Home Studio Simplified

Watch the video version here: https://youtu.be/w9gV8yqfwzo

 

Watch the video version here: https://youtu.be/w9gV8yqfwzo

 

ANNOUNCMENTS

• Quarantine Song Challenge- Are you a musician or instrumentalist that has currently found yourself indoors more than usual, and with extra time on your hands? Well, in order to break up the monotony and create a little fun, I am doing a "Quarantine Song Challenge".

  Details: Starting Friday April 10th, I am giving all who would be willing, a challenge. The mission should you choose to accept it, is this: Create a song within a 2 week time-frame. That would put you handing in your final submission on Friday April 24th. This should be a version of your best rough mix, or if you're very productive a completed masterpiece that's fully mixed and mastered. I will then choose 3 of the best submissions and showcase them on my channel live for all to hear and give my personal feedback as well. The submission with the most votes will be mixed and mastered by yours truly.   Technicalities: Submissions need to be in high quality WAV files preferably 24bit. If your hopeful of winning, make sure that your project is recorded and mixed in 24-bit with a sample rate of 44.1-kHz     EAR TO THE GROUND   1  With all the uncertainty surrounding local businesses and the some of the cold crafty moves of corporate America, it is refreshing to hear that there are still a few good companies out there. Fender, is no exception.    How does this sound for a midday stress release at work? You leave your desk, pick up a guitar and just jam. It’s a workplace feature that’s core to Fender. This 71-year-old company has crafted instruments for musical icons ranging from Bruce Springsteen to Jimi Hendrix, and in its new Hollywood headquarters, (designed by Rapt Studio) guitars line the walls -- acoustic, electric, one-of-a-kind beauties- and employees are encouraged to play any time of day. (Talent is not required, but I suspect it’s greatly preferred.)  This historic company is currently focused on investing in new technology and talent, which is helping Fender keep up in an increasingly competitive music world.   

Bennett Kolasinski (Fender/Software Engineering Manager)

“We’ve interviewed a lot of people for jobs here, and sometimes they’re like, ‘Do I have to play guitar?’ We do have some sick guitarists, but we also have people that don’t know how to play, and they’re maybe working on the Fender Play app. It’s a product that teaches how to play guitar, so we need those nonmusical points of view.” To get a look into the psyche of Fender's leadership, here's what the CEO of Fender had to say,

Andy Mooney (Fender/CEO)

“I met Phyllis Fender, Leo Fender’s wife, last year, and she said something that really struck me. Later in his life, Leo had said to her that he believed all artists were angels and that God had put him on this planet to give them wings. That’s been the mission of the company: Whether we do it by digital means in terms of encouraging people to learn guitar or whether we’re physically putting guitars in their hands, we’re trying to give wings to artists.”   2 If you've been researching ways to hone your craft during these trying times, then look no further than Produce Like A Pro. Produce Like A Pro is the equivalent of an internship at a major studio with an amazing producer as your mentor. Warren Huart, the founder of Produce Like A Pro, is a record producer, musician, composer and recording engineer based in Los Angeles, California. Heralded as a multi-platinum producer for more bands than I have time to name, Warren is the owner of Spitfire Studio in LA. Since 2014, he has opened up his world to an ever growing community of audio lovers through the Produce Like A Pro Academy and his YouTube Channel.    Recently as a way of giving back to his followers and soon to be's, he has generously made some of his paid course free for the public to create a way to learn during this time of isolation. Some of the courses available now are:   Anatomy of A Mix: Mixing A Singer/Songwriter Follow Warren through his hybrid mix process and learn how to use a combination of both analog and digital processing to create awesome sounding music. See a complete breakdown of his mix and learn exactly how he makes his mixing decisions. In this mix, you will learn more about EQ, compression, saturation, multiband compression, distortion, and even parallel processing. Then, you can download the multitracks and mix the song yourself! Mixing In The Box In this course, you learn how to mix completely in the box! There is no need for extra hardware or equipment with this course. It is 100% computer-based mixing with plugins! You’ll get to learn more about fundamental parts of mixing including EQ, compression, saturation, multiband compression, distortion, parallel processing and more! Follow along with Warren as he goes through each step of the mix and show you exactly what he is doing, as well as explain why he does it, so you are able to apply these principles to your own mixes! Recording and Producing Drums with Matt Starr In this course, Matt explains his drum kit choice and his philosophy behind choosing the right components to create a huge drum sound. You'll  also learn how to control the ring of your toms and snare, how to make your kit and tom sound cohesive, and how to keep your snare tuning consistent through longer recording sessions and live events. As if that wasn't enough, you will also learn how to create a signature sound for your drums by learning special micing techniques.      3 FREE PLUGS   

• SPAN - Although this plug in has been around for awhile, a lot of newcomers may not know it exists.  Voxengo's SPAN is a free real-time “fast Fourier transform” audio spectrum analyzer plugin for professional sound and music production applications. SPAN supports multi-channel analysis and can be set to display spectrums from two different channels or channel groups at the same time.  What's more, your spectrum's color can be chosen to taste. SPAN also features output level metering with adjustable ballistics and integration time and K-0.system metering (including calibration K-system metering).  SPAN displays level metering statistics, headroom estimation and true peak clipping detection. Correlation metering is available as well. I personally love to use this plug in on my reference tracks. By utilizing its dual metering feature you can see the frequency spectrum of your reference track overlaid on top of your current mix, this has been a huge help in getting my mix to translate better, both creatively and technically.

 

• Rough Rider -  Rough Rider, by Audio Damage, 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. Still, you can use it however you'd like. The Compressor Police aren't gonna come to your house and give you a citation. So download it for free, slap it on a track and start cranking some knobs.

 

• Project Time - This useful plug in from HOFA shows the time that has passed during an open DAW project. It records time in hours, minutes, and seconds, has a pause function and even writes a log so you can see when you worked on the project and for how long. Every log entry can be commented on as well. The timer starts as soon as it gets loaded into a plug-in slot in your DAW. The stopped time is saved with the closing of the project and resumes by reopening the project. Perfect for keeping track of your time for a multiplicity of reasons.

  MAIN THOUGHT   Developing A Mix System   When it comes to anything creative, we creatives generally shy away from anything that tries to inhibit or place us in a box. For this cause, some are staunch defenders of not using templates, or anything that may "guide" the creative process outside of the creators own bounds. While I see the purist approach of that and do ascribe to the thought that creativity should be unbridled, at the same time we live in an ever demanding world that is constantly at war with our precious time.    That said, if I can alleviate some of the more mundane tasks that slow me down in my initial approach, you'd better believe I'm all for it! This is why I personally use templates. Now, I know, the purist in me cringes at even saying this but the minimalist in me says, "speak on". At this point it is imperative for me to outline exactly what I mean when I say "templates".   Picture this: The inspiration hits. You pick up your instrument of choice, for all intrinsic purposes we will say guitar, and the juices are just flowing. You bang out a killer chorus and now you're really feeling it! You kick open the door to the studio, fling out the keyboard tray, turn the computer on (at this point the juices are still flowin'). Finally your desktop opens, you open up your DAW and select, "Create New Project". Now, in your purist mind you select "blank project", denoting that nothing is in your path to inhibit creativity, just a clean slate!   Now, load in an empty track. Set the routing options up in your DAW. Name it something creative, like guitar goodness. At this point, you've just burned 3 minutes up, but your creative fires are still burning hot! You pull out your favorite guitar, plug it in to your got-to amp and mic it up with that favorite mic of yours. So, now another 7 minutes has been robbed. The creative fire is burning, yet, the flames are diminishing. You tune up the guitar, take care that your levels are good going into the DAW, and finally 30 minutes later you get that guitar take into a newly created track.    Keep in mind, you're using your favorite guitar. It's your go-to amp. Yet, even after the take is nailed you know you're going to have to do some processing on it. So, naturally you reach for your favorite compressor plug in and a good reverb. The same ones you use on every mix, because much like that favorite guitar and go to amp, you know them. Now you dial in that go to setting that you normally use on every guitar track to start with, and you've effectively wasted another 20 minutes getting it to that point. Ah, but your being creative!    At this point the smoldering embers of creativity give way to the time and as you gaze toward the wall clock you realize that in an hour and a half you have one guitar track to show for yourself and time is up because kids need bedtime stories and the wife needs the trash taken down.    Now had this scenario been changed by the addition of utilizing templates. You could still have 30-45 minutes left to lay down a second layer of guitar or develop a melody on the keys. After all, you already knew what guitar you were after, what amp you were using, and your mic choice.In a sense you were using those starting points as templates for your tone. So, what if you would've loaded a project template that already had the name "Electric Guitar Track" tacked on it, along with your two favorite starting plug ins for guitar, set to your favorite starting positions. Just think of how much time you could've saved yourself.    Remember, part of the beauty of the digital recording age is that at anytime you can go back and change things with an instant recall of settings. So it really doesn't do any good to start from scratch when you can always go back and perfect a templates approach.    Ok, so what does all this have to do with mixing?   Well, much like the scenario we just discussed in a recording session, you can save yourself time and frustration by developing a system to mixing that can be completely adaptable to your workflow. I will briefly describe current system and show you what I mean.  

1. Import all the tracks in to my DAW (Cakewalk by BandLab)
2. Name every track that doesn't fit into my pre-named slot within my template
3. Make sure they are color coordinated with applicable track icons
4. Bottom out my all faders and switch the Master Bus to mono (this will aide in hearing phase issues)
5. Bring up each element one at a time and get a feel for where it needs to set in the mix
6. Do a rough mix of levels and take care of edits
7. EQ those elements that are stepping on one another until cohesion is achieved 
8. Switch the Master Bus to Stereo and begin panning things L-C-R
9. Slowly start adding in desired effects, being mindful of level matching - this includes creating sends to my template reverb/delay/saturation channels
10. Fold back down to Mono and Import Reference tracks
11. Get my best Mono mix with my desired effects in place
12. Let it bloom back out to Stereo and get out my note pad
13. Once I am happy with my current mix I listen back all the way through "blindly" and touch nothing, I only write down what I hear needs addressed
14. Address the issues found on the first pass and listen to it again, same rules apply, touch nothing only write down what I hear
15. Rinse and Repeat until the said mix is done

  Now, if you notice, my approach is one that gets all of the technical stuff out of the way first. Then I move into the creative phase without anything to inhibit my flow. Next I move into an analytical stage that allows me to make decisions with more clarity, as well as keeps me from continually fiddling with knobs. Now, although this method does vary from time to time, this has worked for me and allowed me to finish my projects faster and with less strain on my mental faculties, faculties that are now and always have been in question since I was born.    I would encourage you to develop a system, a templates of sorts that you use every time you approach a mix. Improve on it over time until you can become the master of the mix instead of the pupil of time. I'd like to close by saying this, the system needs to come before creativity. Why? Because creativity can follow the system, but the system will never be able to follow creativity.   Download your free copy of this 15 Step Mix System here: 15_STEP_MIX_SYSTEM   Sources/Links: 1- 2  

ANNOUNCMENTS

• Quarantine Song Challenge- Are you a musician or instrumentalist that has currently found yourself indoors more than usual, and with extra time on your hands? Well, in order to break up the monotony and create a little fun, I am doing a "Quarantine Song Challenge".

  Details: Starting Friday April 10th, I am giving all who would be willing, a challenge. The mission should you choose to accept it, is this: Create a song within a 2 week time-frame. That would put you handing in your final submission on Friday April 24th. This should be a version of your best rough mix, or if you're very productive a completed masterpiece that's fully mixed and mastered. I will then choose 3 of the best submissions and showcase them on my channel live for all to hear and give my personal feedback as well. The submission with the most votes will be mixed and mastered by yours truly.   Technicalities: Submissions need to be in high quality WAV files preferably 24bit. If your hopeful of winning, make sure that your project is recorded and mixed in 24-bit with a sample rate of 44.1-kHz     EAR TO THE GROUND   1  With all the uncertainty surrounding local businesses and the some of the cold crafty moves of corporate America, it is refreshing to hear that there are still a few good companies out there. Fender, is no exception.    How does this sound for a midday stress release at work? You leave your desk, pick up a guitar and just jam. It’s a workplace feature that’s core to Fender. This 71-year-old company has crafted instruments for musical icons ranging from Bruce Springsteen to Jimi Hendrix, and in its new Hollywood headquarters, (designed by Rapt Studio) guitars line the walls -- acoustic, electric, one-of-a-kind beauties- and employees are encouraged to play any time of day. (Talent is not required, but I suspect it’s greatly preferred.)  This historic company is currently focused on investing in new technology and talent, which is helping Fender keep up in an increasingly competitive music world.    Bennett Kolasinski (Fender/Software Engineering Manager) “We’ve interviewed a lot of people for jobs here, and sometimes they’re like, ‘Do I have to play guitar?’ We do have some sick guitarists, but we also have people that don’t know how to play, and they’re maybe working on the Fender Play app. It’s a product that teaches how to play guitar, so we need those nonmusical points of view.” To get a look into the psyche of Fender's leadership, here's what the CEO of Fender had to say, Andy Mooney (Fender/CEO) “I met Phyllis Fender, Leo Fender’s wife, last year, and she said something that really struck me. Later in his life, Leo had said to her that he believed all artists were angels and that God had put him on this planet to give them wings. That’s been the mission of the company: Whether we do it by digital means in terms of encouraging people to learn guitar or whether we’re physically putting guitars in their hands, we’re trying to give wings to artists.”   2 If you've been researching ways to hone your craft during these trying times, then look no further than Produce Like A Pro. Produce Like A Pro is the equivalent of an internship at a major studio with an amazing producer as your mentor. Warren Huart, the founder of Produce Like A Pro, is a record producer, musician, composer and recording engineer based in Los Angeles, California. Heralded as a multi-platinum producer for more bands than I have time to name, Warren is the owner of Spitfire Studio in LA. Since 2014, he has opened up his world to an ever growing community of audio lovers through the Produce Like A Pro Academy and his YouTube Channel.    Recently as a way of giving back to his followers and soon to be's, he has generously made some of his paid course free for the public to create a way to learn during this time of isolation. Some of the courses available now are:   Anatomy of A Mix: Mixing A Singer/Songwriter Follow Warren through his hybrid mix process and learn how to use a combination of both analog and digital processing to create awesome sounding music. See a complete breakdown of his mix and learn exactly how he makes his mixing decisions. In this mix, you will learn more about EQ, compression, saturation, multiband compression, distortion, and even parallel processing. Then, you can download the multitracks and mix the song yourself! Mixing In The Box In this course, you learn how to mix completely in the box! There is no need for extra hardware or equipment with this course. It is 100% computer-based mixing with plugins! You’ll get to learn more about fundamental parts of mixing including EQ, compression, saturation, multiband compression, distortion, parallel processing and more! Follow along with Warren as he goes through each step of the mix and show you exactly what he is doing, as well as explain why he does it, so you are able to apply these principles to your own mixes! Recording and Producing Drums with Matt Starr In this course, Matt explains his drum kit choice and his philosophy behind choosing the right components to create a huge drum sound. You'll  also learn how to control the ring of your toms and snare, how to make your kit and tom sound cohesive, and how to keep your snare tuning consistent through longer recording sessions and live events. As if that wasn't enough, you will also learn how to create a signature sound for your drums by learning special micing techniques.      3 FREE PLUGS   

• SPAN - Although this plug in has been around for awhile, a lot of newcomers may not know it exists.  Voxengo's SPAN is a free real-time “fast Fourier transform” audio spectrum analyzer plugin for professional sound and music production applications. SPAN supports multi-channel analysis and can be set to display spectrums from two different channels or channel groups at the same time.  What's more, your spectrum's color can be chosen to taste. SPAN also features output level metering with adjustable ballistics and integration time and K-0.system metering (including calibration K-system metering).  SPAN displays level metering statistics, headroom estimation and true peak clipping detection. Correlation metering is available as well. I personally love to use this plug in on my reference tracks. By utilizing its dual metering feature you can see the frequency spectrum of your reference track overlaid on top of your current mix, this has been a huge help in getting my mix to translate better, both creatively and technically.

 

• Rough Rider -  Rough Rider, by Audio Damage, 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. Still, you can use it however you'd like. The Compressor Police aren't gonna come to your house and give you a citation. So download it for free, slap it on a track and start cranking some knobs.

 

• Project Time - This useful plug in from HOFA shows the time that has passed during an open DAW project. It records time in hours, minutes, and seconds, has a pause function and even writes a log so you can see when you worked on the project and for how long. Every log entry can be commented on as well. The timer starts as soon as it gets loaded into a plug-in slot in your DAW. The stopped time is saved with the closing of the project and resumes by reopening the project. Perfect for keeping track of your time for a multiplicity of reasons.

  MAIN THOUGHT   Developing A Mix System   When it comes to anything creative, we creatives generally shy away from anything that tries to inhibit or place us in a box. For this cause, some are staunch defenders of not using templates, or anything that may "guide" the creative process outside of the creators own bounds. While I see the purist approach of that and do ascribe to the thought that creativity should be unbridled, at the same time we live in an ever demanding world that is constantly at war with our precious time.    That said, if I can alleviate some of the more mundane tasks that slow me down in my initial approach, you'd better believe I'm all for it! This is why I personally use templates. Now, I know, the purist in me cringes at even saying this but the minimalist in me says, "speak on". At this point it is imperative for me to outline exactly what I mean when I say "templates".   Picture this: The inspiration hits. You pick up your instrument of choice, for all intrinsic purposes we will say guitar, and the juices are just flowing. You bang out a killer chorus and now you're really feeling it! You kick open the door to the studio, fling out the keyboard tray, turn the computer on (at this point the juices are still flowin'). Finally your desktop opens, you open up your DAW and select, "Create New Project". Now, in your purist mind you select "blank project", denoting that nothing is in your path to inhibit creativity, just a clean slate!   Now, load in an empty track. Set the routing options up in your DAW. Name it something creative, like guitar goodness. At this point, you've just burned 3 minutes up, but your creative fires are still burning hot! You pull out your favorite guitar, plug it in to your got-to amp and mic it up with that favorite mic of yours. So, now another 7 minutes has been robbed. The creative fire is burning, yet, the flames are diminishing. You tune up the guitar, take care that your levels are good going into the DAW, and finally 30 minutes later you get that guitar take into a newly created track.    Keep in mind, you're using your favorite guitar. It's your go-to amp. Yet, even after the take is nailed you know you're going to have to do some processing on it. So, naturally you reach for your favorite compressor plug in and a good reverb. The same ones you use on every mix, because much like that favorite guitar and go to amp, you know them. Now you dial in that go to setting that you normally use on every guitar track to start with, and you've effectively wasted another 20 minutes getting it to that point. Ah, but your being creative!    At this point the smoldering embers of creativity give way to the time and as you gaze toward the wall clock you realize that in an hour and a half you have one guitar track to show for yourself and time is up because kids need bedtime stories and the wife needs the trash taken down.    Now had this scenario been changed by the addition of utilizing templates. You could still have 30-45 minutes left to lay down a second layer of guitar or develop a melody on the keys. After all, you already knew what guitar you were after, what amp you were using, and your mic choice.In a sense you were using those starting points as templates for your tone. So, what if you would've loaded a project template that already had the name "Electric Guitar Track" tacked on it, along with your two favorite starting plug ins for guitar, set to your favorite starting positions. Just think of how much time you could've saved yourself.    Remember, part of the beauty of the digital recording age is that at anytime you can go back and change things with an instant recall of settings. So it really doesn't do any good to start from scratch when you can always go back and perfect a templates approach.    Ok, so what does all this have to do with mixing?   Well, much like the scenario we just discussed in a recording session, you can save yourself time and frustration by developing a system to mixing that can be completely adaptable to your workflow. I will briefly describe current system and show you what I mean.  

1. Import all the tracks in to my DAW (Cakewalk by BandLab)
2. Name every track that doesn't fit into my pre-named slot within my template
3. Make sure they are color coordinated with applicable track icons
4. Bottom out my all faders and switch the Master Bus to mono (this will aide in hearing phase issues)
5. Bring up each element one at a time and get a feel for where it needs to set in the mix
6. Do a rough mix of levels and take care of edits
7. EQ those elements that are stepping on one another until cohesion is achieved 
8. Switch the Master Bus to Stereo and begin panning things L-C-R
9. Slowly start adding in desired effects, being mindful of level matching - this includes creating sends to my template reverb/delay/saturation channels
10. Fold back down to Mono and Import Reference tracks
11. Get my best Mono mix with my desired effects in place
12. Let it bloom back out to Stereo and get out my note pad
13. Once I am happy with my current mix I listen back all the way through "blindly" and touch nothing, I only write down what I hear needs addressed
14. Address the issues found on the first pass and listen to it again, same rules apply, touch nothing only write down what I hear
15. Rinse and Repeat until the said mix is done

  Now, if you notice, my approach is one that gets all of the technical stuff out of the way first. Then I move into the creative phase without anything to inhibit my flow. Next I move into an analytical stage that allows me to make decisions with more clarity, as well as keeps me from continually fiddling with knobs. Now, although this method does vary from time to time, this has worked for me and allowed me to finish my projects faster and with less strain on my mental faculties, faculties that are now and always have been in question since I was born.    I would encourage you to develop a system, a templates of sorts that you use every time you approach a mix. Improve on it over time until you can become the master of the mix instead of the pupil of time. I'd like to close by saying this, the system needs to come before creativity. Why? Because creativity can follow the system, but the system will never be able to follow creativity.   Download your free copy of this 15 Step Mix System here: 15_STEP_MIX_SYSTEM   Sources/Links: 1- 2  

ANNOUNCMENTS

• Recent live stream success - HSS Live-Artist Spotlights 006 https://youtu.be/GPT-_TGlt84

  EAR TO THE GROUND 1 New music is no longer a thing, thanks to a pair of lawyers who created an algorithm to write every single musical melody that can possibly exist. Rather than claiming all music as their personal property, however, the duo have released their entire catalog of tunes into the public domain, in the hope that this will bring an end to copyright lawsuits.   Lawyer, musician, and programmer Damien Riehl came up with the idea after realizing that all singer-songwriters are essentially walking on a “melodic minefield”, because there are only a finite number of melodies that can exist. As such, with each new song that gets written, the chances of creating something genuinely unique decreases, and the possibility of writing a melody that has already been recorded by someone else increases.   In a recent Tedx Talk, Riehl explains that this wouldn’t be a problem if it weren’t for the ridiculous nature of copyright laws, which state that a piece of music becomes copyrighted the moment it is recorded. Even worse, it is possible to be sued for “subconscious infringement”, whereby an artist may have to pay a settlement to another artist even if they claim to have never heard the song that they are accused of copying. Riehl sites numerous such cases, revealing how George Harrison was found guilty of subconscious infringement after the chorus to his song My Sweet Lord was deemed to be too similar to a track called He’s So Fine by The Chiffons. In another example, Radiohead were forced to name a group called The Hollies as co-writers of their song Creep, which apparently included a melody that also appears in one of the latter band’s songs.   To try and bring an end to such cases, Riehl teamed up with Noah Rubin to create an algorithm that could produce every 12-note melody that has ever been written or can ever be written, using one octave of musical notes. The algorithm uses the same ‘brute force’ technique that hackers use when attempting to steal passwords, by essentially generating every possible combination of characters. A total of 68 billion melodies were generated, which are now all available at allthemusic.info.    The pair argue that their algorithm highlights how musical melodies are essentially just numbers arranged in a particular order, and that since numbers can’t be copyrighted, music should also not be constrained by infringement laws. "No song is new. Noah and I have exhausted the data set," explains Riehl. "Noah and I have made all the music to be able to allow future songwriters to make all of their music."   2 It’s becoming clear that the Covid-19 coronavirus is going to have a significant impact on all of our lives for the foreseeable future and, sadly, it’s likely that the music-making industry is going to suffer.    Of course, there are still plenty of ways that you can indulge your passion - a period of self-isolation might actually help you to finish that album you’re been working on or even master a new instrument - but in the world of live events, the picture looks a little less rosy. Around the world gigs, trade shows and other music-focused gatherings are being cancelled on a daily basis and, unfortunately, this is a trend that’s set to continue.  To help you keep abreast of developments, and to make you aware if you need to change your plans in any way, I've included a link in the description of this podcast to an ongoing list that Music Radar has put together for live show updates. This guide shows the current impact that the coronavirus is having, and they're committed to keep it updated as news comes in. This might be a webpage you need to bookmark for future reference. 3 Universal Audio (UA), a leading manufacturer of professional audio recording hardware and software, is proud to introduce LUNA Recording System, a full-featured music creation, recording, and analog-style production system shaped by over 60 years of analog audio exploration. LUNA transforms UA's industry-standard Apollo interfaces into the most inspiring and fully integrated recording systems available. LUNA Recording System consists of a UA Thunderbolt-equipped audio interface, the LUNA Application, LUNA Extensions, and LUNA Instruments. LUNA will be available as a free download for Apollo and Arrow Thunderbolt audio interface owners (Mac only) in Spring 2020

• Deep Apollo Integration — Fast, Natural Workflow

Unlike traditional DAW software, LUNA Recording System's tight hardware-software integration allows quickly routing and recording audio through DSP-powered UAD plug-ins with no discernable latency via the new Accelerated Realtime Monitoring feature. Accelerated Realtime Monitoring is poised to be a major revelation for those unaccustomed to working on a $10k+ DSP-assisted recording system; music production will instantly seem more robust, dependable, and intuitive, without latency or monitoring hassles. 

• Built-In Neve® Summing — Instant Classic Console Sound

LUNA Recording System offers precisely emulated audio summing circuitry from the Neve 80-Series audio mixing consoles designed by Neve Electronics in the 1960s and early 1970s, featuring the harmonically rich sound of the Neve 1272 summing amplifier. Far beyond a “summing plug-in," Neve Summing is a LUNA Extension built-in to the fabric of LUNA's mixer — and can instantly transform a clean technical mix into a classic-sounding recording filled with energy and life.

• Integrated Multitrack Tape — Warmth and Punch on Demand

LUNA's audio transport features integrated Multitrack Tape emulation via the included "Oxide" LUNA Extension — providing sonic qualities commonly described by audio engineers as "warmth" and "cohesion" on every desired audio or instrument track. LUNA Recording System users may choose to further explore various magnetic tape sounds with the optional Studer® A800 Tape Recorder Extension (sold separately).

• All-New LUNA Instruments — Incredible Realism to Fuel Inspiration

LUNA is further distinguished by all-new software-based LUNA Instruments — bringing Universal Audio's expertise in electrical and acoustic modeling, sampling, synthesis, and signal processing to virtual instruments for the first time ever. The resulting software instruments are ultra-realistic, responsive, and “alive” with inspiration. At launch, available LUNA Instruments will include:

• Moog® Minimoog — developed in partnership with Moog Music, the Moog Minimoog is an incredibly accurate and inspiring emulation of the archetypal 1971 Moog synthesizer
• Ravel™ grand piano — a breathtaking model of a Steinway Model B grand piano based on UA's proprietary sampling, physical modeling, and new Ultra-Resonance technology — providing all the sonic nuance of this studio classic
• Shape™ — a complete creative toolkit with vintage keys, drums/percussion, guitar/bass, orchestral content, and realtime synthesis, courtesy of Universal Audio, Spitfire Audio, Orange Tree Samples, Loops de la Creme, and more — included free in LUNA.

3 FREE PLUGS 

• Xfer Records Dimension Expander - If you're looking to add unique and insane space and stereo width to your sound, Xfer Records Dimension Expander is a must. The four-voice chorus with extended delay times takes advantage of phasing to further enhance the "out of the speaker" width. Two of the chorus voices are out of phase from the other two, which tickles your brain and confuses it in enjoyable ways, creating an unbeatable stereo effect. It sounds great on pretty much anything but shines a bit extra on vocals and cleaner guitars. Try it and find out which other instruments love this plugin.
• Thrillseeker XTC - Sometimes you need to bring a sound back to life - you hear it has potential, but you know it can be so much more. Bringing back the mojo of a sound (or several) is what the exciter Thrillseeker XTC is all about. In the stylish analog interface, you have ultimate control over the low, mid, and high end with full respective EQ bands to dial it down even further. One of the more exciting features of the Thrillseeker XTC is the "mojo" knob. The Cambridge Dictionary defines mojo as "a quality that attracts people to you and makes you successful and full of energy." Switch out the "you" to "your track," there's your explanation to what the Thrillseeker XTC is all about. I really can't explain it better. It does magic on your track and makes it sound loads better.
• Krush - Who doesn't love an excellent, free bit crusher? Look no further than Krush. Krush is all about down-sampling, crushing, and driving your sound to insane levels – if you want. Hidden in this gem is a reliable filter and an LFO to manage all controls in the plugin fully. And with the separate dry and wet dial, you can add some exciting flavors to your drum loops, for example. Just a little bit can go a long way to liven up a dull 4/4 beat. It sounds like a bit crusher should and does everything you want, with a bit more to keep things interesting. If you want a free bit crusher, I recommend you check this one out right now. 

  MAIN THOUGHT   4 The McGurk Effect   Have you ever tweaked a knob on a compressor or an EQ plugin while looking at it on screen and hear an audible difference, only to find that it was in fact bypassed the whole time?   Well, if you’ve been mixing for very long, I’m sure at one point in time (knowingly or unknowingly) you’ve done this.    This audio/visual phenomenon is not only real, but it is scientifically proven. In fact it's got a rather Scottish name, it's called "The McGurk Effect" .    In 1976, Chief psychologist McGurk and his partner MacDonald, reported a powerful multisensory illusion occurring with audiovisual speech. They recorded a voice articulating a consonant and dubbed it with a face articulating another consonant. Even though the acoustic speech signal was well recognized alone, it was heard as another consonant after dubbing with incongruent visual speech. The illusion has been termed the McGurk effect. It has been replicated many times, and it has sparked an abundance of research. The reason for the great impact is because it is a striking demonstration of multisensory integration. It shows that auditory and visual information is merged into a unified, integrated percept.   The McGurk effect, in laymen terms, is a perceptual phenomenon that demonstrates an interaction between hearing and vision in auditory perception. The illusion occurs when the auditory component of one sound is paired with the visual component of another sound, leading to the perception of a third sound. (See it for yourself here)   So, what can we learn from this? Well, it demonstrates our brains ability to marry the audio world to the visual and also shows us that we can be easily tricked into hearing things that are not there. Arguably, this is why some say that analog mixing is better musically speaking. Because, tactile knobs and low visibility to the specific ranges found on the mixing board or outboard gear, forces an engineer to use their ears more than their eyes to makes subtle adjustments.    Because of this, some plug in companies have actually went as far as to create a sort of clean slate approach to audio alteration. For instance, one company (Audio Thing) released a FREE (yes FREE plugin), that you can download and try for yourself.  it's called the Blindfold EQ. The Blindfold EQ is a freeware EQ plugin inspired by a quote from Matt Wallace, found in the book Recording Unhinged by Sylvia Massy.  Matt states, “If I were King of the Universe, consoles would have no indication of frequency near the EQ knobs, because when you show the frequency, then most people EQ by eye. […] But seriously, you should have no idea of what frequency you are boosting or cutting. It doesn’t matter what number is. It matters how it sounds and how it feels. That’s it!” Matt Wallace   Ans so, the Blindfold EQ is created. The Blindfold EQ has 4 bands (LowShelf, LowMid, HighMid, HighShelf), but each knob is blind. Meaning, there are no indicators or numbers to show frequency values, gain values or Q values. You have to use your ears, and in turn you nullify the need for specific values when making adjustments.   Now, although this doesn't completely eliminate the McGurk effect (due to the fact that one could still make changes in bypass and hear audible differences) it does at least minimize the need to have values for everything and quantify music into a little box.    There you have it, a scientific explanation for the embarrassing moment when (Lord forbid) a client sees you adjust an EQ that is bypassed. But then, would they even notice it? Perhaps we could even utilize this as a means of not fiddling with the sound of something that we have painstakingly beat into submission at the artists request. Just simply duplicate the plugin, and then bypass the duplicate. Now show them your making a change and let the McGurk effect work for you instead of against you!    Sources/Links: 1  - 2 - 3 - 4

ANNOUNCMENTS

• Recent live stream success - HSS Live-Artist Spotlights 006 https://youtu.be/GPT-_TGlt84

  EAR TO THE GROUND 1 New music is no longer a thing, thanks to a pair of lawyers who created an algorithm to write every single musical melody that can possibly exist. Rather than claiming all music as their personal property, however, the duo have released their entire catalog of tunes into the public domain, in the hope that this will bring an end to copyright lawsuits.   Lawyer, musician, and programmer Damien Riehl came up with the idea after realizing that all singer-songwriters are essentially walking on a “melodic minefield”, because there are only a finite number of melodies that can exist. As such, with each new song that gets written, the chances of creating something genuinely unique decreases, and the possibility of writing a melody that has already been recorded by someone else increases.   In a recent Tedx Talk, Riehl explains that this wouldn’t be a problem if it weren’t for the ridiculous nature of copyright laws, which state that a piece of music becomes copyrighted the moment it is recorded. Even worse, it is possible to be sued for “subconscious infringement”, whereby an artist may have to pay a settlement to another artist even if they claim to have never heard the song that they are accused of copying. Riehl sites numerous such cases, revealing how George Harrison was found guilty of subconscious infringement after the chorus to his song My Sweet Lord was deemed to be too similar to a track called He’s So Fine by The Chiffons. In another example, Radiohead were forced to name a group called The Hollies as co-writers of their song Creep, which apparently included a melody that also appears in one of the latter band’s songs.   To try and bring an end to such cases, Riehl teamed up with Noah Rubin to create an algorithm that could produce every 12-note melody that has ever been written or can ever be written, using one octave of musical notes. The algorithm uses the same ‘brute force’ technique that hackers use when attempting to steal passwords, by essentially generating every possible combination of characters. A total of 68 billion melodies were generated, which are now all available at allthemusic.info.    The pair argue that their algorithm highlights how musical melodies are essentially just numbers arranged in a particular order, and that since numbers can’t be copyrighted, music should also not be constrained by infringement laws. "No song is new. Noah and I have exhausted the data set," explains Riehl. "Noah and I have made all the music to be able to allow future songwriters to make all of their music."   2 It’s becoming clear that the Covid-19 coronavirus is going to have a significant impact on all of our lives for the foreseeable future and, sadly, it’s likely that the music-making industry is going to suffer.    Of course, there are still plenty of ways that you can indulge your passion - a period of self-isolation might actually help you to finish that album you’re been working on or even master a new instrument - but in the world of live events, the picture looks a little less rosy. Around the world gigs, trade shows and other music-focused gatherings are being cancelled on a daily basis and, unfortunately, this is a trend that’s set to continue.  To help you keep abreast of developments, and to make you aware if you need to change your plans in any way, I've included a link in the description of this podcast to an ongoing list that Music Radar has put together for live show updates. This guide shows the current impact that the coronavirus is having, and they're committed to keep it updated as news comes in. This might be a webpage you need to bookmark for future reference. 3 Universal Audio (UA), a leading manufacturer of professional audio recording hardware and software, is proud to introduce LUNA Recording System, a full-featured music creation, recording, and analog-style production system shaped by over 60 years of analog audio exploration. LUNA transforms UA's industry-standard Apollo interfaces into the most inspiring and fully integrated recording systems available. LUNA Recording System consists of a UA Thunderbolt-equipped audio interface, the LUNA Application, LUNA Extensions, and LUNA Instruments. LUNA will be available as a free download for Apollo and Arrow Thunderbolt audio interface owners (Mac only) in Spring 2020

• Deep Apollo Integration — Fast, Natural Workflow

Unlike traditional DAW software, LUNA Recording System's tight hardware-software integration allows quickly routing and recording audio through DSP-powered UAD plug-ins with no discernable latency via the new Accelerated Realtime Monitoring feature. Accelerated Realtime Monitoring is poised to be a major revelation for those unaccustomed to working on a $10k+ DSP-assisted recording system; music production will instantly seem more robust, dependable, and intuitive, without latency or monitoring hassles. 

• Built-In Neve® Summing — Instant Classic Console Sound

LUNA Recording System offers precisely emulated audio summing circuitry from the Neve 80-Series audio mixing consoles designed by Neve Electronics in the 1960s and early 1970s, featuring the harmonically rich sound of the Neve 1272 summing amplifier. Far beyond a “summing plug-in," Neve Summing is a LUNA Extension built-in to the fabric of LUNA's mixer — and can instantly transform a clean technical mix into a classic-sounding recording filled with energy and life.

• Integrated Multitrack Tape — Warmth and Punch on Demand

LUNA's audio transport features integrated Multitrack Tape emulation via the included "Oxide" LUNA Extension — providing sonic qualities commonly described by audio engineers as "warmth" and "cohesion" on every desired audio or instrument track. LUNA Recording System users may choose to further explore various magnetic tape sounds with the optional Studer® A800 Tape Recorder Extension (sold separately).

• All-New LUNA Instruments — Incredible Realism to Fuel Inspiration

LUNA is further distinguished by all-new software-based LUNA Instruments — bringing Universal Audio's expertise in electrical and acoustic modeling, sampling, synthesis, and signal processing to virtual instruments for the first time ever. The resulting software instruments are ultra-realistic, responsive, and “alive” with inspiration. At launch, available LUNA Instruments will include:

• Moog® Minimoog — developed in partnership with Moog Music, the Moog Minimoog is an incredibly accurate and inspiring emulation of the archetypal 1971 Moog synthesizer
• Ravel™ grand piano — a breathtaking model of a Steinway Model B grand piano based on UA's proprietary sampling, physical modeling, and new Ultra-Resonance technology — providing all the sonic nuance of this studio classic
• Shape™ — a complete creative toolkit with vintage keys, drums/percussion, guitar/bass, orchestral content, and realtime synthesis, courtesy of Universal Audio, Spitfire Audio, Orange Tree Samples, Loops de la Creme, and more — included free in LUNA.

3 FREE PLUGS 

• Xfer Records Dimension Expander - If you're looking to add unique and insane space and stereo width to your sound, Xfer Records Dimension Expander is a must. The four-voice chorus with extended delay times takes advantage of phasing to further enhance the "out of the speaker" width. Two of the chorus voices are out of phase from the other two, which tickles your brain and confuses it in enjoyable ways, creating an unbeatable stereo effect. It sounds great on pretty much anything but shines a bit extra on vocals and cleaner guitars. Try it and find out which other instruments love this plugin.
• Thrillseeker XTC - Sometimes you need to bring a sound back to life - you hear it has potential, but you know it can be so much more. Bringing back the mojo of a sound (or several) is what the exciter Thrillseeker XTC is all about. In the stylish analog interface, you have ultimate control over the low, mid, and high end with full respective EQ bands to dial it down even further. One of the more exciting features of the Thrillseeker XTC is the "mojo" knob. The Cambridge Dictionary defines mojo as "a quality that attracts people to you and makes you successful and full of energy." Switch out the "you" to "your track," there's your explanation to what the Thrillseeker XTC is all about. I really can't explain it better. It does magic on your track and makes it sound loads better.
• Krush - Who doesn't love an excellent, free bit crusher? Look no further than Krush. Krush is all about down-sampling, crushing, and driving your sound to insane levels – if you want. Hidden in this gem is a reliable filter and an LFO to manage all controls in the plugin fully. And with the separate dry and wet dial, you can add some exciting flavors to your drum loops, for example. Just a little bit can go a long way to liven up a dull 4/4 beat. It sounds like a bit crusher should and does everything you want, with a bit more to keep things interesting. If you want a free bit crusher, I recommend you check this one out right now. 

  MAIN THOUGHT   4 The McGurk Effect   Have you ever tweaked a knob on a compressor or an EQ plugin while looking at it on screen and hear an audible difference, only to find that it was in fact bypassed the whole time?   Well, if you’ve been mixing for very long, I’m sure at one point in time (knowingly or unknowingly) you’ve done this.    This audio/visual phenomenon is not only real, but it is scientifically proven. In fact it's got a rather Scottish name, it's called "The McGurk Effect" .    In 1976, Chief psychologist McGurk and his partner MacDonald, reported a powerful multisensory illusion occurring with audiovisual speech. They recorded a voice articulating a consonant and dubbed it with a face articulating another consonant. Even though the acoustic speech signal was well recognized alone, it was heard as another consonant after dubbing with incongruent visual speech. The illusion has been termed the McGurk effect. It has been replicated many times, and it has sparked an abundance of research. The reason for the great impact is because it is a striking demonstration of multisensory integration. It shows that auditory and visual information is merged into a unified, integrated percept.   The McGurk effect, in laymen terms, is a perceptual phenomenon that demonstrates an interaction between hearing and vision in auditory perception. The illusion occurs when the auditory component of one sound is paired with the visual component of another sound, leading to the perception of a third sound. (See it for yourself here)   So, what can we learn from this? Well, it demonstrates our brains ability to marry the audio world to the visual and also shows us that we can be easily tricked into hearing things that are not there. Arguably, this is why some say that analog mixing is better musically speaking. Because, tactile knobs and low visibility to the specific ranges found on the mixing board or outboard gear, forces an engineer to use their ears more than their eyes to makes subtle adjustments.    Because of this, some plug in companies have actually went as far as to create a sort of clean slate approach to audio alteration. For instance, one company (Audio Thing) released a FREE (yes FREE plugin), that you can download and try for yourself.  it's called the Blindfold EQ. The Blindfold EQ is a freeware EQ plugin inspired by a quote from Matt Wallace, found in the book Recording Unhinged by Sylvia Massy.  Matt states, “If I were King of the Universe, consoles would have no indication of frequency near the EQ knobs, because when you show the frequency, then most people EQ by eye. […] But seriously, you should have no idea of what frequency you are boosting or cutting. It doesn’t matter what number is. It matters how it sounds and how it feels. That’s it!” Matt Wallace   Ans so, the Blindfold EQ is created. The Blindfold EQ has 4 bands (LowShelf, LowMid, HighMid, HighShelf), but each knob is blind. Meaning, there are no indicators or numbers to show frequency values, gain values or Q values. You have to use your ears, and in turn you nullify the need for specific values when making adjustments.   Now, although this doesn't completely eliminate the McGurk effect (due to the fact that one could still make changes in bypass and hear audible differences) it does at least minimize the need to have values for everything and quantify music into a little box.    There you have it, a scientific explanation for the embarrassing moment when (Lord forbid) a client sees you adjust an EQ that is bypassed. But then, would they even notice it? Perhaps we could even utilize this as a means of not fiddling with the sound of something that we have painstakingly beat into submission at the artists request. Just simply duplicate the plugin, and then bypass the duplicate. Now show them your making a change and let the McGurk effect work for you instead of against you!    Sources/Links: 1  - 2 - 3 - 4

•    Announcements

1. Patreon Page
2. Gear Giveaway Winners have been picked!!!

 

• Ear To The Ground
• Electro-Harmonix Oceans 12 Guitar Pedal
• https://sonicstate.com/news/2020/02/27/new-ehx-dual-stereo-reverb-pedal/

 

• 3 FREE PLUGS -  A1StereoControl,  Tal-Chorus-LX,  CamelCrusher
• https://www.productionmusiclive.com/blogs/news/8-best-free-vst-plugins-2020

 

• Human Speech A.I.
• https://sonicstate.com/news/2020/02/12/   human-speech-ai-cloned-from-5-second-samples/

 

• Main Thought

Often misunderstood, and at times misrepresented, either by mistake or lack of knowledge, are the various phases that take place in the studio to bring about a completed song.   In the old days, an artist would hire a manager. The manager would then arrange studio time and hire a producer who would then oversee the production of the project and work closely alongside the recording engineer and the mix engineer to see that the vision of their clients band was held in highest priority and sounded it’s best.   During those times, the roles of the various hands the studio employed were a little more cut and dry, with the lines blurring only as time and availability were of the essence.   For the most part, one person did their assigned task, and because of this they knew that job well. They would spend hours honing that one particular talent and learn others only as the situation would necessitate.   This was also during a time when huge amounts of money were being thrown at projects, and strides were made so that all parties involved were amply paid for their time and talents. Million dollar records were the norm with bigger names, and studio time was nearly unobtainable due to cost restraints.   Fast forward to this day and age, and we have at our fingertips incredibly affordable audio interfaces and microphones. Digital systems with infinite recall, and the ability to record, at our own leisure, superb quality audio.   Let's talk a little about what the roles used to look like in a typical studio.   The Artist - The role of the artist covers everything from the writer of the songs, to the singer, and the musicians. The Musician - These are the people playing all of the instruments needed to create the songs sounds. The Recording Engineer - The first role of the recording engineer is to capture and record the music that is being played by the musicians. The engineer is responsible for all the recording devices in the studio, as well as the computer programs to manipulate the sound. The engineer decides where the microphones will be placed in the recording booth, sets up all the recording levels, pre-amp settings, compressors, EQs, and all the other technical settings, all to ensure the best possible take every time. Finally, the recording engineer uses their skills and expertise to mix all of the sounds to create the best audio version of the recording. The Assistant Engineer - In a commercial recording studio, the assistant engineer is the right-hand helper to the lead engineer. They usually take care of the more mundane set up and jobs during the recording session. The Producer - The main job of a music producer is to work with the artist and musicians in the studio, and to help them in the creative process of recording their music. They’ll often assist with arrangements of tracks and instrumentation of songs as well. Now days, the artist has become an amalgamation of every role. It is typical to see an artist write, produce, record, mix, and master their own work. So, how does understanding the roles of yester-year help you today?  Let's say you're asked to produce an album for a client. Understanding your role as a Producer can alleviate much of the mundane and allow you to focus on creativity. Likewise, with the proper understanding of studio roles, you can stand your ground when asked to do things outside of your current job description. Although it's not quite as important as it used to be, the roles were defined for various reasons and understanding them can also help you to separate your workflow into chunks of time allotted tasks. For instance, if you're tackling a big project, break it down into the smaller roles and save yourself the overwhelm. This week, I am the recording engineer, next week I will be the Producer, etc. In fact what I've noticed is that by breaking down my large tasks into smaller more manageable ones, I make decisions with more clarity and tend to focus on the present instead of trying to develop all my ideas in one session.              

•    Announcements

1. Patreon Page
2. Gear Giveaway Winners have been picked!!!

 

• Ear To The Ground
• Electro-Harmonix Oceans 12 Guitar Pedal
• https://sonicstate.com/news/2020/02/27/new-ehx-dual-stereo-reverb-pedal/

 

• 3 FREE PLUGS -  A1StereoControl,  Tal-Chorus-LX,  CamelCrusher
• https://www.productionmusiclive.com/blogs/news/8-best-free-vst-plugins-2020

 

• Human Speech A.I.
• https://sonicstate.com/news/2020/02/12/   human-speech-ai-cloned-from-5-second-samples/

 

• Main Thought

Often misunderstood, and at times misrepresented, either by mistake or lack of knowledge, are the various phases that take place in the studio to bring about a completed song.   In the old days, an artist would hire a manager. The manager would then arrange studio time and hire a producer who would then oversee the production of the project and work closely alongside the recording engineer and the mix engineer to see that the vision of their clients band was held in highest priority and sounded it’s best.   During those times, the roles of the various hands the studio employed were a little more cut and dry, with the lines blurring only as time and availability were of the essence.   For the most part, one person did their assigned task, and because of this they knew that job well. They would spend hours honing that one particular talent and learn others only as the situation would necessitate.   This was also during a time when huge amounts of money were being thrown at projects, and strides were made so that all parties involved were amply paid for their time and talents. Million dollar records were the norm with bigger names, and studio time was nearly unobtainable due to cost restraints.   Fast forward to this day and age, and we have at our fingertips incredibly affordable audio interfaces and microphones. Digital systems with infinite recall, and the ability to record, at our own leisure, superb quality audio.   Let's talk a little about what the roles used to look like in a typical studio.   The Artist - The role of the artist covers everything from the writer of the songs, to the singer, and the musicians. The Musician - These are the people playing all of the instruments needed to create the songs sounds. The Recording Engineer - The first role of the recording engineer is to capture and record the music that is being played by the musicians. The engineer is responsible for all the recording devices in the studio, as well as the computer programs to manipulate the sound. The engineer decides where the microphones will be placed in the recording booth, sets up all the recording levels, pre-amp settings, compressors, EQs, and all the other technical settings, all to ensure the best possible take every time. Finally, the recording engineer uses their skills and expertise to mix all of the sounds to create the best audio version of the recording. The Assistant Engineer - In a commercial recording studio, the assistant engineer is the right-hand helper to the lead engineer. They usually take care of the more mundane set up and jobs during the recording session. The Producer - The main job of a music producer is to work with the artist and musicians in the studio, and to help them in the creative process of recording their music. They’ll often assist with arrangements of tracks and instrumentation of songs as well. Now days, the artist has become an amalgamation of every role. It is typical to see an artist write, produce, record, mix, and master their own work. So, how does understanding the roles of yester-year help you today?  Let's say you're asked to produce an album for a client. Understanding your role as a Producer can alleviate much of the mundane and allow you to focus on creativity. Likewise, with the proper understanding of studio roles, you can stand your ground when asked to do things outside of your current job description. Although it's not quite as important as it used to be, the roles were defined for various reasons and understanding them can also help you to separate your workflow into chunks of time allotted tasks. For instance, if you're tackling a big project, break it down into the smaller roles and save yourself the overwhelm. This week, I am the recording engineer, next week I will be the Producer, etc. In fact what I've noticed is that by breaking down my large tasks into smaller more manageable ones, I make decisions with more clarity and tend to focus on the present instead of trying to develop all my ideas in one session.              

Adamental is a Christian hip-hop recording artist / producer who has been featured on Rapzilla's platform for independent artists, and has been making beats for up and coming as well as established artists. Today, we dive into his creative process as he displays his talents by making a beat on the fly.

To see the visuals along with his process head over here: 👉https://youtu.be/WhRUt_ubv3w

You can follow him here as well:

👉https://twitter.com/adamental

👉http://bit.ly/Adamental_YouTube

Adamental is a Christian hip-hop recording artist / producer who has been featured on Rapzilla's platform for independent artists, and has been making beats for up and coming as well as established artists. Today, we dive into his creative process as he displays his talents by making a beat on the fly.

To see the visuals along with his process head over here: 👉https://youtu.be/WhRUt_ubv3w

You can follow him here as well:

👉https://twitter.com/adamental

👉http://bit.ly/Adamental_YouTube