EQ Your Song to Clarity!

by Jason Johnston The difference between a pro sounding mix and an amateur mix is quite simple: One sounds good and one does not. Just joking...the real answer of a great mix lies in the space that each sound and track is given. We are limited in our sonic frequency. We humans only hear between 20 Hz to 20 KHz, which may sound like a wide frequency but is still limited. One you get your bass, drums (spanning very lows to highs), guitars and keys, then try to add a vocal on top of the mix - the frequency range starts sounding a little crowded. And this is what a good engineer actually is: crowd control. You want each parts and sound to have its own space. There is going to be overlap, without question. But what you don't want is sounds competing for the same frequencies. This is where EQ (short for Equalization) comes into play. EQ basically adjusts the volume up or down of certain frequencies. The frequencies depend on the detail of the EQ. This the standard advice on using EQ: Cut before you boost. In otherwords, if you are looking for more of a particular sound, cut the other frequencies that might be competing with it before you resort to increasing the volume of the frequencies of the track that you want. One great example of this is getting a vocal to sit correctly in the mix. Sometimes what works best is notching out some of the sonic space that the other tracks are using and competing with the vocals and you'll find your vocal will stand up in the mix without adding any more volume to it. Listen to the chorus of U2's "Beautiful Day" and you will hear what I mean. There are a zillion layers going on during that chorus and yet you can understand every word Bono sings. So find that sonic clarity in your songs by using EQ to carve out sonic spaces for each part. If you make a great mix it is a good (and sobering) practice to listen to it along side professional mixes that you like. Don't be discouraged, even Bono needs a Daniel Lanois.

MIDI Basics: importing MIDI into Pro Tools and Finale

By Jason Johnston What is MIDI? MIDI is an acronym for "Music Instrument Digital Interface". It was developed in the 80's as a computer music language that electronic instruments could use to communicate to one another using a midi cable. Here's the KEY: MIDI only sends INFORMATION it does not send AUDIO. Basically computer instructions - Ones and Zeros, that's it. Today, USB devices still use MIDI instructions to tell the computer what to do. What can it do? MIDI is extremely flexible. With it you can: - Change tempo without affecting sound quality - Edit individual notes and sounds easily - Edit groups of notes (like transposing, shifting by a beat, etc) - Edit dynamic elements (velocity, hold, expression) - Quantize pushing the MIDI notes into time - Change sounds at the click of a button What can't it do? - It cannot be exported without first changing to a AUDIO file - It (still) cannot replicate some sounds well (human voice, acoustic guitar) although it is getting closer Using MIDI Files in Pro Tools to create a background track 1) Search and download a desired MIDI file (use Apple-click to download to a targeted folder) 2) Start a new session, named and filed appropriately 3) Use the "import MIDI to track" command from the File menu 4) From the File menu select "New Track" and create as many audio tracks as you have new MIDI tracks 5) On each AUDIO track assign a new desired software instrument in the "insert" area and rename the track 6) On each MIDI track assign the "out" in the i/o area to send to the desired software instrument audio track 7) Mix your new song and record a new lead vocal over the top if you want! 8) Bounce your background to disk by selecting File>bounce to disk a. File Type: (.wav) b. Format: Stereo Interleaved c. Resolution: 16 bit d. Sample Rate: 441000 9) Click "bounce" and in the next dialog box type a song name and where you would like it saved as a ".wav" file (playable in iTunes or for burning on a disk) Using MIDI Files in Finale to create a lead sheet and/or background 1) Search and download a desired MIDI file (use Apple-click to download to a targeted folder) 2) Launch Finale and click on "Open" under "Open Existing Music" 3) Select the MIDI file to open it 4) A dialogue box will open, make sure: a. Tracks become staves is selected b. All boxes under "Include" are clicked on c. "Create Percussion Staves" is selected d. Both the Key Signature and Time Signature are selected "using the file's" e. The rest should be automatic 5) Finale should show you multiple tracks of scored music, just like the MIDI file was recorded. Try hitting play and see what it sounds like, it should automatically assign instruments to each file. These are "General MIDI" instruments and won't sound as good as instruments in Cubase, Pro Tools or Garageband, but they are better than nothing! Here are a few links where you can search and download for MIDI files:

www.mididb.com
This music teacher has a good selection
Lots of MIDI files at www.vanbasco.com

Disclaimer: These MIDI files should only be used for educational and entertainment purposes - please abide by the copyright laws of your country!

Recording Killer Bass Guitar

by Jason Johnston Many people ask how about the typical way of recording bass guitar. Of course I always talk in "typical" terms because there are no rules, only guidelines. It's all about what works. It's about results. That being said, there are at least five ways that recording bass guitar is accomplished: 1. Go direct. This is the most common. Stick your bass cable into a "high impedance" plug-in on your interface, sound card or mixer and go to it. The high impedance or Hi-Z as it is also labeled is the essential connection because you won't be getting the correct sound level if you try plugging directly into a Lo-Z input that used for microphones. 2. Matching impedance. You can also use a direct box, also called a DI box (short for direct injection) to do what is called "impedance matching." This drops the impedance of the guitar down to low and gives a place for a regular XLR mic cable to be plugged in. This is handy if you need to run long distances to the sound board or interface. 3. Using a pre amp. A small pre-amp, often a tube pre like the PreSonus TubePre or BlueTube or Samson C-Valve, can be used. This will both match your impedance and give your bass a little boost as well as some sonic colour. Plug this into a line level input on your sound card or interface. 4. Put a mic on it. Putting a mic on the bass amp can give you good low end, but you will need to use a microphone that is suited for the task. That is one that can take high sound pressure levels (SPL's) and low frequencies. This is typically a large diaphragm dynamic microphone, also typically used for kick drums. My favourite is the AKG D112 for micing up bass cabinets. 5. Combinations. You can use a DI box or splitter to create combinations of the above methods, record multiple tracks into Sonar or Cubase, and mix the tracks later as you wish to create your own unique bass sound. Ace that bass and get the sound you want. Watch out for hums often created by CRT monitors and other devices and create something that hits me right here. You know what I'm talking about - RIGHT...HERE.