Archives for June 2018

One of the most nuanced and detailed aspects of music production that many producers can sometimes overlook is the importance of mastering the low end when they are mixing their music. The reason that they have difficulty in doing this is due to the fact that there are so many different variables that go into mixing for the low end, and this array of factors causes music producers to have to consider a wide range of concepts in order to do so effectively.

Key Takeaways:

• Low end problems can be created, or made worse, by studio rooms that are poorly designed to treat low end acoustics.
• Some pieces of equipment are problematic when it comes to lows, such as cans, which tend to exaggerate them.
• When two instruments duel for the same frequency space, (frequency masking) it's super vile at the low end, as it colors all of the mixing choices available, moving forward.

“At some point, every engineer has had difficulty taming the beast that is low end. Why? Multiple factors are involved.”

Read more: https://www.izotope.com/en/blog/mixing/7-tips-for-mixing-the-low-end.html

For those who are in the business of music production, it is fairly clear that digital technology and similar innovations have started to overtake the industry and the way things are done. One of the most important aspects of the digital change is the implementation of new DAW programs, with one of the companies that are setting the stage being that of Tracktion. They recently announced the soon coming arrival of their Waveform 9 platform, which is crucial for producers.

Key Takeaways:

• Already an award-winner, Waveform, developed by Tracktion, has a ninth incarnation available soon to its large fan base.
• One of the newly included features of this generation Waveform is an extensive library of 24 track drum loop construction kits.
• The Waveform 9 will be out there for purchase in 2018, with a basic model coming in 150 dollars cheaper than the model's ultimate uograde.

“Included in this major new release is a compelling range of new features, add-ons and additional content to improve workflow and inspire creativity.”

Read more: http://www.musictech.net/2018/03/tracktion-announce-waveform-9/

For those that appreciate the science and artistry inherent in music production and the creation of sound effects, the line between the two is logically thin. Once one realizes that music and noise are words that can mean exactly the same thing, allowing for context, some light tseatwea, and personal taste, exciting things can happen. Your toy chest can get a lot fuller.
Specifically, music producers that recognize that sound design tools should have a place in their working arsenal, have a lot more to work with. Consider a tool meant to create virtual instrument effects, or one that distorts normal noises, or creates virtual sound-scapes, for a different flavor in musical production. How about a machine intended to create cool video game noises, or alien languages? Simply remove the arbitrary distinction between musical production and sound design and the possibilities erupt.

Key Takeaways:

• Krotos Audio has created a truly incredible tool for the creation of video game sounds, known as the Weaponizer.
• iZotope created Trash 2 to be a tool that distorts sound, mangling input to create an array of cool effects.
• Virtual instrument tools, like Apple's logic pro and Output's Analog Brass and Winds, should prove useful both to sound designers and music producers.

“Pierre Schaeffer’s concept of musique concrète and John Cage’s music and his essay, The Future of Noise – Credo continued to push the envelope and gave validity to further experimentation.”

Read more: https://theproaudiofiles.com/sound-design-tools-for-music-production/