“Not Just for Songwriters anymore” by Louis Gentile
The Focusrite Scarlett Solo 3rd Generation is an, “entry-level” part of an extensive line of high-quality audio interfaces. I purchased the Solo after my Black Lion modified mainstay Digi 002r was having compatibility problems with the newer Mac computer I was using. My Digi 002r originally came equipped with Focusrite mic preamps. As with the entire Focusrite line, the Solo features 24-bit/192 kHz resolution.
The name of this plugin reflects its three main purposes: it’s a dynamic equalizer with frequency-matching functionalities. Actually, this plugin features many more options and possibilities, which makes it a very powerful multifunctional audioproduction tool. In-depth explanation of every option and possible production usage would take up a lot of space, so I will restrict this review on marking the basics of most important functions and options.
Important general features. The plugin has usual stereo and mid-side channel routing options, as well as other channel combinations, including surround. Automatic gain compensation (AGC) function equals output with the input gain. On the right side of the panel, the plugin has 8 slots (marked from A to H), for storing and comparison of various eq settings. In most cases, A-B comparison is enough but sometimes is very useful to have more than that.
Years ago, when I was going through a dry spell as a songwriter, I stumbled upon a book by Julia Cameron called The Artist’s Way. It is a 12-step program for recovering artists. This book gave me some very practical tools for opening my (sometimes blocked) creative channels. For a long time, it was my “bible”, and the exercises in the book were very helpful. I believe it is still in print and is readily available on-line, in bookstores, or in libraries. (more…)
It’s no big secret that the music industry is a tough business to be in. As we quickly move through the digital landscape, seeing the slow death of physical product among other opportunities, the whole Music Industry game continues to be constantly shifting. Gone are the days where composers would receive huge cash advances. There’s also the feeling that technology platforms are disrupting the music business. Some claim they are improving the game, while others say they are taking money away from the creators.
The vast majority of educational content being spewed out about the music industry works under the assumption that there is only one viable path forward. Many believe companies writing this material, are trying to attract future independent content providers as customers. (more…)