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I always do an additional 30 sec and 60 sec version. Sometimes also versions with a different instrumentation.
My workflow is to first finish the main version and mix a master version in Logic. Then I use Logic’s excellent “alternatives” feature (MOTU DP has a similar thing, I’ve heard – and probably many other DAWs). So I start each “alternative” with the full main version mix, to keep the mastered sound, while moving parts around in the arrangement. Sometimes I might even change the tempo here and there to be able to keep musical material that makes sense while still hitting the exact track duration. A really good kick-off I’ve found is to use Logic’s Cycle set to the new track length and then I simply drag it around to see where I have some good musical parts to build on for the new version. I appreciate doing this “remix work” on the full production, rather than on mastered audio files or stems.
Interesting post! I really like breath control. So far I have indeed played the EWI, but found no breath based solution for two-handed keyboard playing, instead of relying on expression pedals. Now, this post gave me the exciting idea to build a desktop stand for my EWI and use it for enhanced musical expression; just merging its CC#1 and/or #2 output into whatever polyphonic stuff I’m playing with bo hands on the keyboard (mostly an Ableton Push in my case, as I like it better than the conventional piano styled keys layout).
Here’s a method to make smooth loops:
1. Cut away audio after the loop point.
2. Play the file and record the reverb tail following the abrupt end at the loop point.
3. Move this recording, of the reverb tail, to the start point (= beginning of loop file).
4. Set up a natural sounding mix between the two files and sum them into one final loop file.Now, when the loop spins, there will be no loss of reverb tail; smooth looping.
I too opted out two albums of CD Baby’s sync program, since two pieces have been remixed for production music libraries. Unfortunately, CD Baby’s program only deals with albums and there’s no way to opt out a specific track.
I was worried that even though it’s about remixes in my case, some audio recordings, from the original CD release, in a remix may trigger a Content-ID alarm. Would you say that is an unnecessary precaution?
I think Logic’s synths are just as good as any other (Ohmnisphere, Kontakt etc). Every electronic virtual instrument has its own personality so it all depends on what you are after. The ES2 is my go-to VI for “synthy” sounds and for DX-type sounds I also look first at Logic’s EFM1. Same goes for organ sounds, very broad organ palette in Logic, and clavinet type sounds. The clavinet VI offers useful synth harp sounds BTW. The sampler EXS24 has a big library as well, lots of sampled analog synths that might come in handy.
Stuff I do not look inside Logic for are real orchestral sounds like the what you can get for Kontakt 5 (using lots of libraries by Spitfire Audio and of course LASS).
IMHO the good thing with Drummer is its semi artificial intelligence, rather than the sounding drum kits available. I typically use Drummer to quickly sketch up a drumming performance along the entire song length. Then I mute the Drummer track and copy its content onto a MIDI track that I arm with a sounding drum kit. The reason for this is that I can then slap a the MIDI fx Randomizer on that track and automate its “Output Offset” to imply parts of looser vs harder drumming through the song. That’s kind of the “top of the iceberg” of what I find helpful in using Logic.
I have so far only registered one title for each of my compositions, with my PRO. But I have currently come around some libraries that recommend their composers to register all alternative edits and mixes as compositions in their own right. So I’m about to do that when a time window comes up. My PRO collaborates with the actual MRO and for every composition, intended for libraries, I opt out of MRO’s handling of the mechanical rights.
I’ve also seen recommendations to register every sound recording, even alternative edits, with your organisation that represents your rights as the artist, the musician and the label. Just watch out here for content-ID, digital watermarking, conflicts! With SoundExchange one can opt out of that, if needed (to avoid a client that bought a license for your music from a library will receive a note from somewhere saying that the music is protected).
I currently own three software DAWs: Logic, Bitwig and Live. Logic X is the one that allows me to work faster than the other two. I generally sketch up the pieces in my head by imagination first and then I record the stuff and mix it in Logic. The Alternatives feature works well for me when a mix is finished and I want to have fun and try out a handful alternative mixes and edits (ad spot cues, drumless, ambient etc). I really dig the fast “reverse audio snippet” and “time stretch by mouse painting” in Logic together with the quick audio crossfade implementation.
Like Matt says, I assume Bitwig would allow the fastest workflow but I just haven’t had enough hands-on time with Bitwig yet, so much work and so few hours a day.
I have been using PT and Cubase too in the past, but not today… and probably not in the future. Logic is like a second instrument to me and I put my hopes for a grand future in Bitwig 🙂
Thanks for sharing – that was fun listening! I think especially the licensed tracks sound great and as far as I can tell, being a musician myself rather than a music license user, this is useful music for some media productions. I too am only one year into RF library work, although I started out three years ago with an exclusive library that does me pretty well.
I don’t know about libraries focusing specifically on that, but I have noticed that AdudioSparx, Musicsupervisor.com, Pond5 – and probably many more – have a special tag for if, or not, vocals and lyrics are part of the track. This library approach relies on the client’s applied search criteria; those who search for music with vocals and lyrics in your style will find your tracks, given you have been tagging them well.
Hi Guys,
I have a short question regarding SoundExchange. I’m both “the rights owner” and “the artist” (composing solo artist running my own label), so should I upload both excel sheets to SoundExchange; i.e. in both roles?And how are you doing with plain media music? So far I have only registered my commercial CD releases with SoundExchange, but the I read in the AudioSparx newsletter about SoundExchange and began wondering if I should also SoundExchange register the music I submit to RF libraries?
I’m not doing much loop construction today, but I did that a lot in the past and developed a trick to achieve smooth looping for the user: You render a bit of (tail) audio for the silent bars after the music has stopped and then you mix in that audio as part of the first bars. Voilà – you get a totally glitch-free merry-go-around in place!
Yes, I use the Push and really love it! My DAW of choice is Logic X and Push works like a charm with a little help of the third-pary utility PXT-General, http://www.nativekontrol.com/PXT-General.html.
In fact I like the Push better with Logic than with Live 9. I also use it with Bitwig and like that too better than together with Live 9.
What I specifically like with the Push is that fast switching between all kind of scales and with the PXT-G you can set up the rotary encoders for whatever you want them to do, rather than relying on what Ableton thinks you need. I mostly keep the rotary knobs directly targeting continuous expression parameters in Kontakt 5 orchestral libraries. I also use a column of buttons as key-switches for those Kontakt patches.
Except for the PUsh I also like using an Akai EWI 4000s for playing more fluent lines in a wind instrument context. That’s something the PUsh – or any piano style keyboard – can’t do.