Tag Archives: Education

Finding meaning and purpose through music

bill

STRUCK BY LIGHTNING! BILL IVEY FINDS MEANING AND PURPOSE IN HOMEGROWN CULTURE
NAMM Foundation

Talking Up Music Education is a podcast from The NAMM Foundation about music education. Recorded live from 2018 Summer NAMM, episode 57 includes an interview with American folklore scholar and former Chairman of the National Endowment for the Arts Bill Ivey.

“Music education needs to make its point as loudly as possible, because there are a lot of pressures out there that’s saying technology can substitute for everything,” said Ivey. “If everything of meaning can be found on a screen, I know that’s not true, but there are a lot of forces lined up that want us to believe that.”

During the podcast, Ivey explores ideas for how to achieve meaning and purpose in life through art and music as American society moves away from work and wealth as a means to fulfillment.

Listen to the podcast

Source: https://www.nammfoundation.org/articles/2018-11-09/struck-lightning-bill-ivey-finds-meaning-and-purpose-homegrown-culture

Join The Discussion

We’re currently building our discord channel to help guide aspiring and indie musicians through the wacky maze of music publishing and licensing.

The channel is just getting started so we’re asking for those interested (artists & professionals) to sign up and help begin the discussion at https://discord.gg/FDT6yy8

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Adding Luster to Your Master

Incorporating a few fundamentals of mixing and mastering can help give your work the sheen it needs to get listeners’ attention
Posted in The Weekly on October 30, 2018
by Dave Simons

Think of one of your all-time favorite recordings, right now, then ask yourself: what is it about this particular track that makes me want to hear it over and over again in perpetuity? Is it the sound of the instruments, the way the vocals are mixed or processed, or some other element you can’t quite put your finger on?

Much of the credit for that sonic magic goes to those often unsung heroes of disc-making: recording and mix engineers, as well as their post-production partner the mastering engineer, whose sleight of hand has helped wring every last drop of goodness out of countless song classics.

In general, we at-home types are usually better off outsourcing our mastering needs to a qualified third party, if available (and affordable). That said, here are a few ideas for making a mixed & mastered product that will suffice in the meantime.

Mastering defined

In the big leagues, the master is the last stop in the recording cycle, the two-track package having already been preened and plucked from the multitrack by the recording and/or mix/balance engineers. Mastering techniques include making discreet equalization adjustments, using enhancers like compressors and expanders judiciously, while ensuring the entire mix is properly balanced throughout. As one pro once put it, “it’s what makes a record sound like a record.”

With DIY mastering, the idea is to tweak only as needed so that the end product sounds as good as possible. Some strategies might include:

Master limiting: If possible, insert a stereo compressor/limiter into the master output section of your recorder. Not only will this allow you to control the peaks but, by setting a uniform level, provides the “glue” that often gives the whole mix a bit more urgency. When doing so, take care to set the unit’s threshold so that the effect is barely audible—remember, just limiting, no pumping or squashing!

Faster master: Using your recorder’s play/record parameters, try incrementally raising the track speed, around 5-10% tops—in certain cases, just a touch faster can give the final a bit more “sparkle.”

Tone control: You can also make a few minor equalization adjustments to ensure the master mix is well balanced. To prevent any room deficiencies from getting in the way, preview the treated track through different sets of speakers (say, in your car, on your laptop or using earbuds, in addition to your regular mix station).

Frequency fixes

Speaking of EQ, bear in mind that your mastering tools can only do so much once you’ve made your multitrack reduction—therefore, be sure you’ve got a quality two-track in hand (or ideally several different mixes from which to choose or perhaps comp from) before applying the last coat of wax.

Something we’ve often discussed is using equalization to give each signal a well-defined “path.” For instance, problems often arise when there are several instruments with similar frequencies—when left untreated, bottom-heavy acoustic guitars or piano can leave you with an overly muddy mix, while also making the bass track difficult to hear. To remedy this, start by soloing the suspect tracks, gradually adjusting the EQs so that the frequencies no longer match (in the above example, you’ll probably want to trim more guitar than bass bottom).

Because the rules often change depending on a song’s dynamic range, type of instruments used as well as other factors, in reality there is no “master” approach to mastering—what might work for one set of tracks may be completely inappropriate on another. Regardless, trying a few of these simple tricks can help you avoid having a flaccid final product the next time out.

INSIDE SCOOP FROM ANOTHER MUSIC SUPERVISOR

By: SyncSongwriter.com
October 7, 2018

Here is another inside scoop straight from the top.

There is a lot of stuff online talking about how to get your music into TV & film. I’d rather get my advice from the people who actually do it or have had proven success doing it.

Music supervisor, Valerie Biggin, appeared on a recent song pitch for our class in our course “The Art Of The Song Pitch”.

The cool thing about our song pitches is our students actually get to meet the supervisors LIVE online.

Doing this instantly kickstarts those first few critical relationships at the top of the licensing industry. It makes the inaccessible gatekeepers suddenly ACCESSIBLE.

I thought I would share a short clip of this interview with you right here. It will help you keep moving in the right direction to start syncing your songs.

Advancing your music career and navigating the industry

Published on Sep 18, 2018

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Celebrating over 76 years of service to songwriters, composers, music publishers and businesses, Broadcast Music, Inc.® (BMI®) is a global leader in music rights management, serving as an advocate for the value of music. BMI represents the public performance rights in nearly 13 million musical works created and owned by more than 800,000 songwriters, composers, and music publishers. The Company negotiates music license agreements and distributes the fees it generates as royalties to its affiliated writers and publishers when their songs are performed in public. In 1939, BMI created a groundbreaking open-door policy becoming the only performing rights organization to welcome and represent the creators of blues, jazz, country, and American roots music. Today, the musical compositions in BMI’s repertoire, from chart toppers to perennial favorites, span all genres of music and are consistently among the most-performed hits of the year.