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October 14, 2008

Controlling your DAW from the vocal booth


Is your vocal booth/room separate from your control room? Do you find it hard/impossible to record your own vocal takes without the help of someone to man your controls? Do you have a iPhone/iPod Touch? Well then I have a solution for you.

There have been an enormous amount of apps released for the iPhone/touch in the few years it has been around. Some of these apps have been specifically geared towards us audio engineer types. As mentioned on Create Digital Music, if you are working with Protools you can get ProRemote to control your mixer for about $40 for the lite version and about $150 for pro. If you are using some other DAW on PC you can pick up a copy of Intelliremote to push your buttons from the iPhone/touch.

In order to get this to work you must first install the server application on your PC. This app runs about $25. You also need the client software on your iPhone/touch. Once you have to two programs set up it is just a matter of plugging in your PC's address into the iPhone's options and setting up a profile for your DAW. It only takes a few moments to map Intelliremote's buttons to those of your DAW. Though this software is not made specifically for use with DAWs it is well suited for the job. Among it's great features are the ability to use the device as a mouse or keyboard. Also the iPhone can remember up to four different computers so you can use it with your laptop, desktop and also as a remote for your media center.
I have been using it to free me from the record button of my rig for about a month now and I can say that I am a lot less put off at the prospect of having to record myself now.

Do it yourself


Audio Gear can be expensive...really expensive. Sure you could go down to guitar center and drop a couple hundred bucks on a cheapy low voltage mic preamp instead of dropping a few thousand bucks for a true studio grade preamp. Not everyone has four or five grand to toss into their hobby on a whim. But since the upcoming Maker Faire in Austin has me in the DIY mindset, I am gonna show you a few ways to save a few bucks and get some really kick ass gear on the cheap. Hit the jump for the skinny.

Continue reading "Do it yourself" »

September 5, 2008

Dragging Time


Every so often I find myself getting very stale with my music composition. I get into a rut and I can't seem to come up with anything creative or inspiring. When this happens I usually find myself digging into my bag of rhythm tricks. I am a big fan of using odd time signatures to create a unique groove. I have picked up one trick that I call dragging time. The basic effect is like slightly slowing down a spinning record with your finger while it it playing. It creates a kind of drunken, lazy vibe that can range from subtle to awkward depending on how much you exaggerate the effect. Because it has that drunken vibe it really works better at lower tempos. Not really sure what I mean? Well download the Project Files unzip and listen to the Peeping Tom demo track 03 03. Lesson after the jump...


Continue reading "Dragging Time" »

August 23, 2008

How to licence your music with Creative Commons


You have written and recorded some music. You want to protect your intellectual property. If you have been paying attention to the music industry lately then I am sure you have heard of Creative Commons License. Trent Reznor of Nine Inch Nails has distributed his last few albums under the Attribution-Noncommercial-Share Alike in order to make his music more available to the public and allow his fans to remix his tracks without having to worry about going against his copyright. If this kind of license sounds appealing to you and you would like to apply it to your music or other intellectual property, then follow these steps to get your work licensed under Creative Commons.

Step 1: Get your work Copyrighted
Essentially, once you have recorded your music, all you have to do to get it Copyrighted is to simply say it is Copyrighted. For example,

Copyright How to license your music with Creative Commons © 2008.
Now this blog post is protected under Copyright. You can not distribute or copy this work without my permission. To go one step further, you can register at the U.S Copyright Office for $35. Registering your intellectual property with copyright registration entitles the availability to statutory damages and any fees that occur. Basically, if you have to fight it out in court without being registered at the copyright office, the legal fees would probably be more than the sum you would win. You don't have to register, but it is a good idea. If you don't register, then you will have to pay all the legal fees associated with it, proving that you are the copyright holder and original author. If you are registered then apparently the Copyright office takes care of that bit.

Step 2: Choosing a License
Now that you have your work protected and all rights are reserved, it is time to loosen your strangle hold on your intellectual property so others can be free to use it in whatever way you deem fair. Visit the Creative Commons Choosing a License page and read over the different types of licenses that you can apply to your music. Everything is spelled out in plain English so you should not have any problems with confusing legal mumbo jumbo. After deciding how you want to restrict the usage of your work, head over to the Creative Commons License Your Work page and select the allowances and fill in the info.
Generally you will want to select "No" for "allow commercial uses of your work". So if someone wants to make money off of your music, they will have to pay you for it, but if you want your work to be totally free then select "yes". Then select what modifications you will allow. Here "Yes" means someone can remix or cover your song however they like. "Yes, as long as others share alike" means they must attribute the original work to you, and it must be released under the same license you originally released the work under, and "No" means they can't modify your work at all without your expressed permission.
You then select your jurisdiction, which will make the license apply to whatever country you select and then fill in your info. Once you have done all that, click the "Select a Licence" button at the bottom of the page.

Step 3: Publishing your License

Now that you have gotten your license all squared away, you have to let people know that your work is in fact licensed under Creative Commons. The page you are taken to after clicking the "Select a License" button will have some code you can insert into the HTML of your web site or blog. On the left side of this page, you will find specific instructions on how to insert the code into Blogger, Movable Type and Typepad blogs. They also have some guides on how to publish your music to p2p networks like Morpheus.
Once your web site is set up, you want to be sure to include your license info in the ID3 tag of any mp3 that you are planning to distribute. You can use any program that allows you to edit ID3 tags to add your license information into the comments area. The information you will need to list includes the latest year the recording was licensed, the name of the band or artist, the type of license, and a link to the license info. It is also a good idea make sure it is pretty clear on how to contact you in case someone is interested in using your work for commercial purposes. Ex: 2008 Velvet Wasp ©. Contact through www.slamgauge.com Licensed to the public under the Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States http://creativecommons.org/licenses/by-nc-sa/3.0/us/

Now you are all set. Make a torrent of your music and put it up on Piratebay, Limewire, Myspace, your blog or where ever else you would like. Perhaps later I will write about different ways to distribute your music online.

H/T:Audiotuts, Electronic Music Production Tips, Home Recording Blog, The Home Recording Show, Adventures In Sound



August 20, 2008

Stereo Miking Techniques


So you just got yourself some preamps and a pair of mics. You try to get those drums/guitar/piano etc. tracks laid down but it just does not sound right. It may seem like a simple enough thing to just point the mic and hit record but there are a few things to consider beforehand. The polar phase of the two signals can kill the recording. Audiotuts' 6 Stereo Miking Techniques You Can Use Today post will give you some basic guidelines on how to configure your mic arrangement to tackle your phase problems and get the best stereo depth from your recordings.

If you have already recorded your takes and think you might be having phasing problems try nudging one of the tracks left or right by a few milliseconds. You could also grab the highly recommended and free plugin Flux Stereo Tool to invert the phase of either side of the stereo signal and keep an eye on things.