Advertisements
Aside | Posted on by | Leave a comment

Consistent Happiness.

Consistent Happiness.
(David “Rainman” Banta)
© 2013 www.Platinum-Mixes.com

Don’t re live negative things over and over in your mind. Remember one of your main ultimate goals is be consistently happy.
If an A-hole driver cuts you off for example,you can accept the fact that there will always be bad drivers out there and understand that you may not be able to change that, but you can control how to react.
It’s one of the greatest teachings that between stimulus and response we as human beings have the ability to choose. (Stephen R. Covey is big on this)
We can either accept that there are bad drivers and smile and go our way, or we can get pissed and be unhappy for the duration of the time we are pissed.
Then we can choose to forget about it or live that moment over and over again in our minds throughout the day Creating consistent unhappiness which becomes a bad habit. For many of us consistent unhappiness has become a bad habit.
Great news! The habit of consistent happiness can many times be created quickly and easily. Sometimes a little knowledge can cause a revelation that can create lasting change in your life instantly! Sephen R. Covery calls it a “Paradigm shift”

So many teachers I’ve studied teach that if your thoughts are mostly positive you will get mostly positive results. if your thoughts are mostly negative you will get mostly negative results.
Choosing to get angry and relive it over and over in your mind is not only negative thoughts that will produce negative results. like bad health, It also makes you unhappy!
Remember, before you react you have the ability to choose and how you choose determines your level of happiness, success and even health!

Posted in Uncategorized | Leave a comment

Success and the Music Business

Success and the Music BusinessImage

Part 1: The Beginning

by David “Rainman” Banta

Multi Platinum 2 time Billboard #1 selling mixing engineer/producer

© 2013 www.Platinum-Mixes.com

https://platinummixes.wordpress.com

(754) 444 7246

PlatinumMixes@gmail.com

 

“If you want to play the piano, you must study piano. If you want to succeed you must study success” -Tony Robbins-

    Has success in the music business eluded you? Does it seem like no matter what you do or try you don’t seem to get anywhere? Does attaining your dreams in music seem to escape you? It eluded me for many years. I had had extensive training in music and electronics but the business of success in music always seemed to escape me.

  About 5 years ago I discovered the wealth of information and training out there in the field of personal achievement I spent years studying the greatest success teachers of all time and learning to apply it to myself and my career in the music business. Teachers including Napoleon Hill, Tony Robbins, Stephen R. Covey, Dale Carnegie and many others

  Needless to say it changed my life and taught me how to manifest my dreams on a consistent basis.

The beginning of success in the music business;

1) Have clearly defined outcomes.

 The very beginning starts with you having clearly defined goals in mind.  It’s ok to dream big dreams but it’s important to be pragmatic while defining exactly how you will attain those dreams.  Otherwise it’s just wishing.  Success comes from having the end in mind, and taking massive action towards that end.

   Have clearly desired outcomes short and long term. For example; Your desired outcome in the studio today is to record your guitars while your long term is to make a song with mass appeal.

 If you want to make a living in music start with clearly defined goals. For example “I will be making $500 a week by the end of the summer”.  Next clearly define how you will achieve these goals. For example “I will make this money engineering sessions at my studio.” Then list all the actions you will take towards achieving this goal.  For example “I will run ads in the paper” “I will have business cards made and go to clubs on weekends and pass them out”

   It’s important that you  accurately evaluate the results of each of your actions, and vary your approaches till you find the ones that work best If starting a project by writing the melody and lyric first isn’t working try starting with creating the music first. Or lay down some nice piano chords and write over that. Find your approaches that work best and utilize them. If people like your melodies but not lyrics team up with a great lyricist.

  Massive action is required to achieve your dreams. Simply saying “I want to be a famous producer” isn’t enough. Start with first things first and goals that are attainable like “Record a song that a lot of people truly love the first time they hear it.” Then move on to bigger things like packing out the local club on a Saturday.

2) Check out  the successful competition.

   All the great success teachers I’ve studied teach learn from others who have succeeded in the way that you wish to. It could be as simple as getting on the email list of your successful competition and studying and learning from their mass emails. Studying their websites, reading their bios, rates etc learning what you can from those who have succeeded, All the great teachers I’ve studied emphasis this is the quickest route to success.

  Follow successful artists on facebook or other social media and study how they do what they do Then learn to apply it to your own career.  I’m not referring to losing your originality. In fact originality is why most great artist succeed on the level they do. I’m referring to studying their presentation. fliers, website, recording quality. etc

 If your goal is to have a hit on the billboard charts, I recommend that you  regularly go to www.Billboard.com. see what’s in the top 20 then go to youtube and listen to all 20  songs with the intention of discovering why they went top 20.

3) Don’t get caught in what I like to think of as a “Fairy Godmother Syndrome.” People who record a demo and promote hoping someone will come along and make them famous and finish their product and dream.

   I’ve been a full time recording/mixing engineer/producer/pianist in Hollywood for decades. Pre the home recording and computer boom making professional sounding recordings was very expensive. So people made demos on little 4 and 8 tracks in their house until a record label would come along and give them the budget to record it right. It’s not like that anymore. Finished product puts you first in line for great deals these days.

  Let me ask you a question. If you were a major label and you were planning to sign 3 new artist this year. Who would you sign? The kid with the demo and no plays or the person who has already proven themselves with a certain amount of success. The one with the great sounding album or the one with  the demo?

 Self reliance is required to succeed on great levels. You can’t wait for someone to come along and give you your dream. What if no one ever comes along? You have to make it happen yourself. When times are hard you have to give yourself words of encouragement. You have to be self reliant in action and attitude.

4) You have to have an exceptional product from other people’s point of view.

    It all starts with your music and recording quality. If people aren’t freaking out loving your music….try again. and again till they do. If you want to succeed in music in a big way you’re music has to have mass appeal. It’s required that you don’t pass over this step because if you do no one can help you. Ask yourself and others “If a listener is only going to buy a few songs out of the millions that are out there why would they choose mine and give me their hard earned money?  Like all good companies you have to learn to get honest feedback on your product.

   Make a feedback form for you music and videos in Google Docs it’s easy and free.. Then post the link wherever you want.

.Questions you should add to your form are 1) Where did you hear about us? 2) Give us your honest opinion of our music, 3) ask if they would like to join your email list. Allow people to fill in your feedback forms anonymously. This will get you more honest reviews. Every day I see aspiring artist that I would love to give feedback to but I don’t because I feel it may make them angry or hurt. Ask how you can bring them music that they truly love.

    Give people a reason to fill out your feedback form. Napoleon Hill teaches “You have no right to ask anyone to do anything without giving them a sufficient motive”. Don’t make it one of your albums free because then people who don’t like your music or videos will be less likely to fill out the form. Make it something good like a winner gets a gift certificate, or something else everyone would like

   Here are some examples of feedback forms I made in google docs

Prospective Client Feedback Form

https://docs.google.com/spreadsheet/viewform?formkey=dC1sTE5yclVvcEg1Y0lDd2Vwd1gxZlE6MA#gid=0

Prospective Student Feedback Form

https://docs.google.com/spreadsheet/viewform?formkey=dGQ4QjhKZ2FOVV9lbmlEQVdkbktlN3c6MQ#gid=0

5)   Always think from the perspective of the listeners point of view.

   . In general people don’t care what you need or want,  they care what they need and want. Don’t ever start an email with “I need” especially to people you don’t know personally. When I get emails like that I seldom read on past the first sentence. Besides deals these days are usually given to those that need it the least. Don’t ever appear needy! The ones who have already succeeded to an extent either on  the web or selling out live shows and selling music are the ones who get the great deals.

    The first major mistake I see aspiring artist make is they are egocentric and believe that everyone likes what they like. Experience has shown me this is not true. Some of my biggest hits that sold the most are ones I liked the least. Thanks to the record labels that released these for seeing the bigger picture better than I did. The first and foremost thing of all is that your music must have mass appeal. If it doesn’t you need to keep trying till it does.

6) Be objective. If you can’t sing, and lessons won’t help. be brave enough to see that and to do something else. Wanting and believing that you will be a famous singer isn’t enough if you can’t sing. Produce, engineer whatever. If your time is spent promoting recording that people don’t like then you’re wasting your life. I see people wasting their lives all the time trying to be a singer when they have no business singing professionally.

 I started out as a professional trumpet player. When people started programming music more and jobs became scarce I was smart enough to take up recording engineering. There’s always work for a great engineer. The great teachers teach have more than one skill. That’s how you survive hard times. Learn an instrument if you can.

    I wanted to play piano all my life and one day I thought “In 10 years I’ll either be a pianist  or not it’s up to me.” So I did the lesson books every day, scales, sight reading etc. Now here I am 15 years later and I’m a pianist and I love it. One of my most fun things is playing for my own personal enjoyment. Being able to produce records the way I hear them in my head now is a dream come true. 10 years from now you’ll either play an instrument or you won’t. It’s up to you now! People who play an instrument as well as sing or rap are more often regarded as artists.

7) Work in well formed teams of people. Groups of people rise far higher than individuals.  This was the main thing that was holding me back. I liked to work alone. When I taught at UCLA one of Quincy Jones’s partners would come and speak to my class. He said that the reason Quincy was so successful was because for each project he would put together a team of people specifically for that project. Just look on a Michael Jackson album and it’s not uncommon to see 5 or more producers listed on one song. Working in teams is so important that Napoleon Hill made it the very first lesson in the course “Law of Success in 16 Lessons” the richest people in the world attest that one of the reasons they succeeded so big was their ability to form and work with groups of people. It is said that Henry Ford had almost no formal education but he was able to make use of other people’s skills and knowledge better than they were themselves.

  It’s of utmost importance to work in groups. If you’re not a mixing engineer and you don’t want to take years to learn and buy a lot of expensive gear than make one of your first tasks to find a great mixing/mastering engineer you like to work with and make them a regular part of your team..  Make sure all of your team members are the best you can find.

 Our mission at Rainman Productions is to fill in the missing parts of your team enabling you to take your career to the next level. Check your favorite artists. It is extremely rare to see them mixing and mastering their own product. So why would you? They bring in a pro. If your car was broke down and you knew nothing about fixing it you wouldn’t twist a few nuts and bang on it with a hammer and say it’s “Good enough”. Major artist use major mixers to get their great sound.

   David is a multi platinum mixing engineer, fox network composer/producer/pianist. David has many awards to his credits including several multi platinum and gold records as well as 2 #1 selling albums on Billboard’s top 100 selling albums in Europe. His credits also include composing/producing and engineering the “NASCAR Highlights Theme” on Fox.

David will bring you the same great sound that he has brought to many huge artists including “Bone Thugs N Harmony”. Tracie Spencer. “Pharcyde”, “Do or Die” “Take That” Robbie Williams and more. When multi platinum groups like “Bone Thugs N Harmony” needed a mixer/producer on their team they frequently call Dave to help complete their songs. In fact David mixed and mastered 43 songs released by Bone Thugs. Many of those he produced.

 David also taught home recording at UCLA in Hollywood for 10 years. He also taught mixing and mastering, cubase, and reason at Musician’s Institute for one year. He now teaches privately from his pro studio in Hollywood in person or live online for the price of a private lesson

 David will be as valuable a part of your team as he has been to these major platinum artists.

 David will; mix, master and/or produce/arrange your song in his professional studio in Hollywood on his large format analog console used extensively by Fleetwood Mac!

  A legendary producer/engineer on a legendary console For very low rates!

Email PlatinumMixes@gmail.com

(754) 444 7246

Skype Name Platinum.Mixes

Magic Jack # (239) 400-2950

Posted in Uncategorized | Tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

25 free VSTs all Music Producers and Engineers Should Know.

Handpicked for you by a multi platinum mixing engineer in Hollywood.

by David “Rainman” Banta

Multi Platinum 2 time Billboard #1 selling mixing engineer/producer

© 2013 www.Platinum-Mixes.com

https://platinummixes.wordpress.com

(754) 444 7246

PlatinumMixes@gmail.com

    Special!! Send me your song/track I’ll (re)master it in my pro studio in Hollywood. If I can improve the sound pay me $10 per song. If not pay nothing!!!! Prices slashed on mixing and mastering!

  As always you use free software at your own risk!

1) Ichiro Toda SYNTH 1

Synth1 is a software synthesizer. Functionally it is modelled on the Clavia Nord Lead 2 Red Synth.

Features:

  • 2 Oscillators, FM modulation, ring modulation, sync, modulation envelope.

  • 4 types of filters, distortion.

  • 2 LFOs (synchronized with host).

  • Arpeggiator (synchronized with host).

  • Tempo delay (synchronized with host), stereo chorus/flanger.

  • Legato mode, portamento.

  • 16 notes polyphony.

  • 128 presets.

  • Thoroughly optimized for light CPU load using SSE instructions, etc.

  • Automation.

Download

http://www.kvraudio.com/product/synth1-by-ichiro-toda

Demo video

http://www.youtube.com/watch?v=5omiM_Jgkyw

2) CamelCrusher

CamelCrusher is a free ‘colouring’ multi-effect plugin. It offers two characteristically different distortion sounds which can be blended together to create a wide variety of tones and textures. Great for guitars, drums and plenty more!

There’s also a warm, smooth analogue-style low-pass filter with buckets of resonance. Assign a MIDI controller and start tweaking!

Finally, let’s not forget the easiest-to-use compressor you’ll find anywhere. It can ‘phatten’ up your sound as quickly as you can turn up the ‘Amount’ knob! Find out more in the manual.

Best of all, CamelCrusher is available free of charge!

Download

https://www.camelaudio.com/getfreecamelcrusher.php

Demo video

http://www.youtube.com/watch?v=pac-xFGiVVc

3) Amplitube 3 free

My favorite amp sim

Download

http://www.ikmultimedia.com/freedownload/

demo video

http://www.youtube.com/watch?v=z-G91ksh3Kk

4) Zebralette Free

Zebralette is just one of Zebra2’s oscillators packed into a simple, easy-to-learn framework – but you have everything you need to make some pretty amazing sounds. Sounds that can be directly loaded into Zebra2 later. And should you eventually decide to upgrade to Zebra2, you will already know everything there is to know about the oscillators – which is quite an advantage!

Zebralette has two LFOs (one per voice, one global), a multi-stage envelope and three on-board effects (chorus, EQ, delay). Not forgetting Zebra2’s famous dual spectral effects, which include several squelchy filter algorithms.

download

http://www.u-he.com/cms/zebralette

Demo video

http://www.youtube.com/watch?v=G4HCHQteJlk

5) Glitch free

A short introduction from the creator:

Glitch features a pattern-based effects sequencer that takes the incoming audio, breaks it down into user-defined slices, and then applies different effects to each slice. The sounds it generates range from quite subtle to extremely bizarre, depending on how much you tweak the controls. Effects can either be programmed by hand to create specific desired patterns; chosen pseudo-randomly based on each effect’s probability level, with a user-defined seed value that optionally allows the same sequence of “random” effects to be chosen each time; or combined into a mixture of both methods to suite your own tastes.

Downloads

http://flskins.com/downloads/free-vst-download-illformed-glitch-13

http://illformed.org/plugins/

Demo video

http://www.youtube.com/watch?v=BI8Ao46JyTY

6) Voxengo Span analyzer

SPAN is a real-time “fast Fourier transform” audio spectrum analyzer plug-in for professional music and audio production applications.  For the most part it was derived from Voxengo GlissEQ dynamic parametric equalizer and reproduces its spectrum analysis functionality.

SPAN provides you with a very flexible “mode” system which you can use to setup your spectrum analyzer preferences.  You may specify Fourier block size in samples, FFT window overlap percentage, spectrum’s visual slope.  Beside that you can choose to display secondary spectrum of a desired type (e.g. real-time maximum, all-time maximum).  Spectrum can be smoothed out visually for an easier examination.

SPAN supports multi-channel analysis and can be set to display spectrums from two different channels or channel groups at the same time.  Spectrum’s color can be chosen to taste.

SPAN also features output level metering with adjustable ballistics and integration time, K-system metering (including calibration K-system metering).  SPAN displays level metering statistics, headroom estimation and clipping detection.  Correlation metering is available as well.

Download

http://www.voxengo.com/product/span/

Demo video

http://www.youtube.com/watch?v=OObLCvNmyRs

7) Lepau guitar plug ins

Download

http://lepouplugins.blogspot.com

Demo videos

http://www.youtube.com/watch?v=X5OWI1D9_MM

http://www.youtube.com/watch?v=wgxY7epUenI

8) u-he tyrell n6

TYRELL The N6 is not some additional synth plug-in, but a sound generator, which was jointly developed with readers and, ultimately, programmed by Urs Heckmann (mastermind of U-He).

TYRELL N6 FEATURES

  • Classic, familiar user interface with extras.

  • Smooth overdrive in the oscillator mixer.

  • Filter output can be fed back into the mixer.

  • Unison modes with voice-specific modulation source.

  • Envelopes can be looped or triggered via LFO.

  • Envelopes retrigger like classic hardware.

Download

http://rekkerd.org/u-he-updates-tyrell-n6-free-synth-plugin-to-v3/

Demo video

http://www.youtube.com/watch?v=RdSyofdvy2U

9) Tal Noisemaker

TAL-NoiseMaker is an improved version of TAL-Elek7ro and has a completely new synth engine and a lot of improvements in sound and usability. The synth also includes a small effect section with a reverb, chorus and a simple bit crusher effect.

A display shows the knob and slider values. This allows more control over the synth. A ringmodulator and a syncable triangle are also part of this synth. TAL-NoiseMaker includes new filter types as the self resonating 6dB low pass and a notch filter. Its improved amplitude ADSR is very suitable for slow pads as for really fast envelopes. 128 factory presets included, 80 made by Frank “Xenox” Neumann / Particular – Sound.

Downloads

http://kunz.corrupt.ch/products/tal-noisemaker

http://www.kunz.corrupt.ch/?Products:VST_TAL-NoiseMaker

Demo video

http://www.youtube.com/watch?v=qSmyI8s5TSA

10) Emu prodeus vx

E-MU celebrates and is pleased to announce that we will be providing the full version of our Proteus VX Software Sound Module software which includes the enhanced v2.0.1 Proteus X Composer Bank. (a special E-MU tweaked version of the Composer bank) that can be used in all versions of our Proteus X or Emulator X software. Proteus VX is not copy protected or card locked like other versions of our instrument and sampling software, and can be used either as a VSTi or in stand alone mode.

Download

http://www.creative.com/emu/proteusvx/

Video demo

http://www.youtube.com/watch?v=iCxYPxEtJ6w

11) Tone bytes bleep

Bleep’ — is a free VSTi synthesizer plug-in for Windows which inspired by the sound of MOS Technology SID. At the same time Bleep’ is not emulator of this chipset but only partially similar to its architecture.

Main features:

  • 3 oscillators with four waveforms: sawtooth, triangle, pulse (with PW) and noise

  • Each oscillator has own detuner, ADSR envelope and multimode LP/BP/HP filter

  • Multimode LFO synced with BPM and with Random mode

  • Modulator Envelope Generator

  • Pseudo arpeggiator

  • Overall multimode filter

  • Adjustable degrader

  • Built-in preset manager with ability to patch name editing

Download

http://tonebytes.com/bleep/

Demo video

http://www.youtube.com/watch?v=TX9PGFdqRak

12) Green Oak – Crystal Vst Synthesizer

Crystal is a semi-modular software synthesizer featuring both subtractive synthesis and frequency modulation (FM) synthesis. It offers abundant modulation control with over 90 parameters which may be modulated, multi-stage envelopes with graphical editors, extensive tempo sync of envelopes/lforates/delay times, built-in effects for chorus/flanging/comb filtering/echoes, and a band splitter for effects processing by frequency band. Not only that, Crystal has wave sequencing, granular synthesis, program morphing, MIDI learn, and imports soundfonts. The musical applications for Crystal are literally boundless.

Download

http://www.greenoak.com/crystal/dwnld.html

Demo video

http://www.youtube.com/watch?v=q_yR7pPvo40

13) ohm force frohmage

Download

https://www.ohmforce.com/ViewProduct.do?p=Frohmage

Demo video

http://www.youtube.com/watch?v=rwXzMycpL6c

14) Rough Rider by Audio Damage

Rough Rider is a modern compressor with a bit of “vintage” style bite and a uniquely warm sound. Perfect for adding compression effects to your drum buss, it also sounds great with synth bass, clean guitar, and backing vocals. Definitely not an all-purpose compressor, Rough Rider is at its best when used to add pump to rhythmic tracks. Of course, you can use it however you’d like. The Compressor Police aren’t gonna come to your house and give you a citation. Slap it on a track and crank some knobs.

The front panel layout is done the same as many hardware compressors, so it will be immediately obvious how to use it. A brief overview of the controls:

Ratio: The ratio knob is logarithmic in operation. Completely anti-clockwise is 1:1, and completely clockwise is 1:1000. The 12 o’clock position is 1:10, so everything to the left of center is single digits, and everything to the right is “atom bomb squish,” essentially.

Attack and Release: We left off the actual time values, so you’re gonna have to use your ears, like the he-men did it in times of myth.

Meter: That honking big dial in the middle of the UI is the gain reduction meter. It basically shows how much compression is occurring.

Sensitivity: usually called “threshold” now, but we think “sensitivity” always made more sense. Turn to the right, you get more compression, essentially. Turn it all the way to the right, and you’ve got a distortion box, the sound of which is tuned by Ratio, Attack, and Release.

Makeup: 30 dB of gain to compensate for the attenuation caused by the compressor.

Active: From the front panel, this is simply an off/on switch, but if you automate it, strange things happen…

MIDI Learn: Like all of our products, the VST version has MIDI Learn. Download any manual from the current product line for an explanation of how this works, as it is common among all our VST products.

Rough Rider is available as a VST effect for Windows, and an AU or VST for OSX. The OSX versions are Universal Binaries, and require OSX

Downloads

http://www.audiodamage.com/downloads/product.php?pid=ADF002

Demo video

http://www.youtube.com/watch?v=crwyn13flN0

15) Density mkII compressor

Density mkII – the smooth and versatile stereo bus dynamic processor is now available for Win32 / VST compatible systems. See Downloads section for license agreement and download link and have some fun with it!

Download

http://varietyofsound.wordpress.com/2009/08/28/density-mkii-released-today/

Demo video

http://www.youtube.com/watch?v=CAxTRR6EWLg

16) Sound Magic Piano One
The Sound of Piano One comes from the Yamaha C7 concert grand, a true workhorse in the professional piano world, appearing on famous concert stages, in international competitions and in prestigious music events throughout the world.

By utilizing the Sound Magic Hybrid Modeling Engine, Piano One offers both the Realistic Sound of Sampling and the Playability of Modeling. Hybrid Modeling provides an instantaneous feeling – no delay – and a truer and richer sound than canbe created with either sampling or modeling alone. What’s more, Piano One utilizes only 160MB, which is quite a small footprint, making Piano One usable even on older PCs. There is no waiting time when loading and the CPU usage is so small that it’s virtually unnoticeable.

Like other great pianos from Sound Magic. Piano One is equipped with a full featured Add-on system which enables you to enhance Piano One with over

20 different add-ons from the Sound Magic Online Add-on Store. Add-ons add different special features to Piano One. They can make your life a little easier, letting you quickly and precisely modify your sound, your style and much, much more. These add-ons are all precision designed with a particular purpose or for a particular style of music.It’s also possible to choose a completely different piano sound when you simply feel you need a new color or a new style.

Piano One is also designed to can be extendable or upgradable in future. If you are a serious musician, you need to consider better sounds and features. Sound Magic also provides this opportunity. When you feel the sound is not enough for you to use, then you can choose other pianos inside Piano One. What’s more, there are instructions inside Piano One to help you to choose.

Okay. We admit it. We’re giving this incredible piano away in hopes of luring you in, of getting you interested in our other products. Yes, surprising as it may sound, we actually would like you to BUY something from us so we can keep the virtual doors open and keep on developing cool new products like our great new multi-processor The One and our other amazing pianos like below.

Download

http://www.supremepiano.com/product/piano1.html

Demo video

http://www.youtube.com/watch?v=aJ0UjmmuwLQ

17) Variety of sound thrillseekerla

Bringing mojo back – Thrillseeker XTC is a contemporary exciter build around a true parallel analog style equalizer design. Thrillseeker XTC is all about adding weight, vibe and attitude back to the sound. It delivers all the character of an analog signal path and provides what digital processing usually is hard pushed to, including a rich low-end experience and that vibrant ‘expensive’ top-end.

Download

http://varietyofsound.wordpress.com/2012/11/06/thrillseekerxtc-bringing-mojo-back/

Demo video

http://www.youtube.com/watch?v=K7QpckNvEP8

18) UVI Workstation

UVI Workstation is a completely free multi-timbral instrument that provides unlimited parts, integrated effects, live performance features, and a smooth real-time workflow. With the newest version, we’ve added powerful new features that help make your music production experience more efficient and enjoyable.

Download

http://www.uvi.net/en/software/uvi-workstation.html

Demo video

http://www.youtube.com/watch?v=rvgsWRoPbiI

19) Ambience Demo Version by MAGNUS SmartElectronix

Ambience is a free reverb

Download

http://www.vst4free.com/free_vst.php?id=568

Demo video

http://www.youtube.com/watch?v=7ZxDAimclXw

20) YellowTools Independence Free

Independence Free combines virtual instrument technology, premium sound libraries and theIndependence Sampler Workstation into one unique software solution.

  • Based on the powerful Independence Audio Engine.

  • Audio import support for up to 25 audio files. Load your own sounds into Independence Free and create your own instruments.

  • VST effect plug-in import: you can load 3rd party VST effect plug-ins into Independence Free.

  • VST, AU, RTAS and Standalone available for Mac and Windows.

  • Virtual keyboard, Time-Stretching & Pitch Shifting, E-License Instruments compatibility as well as all other features that are found in Independence.

  • No time or memory restrictions.

  • Commercial use allowed.

  • For Mac OS X 10.6 (Universal Binary), Windows XP, Windows Vista & Windows 7 (32 & 64-bit).

The intuitive user interface, the unique file management system, the ultra fast streaming integration, multi-core processor support and the Auto-RAM-Cleaner will enable you to store and use an unlimited number of instruments in seconds.

You can even use Independence Free for commercial music productions without any restrictions, furthermore you can save all of your projects, layer sets, layers and presets. Independence Free is not linked to the Authorization Key, which means that you needn’t buy any extra components.

Independence Free comes with a 2 GB sound library full of carefully selected, high quality Independence Premium Sample Library instruments.

The following instruments are included:

  • Acoustic & Electronic Drum Kits.

  • Acoustic & Electric Basses.

  • Acoustic & Electric Guitars.

  • Electric Pianos.

  • Synthesizers.

  • Ethno & Tonal Percussion.

  • World Percussion.

  • Pipe Organ.

  • Arpeggiator.

  • Groove Instruments.

  • Arranger.

  • Step Sequenzer.

Download

http://www.kvraudio.com/product/independence-free-by-magix

Demo video

http://www.youtube.com/watch?v=LdOcL87lYus

21) Simulanalog guitar suite

It is a suite of vst plugin with amplifiers and analog processors for guitarists, actually containing the simulation* of:

– Boss DS-1 (Distortion stompbox)

– Boss SD-1 (Super Overdrive stompbox)

– Tube Screamer (Overdrive stompbox)

– Oberheim PS-1 (Phaser stompbox)

– Univox Univibe (Modulations stompbox)

– Fender Twin 1969 (Guitar amplifier)

– Marshall JCM900 Dual Reverb (Guitar amplifier)

Download

http://www.simulanalog.org/guitarsuite.htm

Demo video

http://www.youtube.com/watch?v=YRE3FpGhrmc

22) Martinic combo model v/f

Features

  • 4-octave C-to-C keyboard.

  • Harmonic range 7 polyphonic octaves.

  • 4 footage drawbars: 16′, 8′, 4′, mixture.

  • 2 voice drawbars: Flute, Reed.

  • Monophonic bass voice.

  • Vibrato unit with adjustable speed and depth.

  • Swell (volume) pedal.

  • Adjustable tuning per note.

  • Scala scale file support.

  • Fully modelled (no samples inside).

  • Model includes oscillators, dividers, crosstalk, noise, filters, key contacts and key click.

  • Velocity-sensitive key contact attack and release.

  • Reverb unit.

  • Speaker cabinet simulation.*

  • Fully automatable.

  • 32 presets included.

Download

http://www.martinic.com/combov/

Demo video

http://www.youtube.com/watch?v=ZyT842joBsM

23) Ignite amps the anvil

The practice of live guitar and bass recording on PC, has spread enormously in recent years, as well as the development of simulation softwares, emulating amplifiers, stomp-boxes of various sorts and rack effects.

At Ignite Amps, we decided to keep pace with technology, developing in-house highly detailed digital simulations of tubeand solid-state electronic circuits that can process the sound in real time and provide the most realistic possibleresults, using really advanced mathematical algorithms based on analog modeling.

Our simulation softwares are free and available as plug-ins to be used in most modern digital audio workstations (DAWs)for playing, testing, recording and mixing purposes.

Download

http://www.igniteamps.com/audio-plug-ins

Demo video

http://www.youtube.com/watch?v=T_OfzBBIsMw

24) Nusofting dahornet

A Classic VA

Download

http://nusofting.liqihsynth.com/freeplugins.html

Demo video

http://www.youtube.com/watch?v=nnrmvEqHQzA

25) Quikquak upstereo

UpStereo is a simple, useful tool –  it makes your mixes bigger, in stereo width and loudness.

Using three basic basic systems:

1. A fixed frequency EQ designed to lift the highest audio frequencies, and boost the bass.

2. A stereo width unit, for expanding stereo sounds so they appear wider and fatter. At extreme levels other characteristics are also brought out of the sound, so this can also be used as a tonal control for individual instruments.  This also has a mono setting, useful for squashing up those aggressive samples that take over the mix.

3. A Loud switch that raises the waveform to the limits in a smooth curve. This saturation gives the mix a more perceived loudness, without clipping.

There’s also an option for overdriving this effect, distorting the waveform towards the maximum, and can be used to create a raw punch to the sound.

These stages create an overall loudness effect on the final output, so a gain control is included to keep the limits in check.

The main ‘bubble’ display on the plug-in is really a basic meter, when one of the stereo halves flash red, then the output is being clipped. Try and keep the levels so the red flashes only occasionally, this enables the loudness control to work at its maximum.

Colour and light changes are achieved my dragging the central meter-ball, using ctrl or shift to flow through colours. Maximum right/up drag returns the colour to white.

Download

http://www.quikquak.com/Prod_UpStereo.html

Demo video

http://www.youtube.com/watch?v=ta4pD9Q4Xiw

   “The recording gear that’s out there can be overwhelming even to the most seasoned engineer. When someone is trying to learn to record and engineer on their own it can take decades before they really start to understand the process and make professional sounding recordings.

   I can teach you in just a few private lessons how all the gear in your studio works and how to get the most out of it.

    You don’t have to go to expensive recording schools and be in debt for the rest of your life either!” -Dave “Rainman” Banta-  (multi platinum, 2 time Billboard #1 selling mixing engineer)

   Our multi platinum mixing engineer, taught recording at UCLA in Hollywood for 10 years, and Musician’s Institute for one year. He will teach you private lessons from his professional studio in Hollywood. Giving you a quick grasp on the recording and mixing process saving you years or even decades of your life. He’ll get you up and running right away! In person or live online!

 Limited time special private lessons with a multi platinum mixing engineer at his pro studio in Hollywood. Just $35 an hour. In person or live online.

Posted in Uncategorized | Tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

How to Make it as an Artist in your Mind First

How to Make it as an Artist in your Mind First

The Greatest Personal Achievement Tip of All

by David “Rainman” Banta

Multi Platinum 2 time Billboard #1 selling mixing engineer/producer

© 2013 www.Platinum-Mixes.com

https://platinummixes.wordpress.com

(754) 444 7246

PlatinumMixes@gmail.com

 

     “I know that you’ve been studying the subject of personal achievement and success for many years now. And you have studied the greatest teachers of all time. Is there one success tip that outshines them all that you can share with us?” I recently received this question from a friend of mine, and I have a great answer that I think is worth sharing with everyone.

One of the great teachings that most of the teachers I studied teach is that your brain will answer any question that you ask it consistently. If you’re constantly asking negative questions like “Why do bad things always happen to me?”, your brain will come through with an answer. The great thing is the door swings both ways. If you ask your brain positive questions it will give you those answers as well. The brain is one of the greatest computers of all time and it’s been given to us to help us on our way. Sometimes it just needs a little coaching.

.Napoleon Hill actually teaches how to ask your brain the correct questions in great detail. He teaches that before you sleep atnight, you should ask your brain the right questions out loud with feeling. For example, “How can I make more money”, or “How can I market myself better”. Your brain will give you great answers. Napoleon Hill also teaches that you should pressure your brain into giving you great answers. For example, I’ve asked my subconscious before sleep “Brain, I need you to show me how to better market myself and earn more money. The quality of the answer that you give me will literally determine whether I am homeless or living in a mansion in 20 years.” My brain has consistently given me great answers and this has changed my life!

I am self-employed and over the years I would have regular nightmares. About me being old and homeless, being evicted etc. I used to just write that off as my brain warning me that I better go to work now. I know now that whatever you tend to focus on tends to manifest. If you focus on negative things negative things will tend to manifest. If you focus on positive things positive things will tend to manifest.The way to prevent homelessness in your life is not to focus on the causes and pains of homelessness rather to focus on abundance and the causes of abundance.

I took Napoleon Hill’s advice and each night before sleep I would give my brain a brief talking to. I would explain to my subconscious that dreams filled with worry and fears are not productive. It can cause physical illness, as well as unhappiness. I explained to my brain that while years ago fear may have been essential to human survival, it’s more of a detriment in today’s world. I also tell my brain that it needs to show me how to run my business better and how to market better.

Here’s an even better way to ask questions. Instead of asking yourself “How can I market myself as an artist better?”Say to your brain “I finally figured out how to market myself as an artist, and the answered it was so simple it was………?” And eventually your brain will fill in the blank with a great answer. Try it you’ll see!

To my surprise it works marvelously! The first day that I tried giving my brain some suggestions before I went to sleep I asked it to give me the answer on better ways to market myself. I actually had a dream that night with two great ideas on how to market. When I woke up, those ideas were in the front of my mind. I was amazed! Put a notepad and pen by your bed so you can write down the great ideas before you forget. I also started telling my brain no more nightmares only dreams of abundance and prosperity. I haven’t had the nightmare since!

It’s a good thing to chastise your brain when it has a negative reaction. I was at the market one day and I saw something on sale. My brain reacted by saying “You better stock up on It now, since you might not have the money later.” I realized quickly that that was a negative reaction. It presupposes that I will be broke in the future. On the way home I chastised my brain for having such a negative reaction and presupposition. And I’ve never had that thought again! After just a few days of correcting my brain for having negative thoughts and reactions, the negatives were gone. It made me much happier.

I’m not suggesting that you talk to yourself all day long. Just a few sentences a day can change your life.

So don’t be afraid to talk to your brain and tell it how to think better. Your brain is programmed and it’s a great way to reprogram it for a better life! Napoleon Hill says don’t be afraid to look yourself in the eye in the mirror and explains to your brain how it is. You’ll be much happier and more successful because of it.

Make sure to ask your subconscious “How can I enjoy the process?” The need to seek pleasure and avoid pain is biological. If you do something that you know is good for you but it is painful you may stick to it, but she won’t be happy. Finding joy and pleasure in doing things that are good for you is a key to true success and happiness. Ask your brain how to do that. “How can I have more joy at work?” “How can I have more harmony at home?” You’ll see your brain will give you great answers!

Posted in Uncategorized | Tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

“Choosing the Recording Studio and Engineer That’s Right for You”

“Choosing the Recording Studio and Engineer That’s Right for You”

by David “Rainman” Banta

Multi Platinum 2 time Billboard #1 selling mixing engineer/producer

© 2013 www.Platinum-Mixes.com

https://platinummixes.wordpress.com

(754) 444 7246

PlatinumMixes@gmail.com

 

Image

https://platinummixes.wordpress.com/

  Choosing a studio, mixing and mastering engineer are among the most important choices and investments you will make in your musical career.

It is of utmost importance that you choose well! Here are some things that you should consider when deciding who to trust with your sound, hard earned money and your musical career.

Do they have a proven track record?

  Has the studio or engineer won any awards? Have they worked for major artists? Have they sold a lot of albums? These questions are actually important. Most major artists can record anywhere they like. So if they choose a specific studio there is a reason. They’re happy with the sound and comfortable with the studio! It doesn’t hurt to have a known engineers name on your album either, especially when they also have their name on the albums of famous artists and platinum records.

Do they guarantee their work?

   Truth is most recording studios and engineers don’t guarantee their work. For a lot of you budget is a major concern. It’s important that you find a studio and engineer that has your concerns first in mind. Concerns about customer satisfaction should also be a trait that you look for.

Three pieces of gear that will affect your recording quality.

The microphone, mic preamp, and soundcard

  These days’ microphones that look impressive can actually be really cheap. A large diaphragm condenser microphone that can be plugged into the USB on your computer can cost as low as $50.I don’t recommend that you record vocals on these if you’re striving for a professional sound.

    I’ve been a recording engineer in Hollywood for more than two decades, and it’s been really rare for me to see anyone not use a tube mic on vocals. There are some exceptions of course. Me personally, I only use a high ended tube mic on vocals.

 The second piece of gear that affects your recording quality is the mic preamp. The signal that comes from most microphones is actually too low for the recording gear that we use in studios today. So the first thing that most microphones plug into is a mic preamp to boost the level. The quality of the mic preamp does affect the quality of your recording. A cheap mic that plugs into the USB on your computer has an extremely cheap mic preamp built inside. We don’t recommend that you use these either if you’re seeking a professional sound.

  The third piece of gear that affects the recording quality is the analog-to-digital converter. Long story short, a sound card converts the signal coming out of the microphone, guitar or keyboard which is most often analog, into a digital signal that the computer can understand, record, and process. The quality of your analog to digital converter also affects your recording quality. Cheap mics that plug into USB’s on your computer also have extremely cheap converters inside.

 Make sure that the studio you choose to record your vocals in has a professional microphone (large diaphragm tube mics are my preference), mic preamp, and analog-to-digital converters.

Is their digital outboard gear and software plug-ins really the best?

   Most studios claim they have the best sounding software when that is simply not true. Often times the statement is made in ignorance. The best sounding and most professional software plug-ins today actually require fairly expensive hardware. Many studios have the latest software bundles that don’t come with hardware. These are called “Native plug-ins” because they use your computer’s CPU. The truth is that the best sounding software audio plug-ins requires hardware.

   Universal audio is a company that makes software models of the gear that you would see in major studios. Their software plug-ins come with hardware that have chips that connect to your computer that can do more advanced processing and much faster than a computer’s native CPU. These are called “Powered plug-ins”. And their sound is considerably superior to non-powered plug-ins, such as the Waves, or Abbey Roads bundles.

   I have most of the highest ended recording software bundles available today. I have to say without a doubt; all of the software that I use that comes with hardware sounds considerably better than native plug-ins,unfortunately, a lot of studios use the latest cracked software. None of these come with hardware, and so their sound is inferior.

Make sure the studio you choose has a lot of powered plug-ins.

The studio mixing console

  Take a closer look at the studio mixing board, if they even have one. It may not be a real mixing board at all. At least not in the way that you and I think of a mixing board.

There are basically three types of mixing boards that you see in a studio today.

A computer controller mixing board

   A huge percentage of the large mixing boards that you see in recording studios today are really just a glorified computer keyboards and mouse. They are nothing more than a way for a human to interface with the computer. These types of mixing boards don’t actually contribute to the sound of the mix or master in any way. All they do is control the computer, the same way that a keyboard and mouse would. The entire signal processing, like equalizing, is still done in the computer. So the mixing board is not really contributing to the sound of the mix or master in any way.

   Some of these mixing boards have professional analog to digital converters built into them. These convert the signal from gear like microphones, guitars, and keyboards into a digital signal that the computer can recognize. It’s true that these do affect the quality of your recording sound, but these boards don’t contribute to the sound of the mixing or mastering in any way.

The digital mixing board

   The second type of mixing board that you may see in the studio today is a digital mixing board. These mixing boards actually do processing to the sound like equalizing, but they do the processing digitally, not unlike a computer. I say why bother?

The analog mixing board

  The truth is that most major artist and most major record labels today still prefer to mix their records using large format analog consoles.

This type of mixing board does do processing to the sound such as equalization, but it processes the sound in a very different way than digital devices do. For me this is the preferred type of mixing board by far. If you’re recording on computer the right analog board will add a beautiful new dimension to the sound of your mix and master.

Does the engineer have any schooling?

   Truth is when an engineer walks into a recording studio no one cares if he had schooling, all they care about is can they do the job.

   A lot of people look to recording school students and recent graduates for help with their mixes. Calling your local recording school to find an engineer is actually not a bad idea. I say if you’re going to look to a recording school to find an engineer hire teacher rather than a student. If someone is teaching at a recording school, there’s a good chance they could use the money. So rather than looking for recording students or graduates to help with your mixes, look for recording instructors.

Does the engineer have good communication skills?

   It is very important that the engineer have excellent communication skills. To be able to explain to the client the process in easy-to-understand terms, and the ability to understand the clients wants and needs.

Will the studio let you take copies of your masters?

   The biggest studios in Hollywood always let their clients who have paid for the studio time take copies of their masters with them. I’ve been extremely surprised over the years to find some less than professional studios that have done recordings for the clients and then refused to give out the masters, so they can hire someone else to do the mixing or mastering. This is not a professional practice at all. So beware!

Make sure that the studio you hire will allow you to take copies of your masters with you after you’ve paid all of their fees!

We at Rainman Productions and Studios are old-fashioned and believe that the customer’s satisfaction is first and foremost. This is why we always guarantee our work. Love it or pay nothing! You have nothing to lose, and a music career to gain!

Our chief engineer David “Rainman” Banta has received several multiplatinum record awards for singles that he’s mixed. Four of those singles he mixed right here at Rainman Studios just 10 min. from downtown Hollywood California.. He is also achieved 2 number one selling albums on billboard’s top 100 selling albums in Europe. David is also an accomplished producer, composer, and pianists. His credits include composing, producing, and engineering FOX’s “NASCAR Highlights Theme”

David has a Bachelor of Science degree in Music Education, he also taught recording engineering and music production at UCLA in Hollywood for 10 years, and Musicians Institute for one year.Needless to say, his abilities to explain and communicate are exceptional.

We at Rainman Studios, have the best of both analog and digital gear. Our studio features a beautiful large format analog console which came to us from, and was used extensively by, Fleetwood Mac. We also have the best of digital gear, which includes the Universal Audio powered plug-ins, and some of the best digital outboard gear made, ncluding the TC electronics G Force.

We not only let you take copies of your masters, we encourage it. We give you your masters at no extra charge!

For a limited time send us one of your tracks and we will master it. If we can improve the sound in our state-of-the-art studio in Hollywood pay us only $10. Love it or pay nothing. Our prices are also slashed on mixing and mastering! Mixes starting at only $49. For a limited time only!

Posted in Uncategorized | Tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

10 TIPS TO BETTER SOUNDING MUSIC AND AUDIO MIXES

10 TIPS TO BETTER SOUNDING MUSIC AND AUDIO MIXES

 

by David “Rainman” Banta

Multi Platinum 2 time Billboard #1 selling mixing engineer/producer

© 2013 www.Platinum-Mixes.com

https://platinummixes.wordpress.com

(754) 444 7246

PlatinumMixes@gmail.com

 

One of the most common questions I get from my students is, “Which comes first, compression or EQ?”  To understand where to put your compression and EQs, you need to understand the bigger picture. You need to understand the “signal chain”.

The signal chain starts at the microphones and ends at the speakers. We can trace our signal and everything it goes through on the way including pre amps, noise gates, compressors, EQs, and effects (reverbs, echoes, etc)

I spent more than a decade working in big studios before I ever even touched a computer. On the big mixers, things are wired in a certain order for good reasons. First of all, most big professional boards don’t have compressors on each channel , which means if you are going to compress (and I almost always do) you’re going to have to plug your out board compressor into the insert on the channel. The insert on these boards come before the EQ. If you are going to use compression and use the EQ on the channel, you have little choice but to compress before EQing.

10 things you’ll need to know when ordering your devices in the signal chain.

1)      Think of possibilities from both sides;

Equalizers do just what you would expect; they equalize frequencies. If your vocal sound is muffled, it’s because your low end and high end are out of balance. To add treble to the track would literally equalize the frequencies giving you a nice balance of high and low end. I try to always think of possibilities from both sides. You can add treble, or remove bass.  I try them both and pick the one I like most. If you are constantly asking yourself “What is too soft in the mix?” try asking yourself “What is too loud?”

2)      Removing noise with your EQ;

EQs can be used to filter out noise too.  EQs can be used as “high pass” or “low pass” filters. Most people get confused by these names at first. The “high pass” filter filters out low end (or bass), and the “low Pass” filter filters out hi end (or treble). These EQs are named after the analog circuit that makes this happen. The “high pass” filter circuit actually allows the highs to pass, and likewise with the low pass filters.  What are these used for? They are mostly used for filtering out noise. If you record a vocal and you can hear the Bass bleeding through the headphone, or even trucks going by, a high pass filter can fix this. You can filter out all of the lows below the vocal getting rid of the noise without affecting the vocal sound. Likewise, if you have a Bass guitar and above a certain pitch there is nothing but hiss, you can filter that out using a low pass filter.

Also consider that while the noise on one track may not be audible, (tape hiss for example) if you  multiply it by 10 or even 24 tracks it’s a problem. For this reason I use filters often to be safe. If your recording software came with an EQ it’s likely that it has both high and Low pass filters on it.

3)      Removing noise with gates:

A noise gate is very simple. When the volume goes above a certain level the gate opens, sound is heard. When it drops below a certain level the gate closes, muting the sound. One of the most common uses of a noise gate is cutting out the noise in between a vocal. When the person sings the gate opens and you hear them, but once they stop singing the level drops and the gate closes, turning off the sound. This cuts out the unwanted noise in between the singing.

4)      Use compression for better balance:

Compressors squish the dynamic range. This prevents a voice from getting too loud and sticking out or getting too soft and lost. Put simply, it turns up the low volumes, and turns down the high volumes making the volume more consistent. I compress all my tracks and often-times more than once. Compressors can be used for other things too. Such as adding sustain, punch, intensity etc.

5)      Understanding “level dependent” devices;

Gates and compressors are not Effects  they are dynamic controllers.  Noise gates and compressors are what we call “level dependent” devices. Simply put, this means that if you change the volume going into one of these devices you’ll change the way it works. Increasing the level going into a compressor will give you more compression. Decreasing the input will cause you to have less or even no compression at all.  Increasing the input to the noise gate will cause the gate to work differently, or even stop working. Decreasing the input could cause the whole track to be muted. For this reason you’ll want to be very careful of any changes you make to the level going into these devices.

6)      Gate out unwanted noise before you compress;

If you were to compress a vocal before gating it the compressor could turn up the headphone bleed in between the vocal making it difficult or even impossible to gate out.  For this reason I always gate prior to compression.

7)      Filter out noise prior to compressing:

It’s also usually easiest to filter out any low end or high end noise prior to compression rather than having the compressor turn the noise up first.

8)      Compress before EQing;

EQs actually change the level. Adding or removing bass or treble from the vocal will actually make it louder or softer. This is why EQs are most commonly put after compression.  If you put your compression after the EQ, changing the EQ will affect the compression. If your EQ is after the compressor, then changing the EQ will have no effect on the compression.

9)      Listen to the EQ of the sound while adjusting your compression:

Another reason to put EQ after compression is that the compressor actually changes, and can even fix, EQing problems. Remember compressors turn up the soft parts and down the loud parts?  If you record a six string acoustic guitar and then compress it, the compressor can turn up the quieter strings and turn down the louder strings making a nicer balance. The same goes for EQ.  Good compression can turn up the low volume frequencies and turn down the louder ones making for a nicer EQ balance. Either way the compression IS going to change the EQ. So if you EQ after the compressor you’ll know what needs to be fixed.

10)   There is no “right and wrong way”;

To limit your possibilities would limit your quality. However, you should know how things are typically done so that if you make any changes you’ll know what to listen for.  For example if you do put your EQ before a compressor, make sure you are aware that every time you change that EQ you change your compression.  Some people gate while recording, but I have never been that brave. If the gate cuts off a vocal you will have to re sing it. So I always gate while mixing.

The most common way I order my processors is Filters—Gate—Compression—EQ—Effects.

10 TIPS TO BETTER SOUNDING AUDIO MIXES AND AUDIO RECORDINGS

 

by David “Rainman” Banta
© 2013 www.Platinum-Mixes.com
https://platinummixes.wordpress.com/

      One of the most common questions I get from my students is, “Which comes first, compression or EQ?”  To understand where to put your compression and EQs, you need to understand the bigger picture. You need to understand the “signal chain”.

The signal chain starts at the microphones and ends at the speakers. We can trace our signal and everything it goes through on the way including pre amps, noise gates, compressors, EQs, and effects (reverbs, echoes, etc)

I spent more than a decade working in big studios before I ever even touched a computer. On the big mixers, things are wired in a certain order for good reasons. First of all, most big professional boards don’t have compressors on each channel , which means if you are going to compress (and I almost always do) you’re going to have to plug your out board compressor into the insert on the channel. The insert on these boards come before the EQ. If you are going to use compression and use the EQ on the channel, you have little choice but to compress before EQing.

10 things you’ll need to know when ordering your devices in the signal chain.

1)      Think of possibilities from both sides;

Equalizers do just what you would expect; they equalize frequencies. If your vocal sound is muffled, it’s because your low end and high end are out of balance. To add treble to the track would literally equalize the frequencies giving you a nice balance of high and low end. I try to always think of possibilities from both sides. You can add treble, or remove bass.  I try them both and pick the one I like most. If you are constantly asking yourself “What is too soft in the mix?” try asking yourself “What is too loud?”

2)      Removing noise with your EQ;

EQs can be used to filter out noise too.  EQs can be used as “high pass” or “low pass” filters. Most people get confused by these names at first. The “high pass” filter filters out low end (or bass), and the “low Pass” filter filters out hi end (or treble). These EQs are named after the analog circuit that makes this happen. The “high pass” filter circuit actually allows the highs to pass, and likewise with the low pass filters.  What are these used for? They are mostly used for filtering out noise. If you record a vocal and you can hear the Bass bleeding through the headphone, or even trucks going by, a high pass filter can fix this. You can filter out all of the lows below the vocal getting rid of the noise without affecting the vocal sound. Likewise, if you have a Bass guitar and above a certain pitch there is nothing but hiss, you can filter that out using a low pass filter.

Also consider that while the noise on one track may not be audible, (tape hiss for example) if you  multiply it by 10 or even 24 tracks it’s a problem. For this reason I use filters often to be safe. If your recording software came with an EQ it’s likely that it has both high and Low pass filters on it.

3)      Removing noise with gates:

A noise gate is very simple. When the volume goes above a certain level the gate opens, sound is heard. When it drops below a certain level the gate closes, muting the sound. One of the most common uses of a noise gate is cutting out the noise in between a vocal. When the person sings the gate opens and you hear them, but once they stop singing the level drops and the gate closes, turning off the sound. This cuts out the unwanted noise in between the singing.

4)      Use compression for better balance:

Compressors squish the dynamic range. This prevents a voice from getting too loud and sticking out or getting too soft and lost. Put simply, it turns up the low volumes, and turns down the high volumes making the volume more consistent. I compress all my tracks and often-times more than once. Compressors can be used for other things too. Such as adding sustain, punch, intensity etc.

5)      Understanding “level dependent” devices;

Gates and compressors are not Effects  they are dynamic controllers.  Noise gates and compressors are what we call “level dependent” devices. Simply put, this means that if you change the volume going into one of these devices you’ll change the way it works. Increasing the level going into a compressor will give you more compression. Decreasing the input will cause you to have less or even no compression at all.  Increasing the input to the noise gate will cause the gate to work differently, or even stop working. Decreasing the input could cause the whole track to be muted. For this reason you’ll want to be very careful of any changes you make to the level going into these devices.

6)      Gate out unwanted noise before you compress;

If you were to compress a vocal before gating it the compressor could turn up the headphone bleed in between the vocal making it difficult or even impossible to gate out.  For this reason I always gate prior to compression.

7)      Filter out noise prior to compressing:

It’s also usually easiest to filter out any low end or high end noise prior to compression rather than having the compressor turn the noise up first.

8)      Compress before EQing;

EQs actually change the level. Adding or removing bass or treble from the vocal will actually make it louder or softer. This is why EQs are most commonly put after compression.  If you put your compression after the EQ, changing the EQ will affect the compression. If your EQ is after the compressor, then changing the EQ will have no effect on the compression.

9)      Listen to the EQ of the sound while adjusting your compression:

Another reason to put EQ after compression is that the compressor actually changes, and can even fix, EQing problems. Remember compressors turn up the soft parts and down the loud parts?  If you record a six string acoustic guitar and then compress it, the compressor can turn up the quieter strings and turn down the louder strings making a nicer balance. The same goes for EQ.  Good compression can turn up the low volume frequencies and turn down the louder ones making for a nicer EQ balance. Either way the compression IS going to change the EQ. So if you EQ after the compressor you’ll know what needs to be fixed.

10)   There is no “right and wrong way”;

To limit your possibilities would limit your quality. However, you should know how things are typically done so that if you make any changes you’ll know what to listen for.  For example if you do put your EQ before a compressor, make sure you are aware that every time you change that EQ you change your compression.  Some people gate while recording, but I have never been that brave. If the gate cuts off a vocal you will have to re sing it. So I always gate while mixing.

The most common way I order my processors is Filters—Gate—Compression—EQ—Effects.

music recording school, recording studio school, recording studio engineer, audio engineering and music production schools, music engineering, recording studio, music engineer, recording studio schools, music recording studio, recording schools, recording studio technician, online recording studio, music recording studios, mixing engineer, recording studio online, audio recording schools, recording studio jobs, local music recording studios, atlanta recording studios, recording studios nyc, professional recording studio, recording studio music, record studio online, recording studios in atlanta,recording studios, music production major, audio engineering music production, home recording studio, recording studio equipment, recording engineers, nyc recording studios, free online recording studio, atlanta recording studio, recording studio rates, sound engineering schools, recording studio prices, recording studio careers, music production and engineering, recording studios in nyc, free recording studio, record studio, school recording studio, pro tools home recording studio, home recording studio equipment, christian recording studios, recording engineer, online recording studio free, sound recording schools, home recording studio setup, music producer, recording studio atlanta, recording studio course, recording studios in houston, recording studio setup, recording music studio, sound engineer, music producers, audio recording studio, home recording studios, recording studio program, studio engineer, recording studio internships, la recording school, professional recording studios, los angeles recording school, recording studio in, austin recording studios, recording engineer schools, audio engineering and music production, audio engineering, recording studio in austin, recording studio pictures, audio engineer, sound engineer school, online music recording studio, local recording studios, home music recording studio, recording studios atlanta, professional recording studio equipment, virtual recording studio, producing music, studio recording, music producer salary, recording studios in new york, audio recording colleges, recording engineer colleges, houston recording studios, pro recording studio, record producer, musical engineering, great recording studios, top recording studios, recording studio

new york, music production jobs, recording engineer jobs, recording studios atlanta, sound engineer jobs, online recording studios, Cubase, Pro tools, propellerhead, reason

Posted in Uncategorized | Tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

MIDI MADE EASY

MIDI MADE EASY

by David “Rainman” Banta

Multi Platinum 2 time Billboard #1 selling mixing engineer/producer

© 2013 www.Platinum-Mixes.com

https://platinummixes.wordpress.com

(754) 444 7246

PlatinumMixes@gmail.com

https://docs.google.com/file/d/0B09PhfiZRRxANnZlREtLX0JVSVk/edit?usp=sharing

      In the late 1980’s I bought my first MIDI keyboard. It was a Roland W30, and my first

experience with MIDI.  It took me days to figure out how to play a piano sound. It was very

frustrating. The reason I had so much trouble was because the W30 is more than just a

piano. It’s a music workstation. To even use it, I needed to understand the basics of MIDI

and the common devices used with MIDI for music production.

In the mid 1990s I produced a successful video entitled “MIDI Made Easy”. Since then a

lot has changed. With all the new software and hardware that’s out, the capabilities of

devices used with MIDI have expanded greatly. But when you really come down to it, MIDI

is still MIDI, and when you understand the basics, you’re on your way. This is why that

video is still selling today.

MIDI (Musical Instrument Digital Interface) is a way for different devices used in music

creation and production to communicate with each other.  The 3 basic types of devices

used with MIDI are Controllers, Sound Modules and Sequencers.  Let’s look at each, and

then how they communicate with each other.

CONTROLLERS;

MIDI CONTROLLERS send MIDI messages. Alone they are useless because they don’t

produce any sound. To produce sound you’ll need a sound module. The MIDI controller sends

messages to the sound module and the sound module interprets them and produces the sound.

The four main pieces of information controllers send are

1) What note to play (C3,C4)

2) How long to hold it (gate or sustain time)

3) How loud to play it (velocity sensitivity)

4) What instrument to play (timbre, MIDI channel)

Controllers use gestures to send MIDI messages, like striking a key or drum pad. There are

many types of MIDI controllers. Some common ones are the piano‐style keyboard, drum pads,

even your computer can be a midi controller.

(Below)  M Audio Oxygen 61 piano‐style MIDI Controller

(Below) the Korg K61P piano‐style MIDI Controller

(Below) Roland V Drums MIDI Controller and sound module

Manufacturers even make MIDI controllers for saxophone and trumpet players. When they

blow it sends a Note-On message when they stop it sends a Note-Off message. This

combined with their fingering and the air velocity makes it possible for a horn player to play an

expressive violin part or other instruments.

(Below) Yamaha wind MIDI controller

The simple set up for a controller and sound module is to plug a midi cable from the MIDI

out of the controller, into the MIDI input of the sound module.

I recommend you go to www.sweetwater.com or www.FullCompass.com and search

“Controller” to see some of the different types that are available.

SOUND MODULES;

There are 2 types of sound modules, synthesizers and samplers.  Synthesizers generate

sounds from scratch while samplers record sounds and play them back on cue.

SYNTHESIZERS generate various types of electrical signals and when they are

processed through loudspeakers or headphones they produce sounds. Synthesizers can imitate

other instruments or generate new sounds. By adjusting timbre, attack, and intonation a

synthesizer can imitate the natural behavior of an actual instrument. Common instruments for

a synthesizer to imitate are strings, flutes, and bass guitars. The 3 types of Synthesizers are

analog, digital, and software.

Mini moog analog Synthesizer

Prophet ‘08 analog Synthesizer

Native Instruments “Pro 53” Software Synthesizer

Roland XV‐2020 Digital Synthesizer

SAMPLERS digitally record and play back sounds on cue. A sample is a digital audio

recording. You can record a snare drum and have it play back when you strike a particular key.

Common sample types are audio loops, sound effects, and drum hits.  Sounds that are alike can

be grouped as an “Instrument” or “Patch”. A drum patch could have samples of kick drums,

snare drums, cymbals, etc, each triggered by a different key. You can even sample a violin

playing several notes individually and trigger each with different keys. Most samplers let you

process the sound by time stretching, and adding filters and effects.

(Below)  IK Multimedia’s popular “SampleTank” Sample‐Workstation

Please visit http://www.ikmultimedia.com/

SEQUENCERS;

Sequencers are multi track recorders similar to a reel‐to‐reel or an ADAT except they don’t

record audio, they record MIDI messages in sequence and allow you to edit, and play them

back.

Most sequencers have at least 16 tracks. Software sequencers like Pro Tools and Cubase

often have unlimited tracks. You can record the MIDI notes for a piano on track 1, and then

listen to that while recording the notes for a string on track 2, and so on.  This is called “Over

Dubbing”.

The simple set up for a controller, sequencer, and sound module is

1) Plug a MIDI cable from the out of the controller to the in on the sequencer

2) Plug a MIDI cable from the out of the sequencer to the in on the sound module

These devices are usually placed in the same order whether they are software or hardware.

Once your MIDI data is recorded most sequencers allow you to edit and fix wrong notes or

make other changes.  Copying an 8 bar guitar part from verse 1 to verse 2 is called macro

editing. Changing things like note length and pitch are called micro editing.

I like to think of MIDI as a “Pianola” or player piano, the ones that use a mechanical roll of

paper with the holes in it.  The piano keys are the controller, the paper roll records and plays

back the notes in sequence, and the strings produce the sound.

Many software sequencers have a piano roll style MIDI editor. They allow you to edit your

notes as if they were holes on a piano roll.  By lengthening and moving the holes around you

can edit things like pitch and sustain.

(Above) the”Key Editor” in Cubase 3

Most sound modules are “multi‐timbral,” which means they can produce several different

instruments playing independent parts simultaneously.  This is done using 16 MIDI channels.

When you set your TV to channel 2 it only plays video coming in on that channel. Likewise if you

set your sound module to play a piano on MIDI channel 1 then all the notes coming in on that

channel will play a piano sound.  If you set your sound module to play a string part on channel 2

then all the notes coming in on that channel will play a string sound.  Your controller can also be

set to send any of the 16 channels. In this case if you set it to send channel 1 you’ll hear a piano,

channel 2 you’ll hear a string.

MIDI doesn’t send a continuous play signal. When you strike the key it sends a Note‐On

message and when you release it, it sends a Note‐Off message. This is one of the reasons that

MIDI files are so small.  While audio files can quickly fill your hard drive, you needn’t worry

about MIDI files.

THE W30

The W30 is a music workstation. It has a controller, sequencer, and sound module (sampler).

Even though they’re in one box they still work the same.

In order to play a piano sound I would have had to set the sound module to play a piano on

MIDI channel 1, and set the controller to send MIDI channel 1.

I still need to write a conclusion paragraph here

Dave

MIDI MADE EASY

by Dave “Rainman” Banta
Multi Platinum producer/engineer/pianist
copyright 2013
www.Platinum-Mixes.com

Click here to view this article with photos

https://docs.google.com/file/d/0B09PhfiZRRxANnZlREtLX0JVSVk/edit?usp=sharing

      In the late 1980’s I bought my first MIDI keyboard. It was a Roland W30, and my first

experience with MIDI.  It took me days to figure out how to play a piano sound. It was very

frustrating. The reason I had so much trouble was because the W30 is more than just a

piano. It’s a music workstation. To even use it, I needed to understand the basics of MIDI

and the common devices used with MIDI for music production.

In the mid 1990s I produced a successful video entitled “MIDI Made Easy”. Since then a

lot has changed. With all the new software and hardware that’s out, the capabilities of

devices used with MIDI have expanded greatly. But when you really come down to it, MIDI

is still MIDI, and when you understand the basics, you’re on your way. This is why that

video is still selling today.

MIDI (Musical Instrument Digital Interface) is a way for different devices used in music

creation and production to communicate with each other.  The 3 basic types of devices

used with MIDI are Controllers, Sound Modules and Sequencers.  Let’s look at each, and

then how they communicate with each other.

CONTROLLERS;

MIDI CONTROLLERS send MIDI messages. Alone they are useless because they don’t

produce any sound. To produce sound you’ll need a sound module. The MIDI controller sends

messages to the sound module and the sound module interprets them and produces the sound.

The four main pieces of information controllers send are

1) What note to play (C3,C4)

2) How long to hold it (gate or sustain time)

3) How loud to play it (velocity sensitivity)

4) What instrument to play (timbre, MIDI channel)

Controllers use gestures to send MIDI messages, like striking a key or drum pad. There are

many types of MIDI controllers. Some common ones are the piano‐style keyboard, drum pads,

even your computer can be a midi controller.

(Below)  M Audio Oxygen 61 piano‐style MIDI Controller

(Below) the Korg K61P piano‐style MIDI Controller

(Below) Roland V Drums MIDI Controller and sound module

Manufacturers even make MIDI controllers for saxophone and trumpet players. When they

blow it sends a Note-On message when they stop it sends a Note-Off message. This

combined with their fingering and the air velocity makes it possible for a horn player to play an

expressive violin part or other instruments.

(Below) Yamaha wind MIDI controller

The simple set up for a controller and sound module is to plug a midi cable from the MIDI

out of the controller, into the MIDI input of the sound module.

I recommend you go to www.sweetwater.com or www.FullCompass.com and search

“Controller” to see some of the different types that are available.

SOUND MODULES;

There are 2 types of sound modules, synthesizers and samplers.  Synthesizers generate

sounds from scratch while samplers record sounds and play them back on cue.

SYNTHESIZERS generate various types of electrical signals and when they are

processed through loudspeakers or headphones they produce sounds. Synthesizers can imitate

other instruments or generate new sounds. By adjusting timbre, attack, and intonation a

synthesizer can imitate the natural behavior of an actual instrument. Common instruments for

a synthesizer to imitate are strings, flutes, and bass guitars. The 3 types of Synthesizers are

analog, digital, and software.

Mini moog analog Synthesizer

Prophet ‘08 analog Synthesizer

Native Instruments “Pro 53” Software Synthesizer

Roland XV‐2020 Digital Synthesizer

SAMPLERS digitally record and play back sounds on cue. A sample is a digital audio

recording. You can record a snare drum and have it play back when you strike a particular key.

Common sample types are audio loops, sound effects, and drum hits.  Sounds that are alike can

be grouped as an “Instrument” or “Patch”. A drum patch could have samples of kick drums,

snare drums, cymbals, etc, each triggered by a different key. You can even sample a violin

playing several notes individually and trigger each with different keys. Most samplers let you

process the sound by time stretching, and adding filters and effects.

(Below)  IK Multimedia’s popular “SampleTank” Sample‐Workstation

Please visit http://www.ikmultimedia.com/

SEQUENCERS;

Sequencers are multi track recorders similar to a reel‐to‐reel or an ADAT except they don’t

record audio, they record MIDI messages in sequence and allow you to edit, and play them

back.

Most sequencers have at least 16 tracks. Software sequencers like Pro Tools and Cubase

often have unlimited tracks. You can record the MIDI notes for a piano on track 1, and then

listen to that while recording the notes for a string on track 2, and so on.  This is called “Over

Dubbing”.

The simple set up for a controller, sequencer, and sound module is

1) Plug a MIDI cable from the out of the controller to the in on the sequencer

2) Plug a MIDI cable from the out of the sequencer to the in on the sound module

These devices are usually placed in the same order whether they are software or hardware.

Once your MIDI data is recorded most sequencers allow you to edit and fix wrong notes or

make other changes.  Copying an 8 bar guitar part from verse 1 to verse 2 is called macro

editing. Changing things like note length and pitch are called micro editing.

I like to think of MIDI as a “Pianola” or player piano, the ones that use a mechanical roll of

paper with the holes in it.  The piano keys are the controller, the paper roll records and plays

back the notes in sequence, and the strings produce the sound.

Many software sequencers have a piano roll style MIDI editor. They allow you to edit your

notes as if they were holes on a piano roll.  By lengthening and moving the holes around you

can edit things like pitch and sustain.

(Above) the”Key Editor” in Cubase 3

Most sound modules are “multi‐timbral,” which means they can produce several different

instruments playing independent parts simultaneously.  This is done using 16 MIDI channels.

When you set your TV to channel 2 it only plays video coming in on that channel. Likewise if you

set your sound module to play a piano on MIDI channel 1 then all the notes coming in on that

channel will play a piano sound.  If you set your sound module to play a string part on channel 2

then all the notes coming in on that channel will play a string sound.  Your controller can also be

set to send any of the 16 channels. In this case if you set it to send channel 1 you’ll hear a piano,

channel 2 you’ll hear a string.

MIDI doesn’t send a continuous play signal. When you strike the key it sends a Note‐On

message and when you release it, it sends a Note‐Off message. This is one of the reasons that

MIDI files are so small.  While audio files can quickly fill your hard drive, you needn’t worry

about MIDI files.

THE W30

The W30 is a music workstation. It has a controller, sequencer, and sound module (sampler).

Even though they’re in one box they still work the same.

In order to play a piano sound I would have had to set the sound module to play a piano on

MIDI channel 1, and set the controller to send MIDI channel 1.

Posted in Uncategorized | Tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment