I’ll try to attach a picture.
I like the idea of making the highest possible quality mp3 (320) but each library will vary on the specs they want to see, I’m sure.
I use Sound Forge for converting, it does include batch processing.
So I am thinking I am going to do one more year of really cramming and focusing on production skills… I was wondering , first of all, how much this is really going to benefit me,
I’ve always thought that learning production skills is akin to learning to play an instrument. As a musician, you know what it takes to be good on your instrument, practice! I’m sure at one time in your life you put aside time daily to practice, which really benefited your skills. I believe anyone would benefit the same way from practicing production.
To get to the point of a giving live performance, a musician will practice scales and etc. To get to the point of a creating a final composition, practice production techniques. The techniques you’ve worked out ahead of time will come out later, just like working on fingerings and voicings on your instrument.
FWIW- I also use free Macrium Reflect for my “just in case” image backups.
The audio drive should be easy enough. If it’s just data, files can simply be copied and pasted to a new drive. If both drives can’t be in the computer at the same time, first copy to an external drive, then transfer to a new drive.
“C” is more tricky, like you said, you’ll need to either use cloning software or imaging software. I don’t know if it happens these days, but in the past I’ve had problems with protected software and cloning/imaging. The software knows it’s on a different drive and assumes it is being stolen and won’t run. Some software may check other factors like the processor ID and motherboard and be smart enough to realize it is the same system and not being stolen. I guess you could check with the vendor so at least you’ll know ahead of time. Still, re-installing or re-registering some programs is better than a full system rebuild. And hopefully you’ll be lucky enough to clone the drive and have everything fall right into place!
Probably not $39.00 on Pond5.
>Many RF libraries, like AS and PT require customers to file cues sheets for broadcast use.<
And I would say, a good reason to to register your RF (and original title NE’s) under your own publishing company.
Your question made me curious, a quick search shows the term “non-exclusive copyright” in this Stanford University article:
I don’t totally understand it, it’s still confusing, so I won’t comment. Just wanted to point you to the article.