Music is for Uploading - Top 5 sites to share your music online

Have you made some music in your home studio? I hope you have. Why not share it with the world? It's amazing these days: Free distribution worldwide is just a click away on the internet. Here are my top 5 picks for sharing your music online for free:

#1: Myspace.com Still the top website for distributing music for free online is Myspace.com . Sure, we all like Facebook for keeping up with our friends, but every musician should have a presence on Myspace. If you signup, make sure you click here and signup for a Band account so you can upload your music. The interface is easy and myspace is a great place to connect with other bands as well. Click here for a free article by Ty Cohen on 5 Ways to promote yourself on Myspace as well as a link for a special ebook full of myspace music secrets.

#2: Garageband.com This has no connection to the music software by the same name, but it is a great place to put your music into circulation and get feedback on your tunes. Enter the contest and work your way up the charts to fame and fortune! Well...at least fame.

#3: iSound.com A clean, music-only site makes this a nice stop for a hosting your mp3's. It's highly searchable by google. It's a good idea to get a place holder at a number of these sites even if you don't use them primarily for your music. You can see my own personal isound site here for an example: Jason Paul Johnston on iSound

#4: iLike.com You can give away your music or include a link for purchase. Listeners can use iLike to dedicate your song to people on facebook for some viral marketing of your music. Forget being big in Japan - how would you like to be big in Facebook?

#5: C|Net's Download.com It's not just for shareware and demo software anymore. Download.com features over 111,000 (legally) free mp3s for downloading from independant artists. And, with music being uploaded at 192Kbps, it offers a higher quality than most of the other sites.

So, don't let lack of opportunity keep you from sharing your music with the world. The internet is waiting for you! If you would like to learn more about Music Distribution in a Digital world, please attend my workshop at Revolution Audio on January 31st, 2009. Click here for more information or to signup. This is part of an entire month of classes we call Operation Indie Music :: Click here for info on all our Indie Music Month Classes

T-RackS 3 Mastering Software : Free 1 to 1 software until Dec 31st

The new T-RackS 3 Mastering software raises the bar again in high-end DAW mastering and mixing, with a suite of 9 analog modeled and digital Dynamics/EQ processors, an audio quality that is unmatched in software, and scores of new and unique features. Now available in Canada and shipping from Revolution Audio Canada!

IK Multimedia T-Racks3 Deluxe Click for more info and to purchase online	IK Multimedia T-Racks3 Crossgrade - save 40% Click for more info and to purchase online

Modular High-End Mastering/Mixing Suite of Dynamics and EQ processors, including:

* 9 processors comprised of 3 new analog and vintage emulations (including models based on the Fairchild 670 and the Pultec EQP-1A), 2 new digital processors as well the 4 classic, award-winning T-RackS processors
* New configurable mastering/mixing chain run up to 12 parallel/series processors
* New complete built-in metering section with Peak, Perceived Loudness, Phase, and RMS meters, plus a Spectrum analyzer with Peak, RMS and Averaging indicators
* New standalone and plug-in versions available in the same package for use in all the most popular native DAWs
* New high-fidelity oversampling with crystal clear transparency, for high quality audio processing throughout the entire signal path
* New SCC technology coupled with IK's unique DSM technology provides the most realistic software emulation of vintage gear to date
* Extremely easy to use, with style-based presets, full chain visualization, one-click single module or chain bypass, compare function, multiple audio processing in standalone mode and much more

Click here for more info on T-Racks3 and also some special video tutorials showing how to use T-RackS. And from now until December 31st 2008, every time you purchase an IK product you will receive one product of equal or lesser value free! If you purchase T-RackS 3 Deluxe, you can get one of the following for free:

AmpliTube 2
Ampeg SVX
AmpliTube Jimi Hendrix
AmpliTube Metal
Miroslav Philharmonik
Miroslav Philharmonik Classik Edition
SampleTank 2.5 XL
SampleTank 2.5 L
Sonik Synth 2
SampleTron
SampleMoog
Classik Studio Reverb (CSR)

I am mixing the new K-OS album - and you can too!

A new and exciting trend for home studios has arrived in music: Multi-track Fan remixes. Bands are giving away multi-track versions of their songs (also called stems) that the average home studio user can mix into something new. The first I had heard of this was Nine Inch Nails giving away their song "The Hand that Feeds" in a Garageband format back in 2005. Now at their site http://remix.nin.com they are allowing amatuer and professional engineers to remix their entire new album and upload the new creations for the world to hear. Radiohead had a similar contest going on with their song Reckoner earlier this year, although you had to purchase the stems through itunes. http://www.radioheadremix.com This is a great opportunity for any of us to get better at the art of mixing and producing. Now there is a site dedicated to the art. And right now until Feb 3 2009 you can download all the stems (mulitrack files) for the upcoming K-OS album for remixing. The cool part is, once you remix you can submit the final file for judging and for a potential place on the next K-OS album being distributed by Universal in the Spring of 2009. Click below for more info: http://www.indabamusic.com/studio_access/kos Here's how to do it: Once you sign up and enter the contest, you can then download all the stems for remixing. I would suggest looking for the "Advanced Audio Packs" which is a zip file containing all the tracks. Then load them into your software of choice (like Pro Tools, Cubase, Sonar, LIVE, etc.). Each package has a BPM number which you will want to set up as the tempo of your project for easy editing. The timing may not be perfectly on, so make sure you use your ears too. I did a test load into Pro Tools of one of the packages and it sounded almost dead on. Once in the new project, you can mix and remix until you have your finished product for uploading. I hope to have some fun remixing a couple of K-OS tunes in Pro Tools over the holidays. And, I have to say, I wouldn't mind a track credit on the next K-OS album. How about you?

2008 Canadian Keyboard Drumming Champion

The amazing 2008 Canadian Keyboard Drumming Champion Peter Natale competing live on Nov. 15th 2008 at Revolution Audio. Practice up for the 2009 Canadian Keyboard Drumming Championship coming Nov. 2009 at Revolution Audio.

Ten Tips for Killer MIDI Drum Beats

by Jason Johnston
Many of us couldn't fit a drum kit into our home studios, much less what the sound would do for any relationships in the house. Good news: MIDI Drum beats and sounds have come a long way. You can now produce realistic drum beats at home, with a little knowledge and select equipment, and even keep your marriage. (For a quick tutorial on how to play drum beats in through a MIDI keyboard, see our video tutorial at the bottom of this article.)
 

Top Ten Tips for Programming Killer MIDI Drum Beats
1. Never Quantize 100% unless it is dance or electronic music. Every recording application has an option for the strength of the of the quantize. In Cubase it is called "iterative strength." In Pro Tools it is called "Strength." Often you'll find a randomize feature. Play with the settings, quantize and undo until you get the feel.
2. After recording your beat, move your snare slightly forward or backward without a snap to grid. It's amazing what a slight adjustment of the snare can create. You can apply the same principal to other parts. Real drummers make mistakes even, and your MIDI drummer can too.
3. Real Cymbals never sound the same twice. Change the velocity for each one.
4. The pedal hi-hat is all that should be left of the hi-hats during a solo. It's impossible to do a tom roll and an open hi-hat hit at the same time.
5. In general, think about what is realistic for a human drummer. Even if your listeners are not drummers themselves, if they have listened to a lot of music they will probably sense when a beat is physically impossible for someone with only two hands and two feet.
6. Does a drummer do the exact same roll every 8 bars? Should your MIDI drummer? No. You can copy out the same 8 bars initially and then go in and make slight adjustments to drums being played, velocity or the number of hits. Often "less is more" when it comes to rolls and MIDI drums. Too much could be a dead give-away and make them question whether you really did have Neil Peart in your studio.
7. Can't keep up while playing the parts in real time? As long as everything is still MIDI, set your project tempo much lower than the target speed and do your recording. Then do a little edit/quantizing clean up and put the tempo faster again. You'll sound like a pro. If you can't slow down the project you're working in, record the drums in a separate session and then export the MIDI for importing into the original session.
8. Add a kick drum when you hit some of your crash cymbals. It's a typical thing to do for a drummer, it adds more punch and it might help hide the fact that it's not a real cymbal being playing.
9. Invest in a good quality, multi-sample drum sample library. We love Native Instrument's Battery 3 software drum sampler around the studio and use it all the time. The new Strike! for Pro Tools is amazing too and comes with 20 GB of samples. They help make the drums sound realistic by adding multiple samples, layer upon layer, for each drum part. For instance, the studio snares layer various samples that are triggered depending on the velocity of the note. You can hear the snap of the snare happen as the strength increases. Your original source sound will make a big difference to the realism and how long it takes you to mix in the end.
10. Load an MP3 or WAV file of your favourite music into your recording application and play along. You can experiment with different beats or mimic the beat on the song. You can always listen back and cut out the parts you want later. It might be good just for inspiration or to build up a MIDI drum library of basic beats you can use later. Hope these tips help you make more realistic MIDI Drum beats. The best part is you don't even need a van to do it.

Click below for our Basic Keyboard MIDI Drumming Tutorial

FREE Clinics at the Revolution Audio 4th Anniversary Nov.15th

Scheduled FREE Clinics: Nov. 15th 2008 12 noon - NEW Pro Tools 8 with Helen Georgopoulos from Digidesign 1:30 PM - NEW Sonar 8 with Peter Lafferty from Roland / Edirol Canada 3:00 PM- Melodyne and IK Multimedia Demos with Lyle Crilly from Music Marketing There will be free prizes and special sales as well! Hope to see you there. Revolution Audio 327 Lakeshore Rd. E Mississauga, ON L5G 1H3 905-278-5115

M-Audio Reader Survey Sweepstakes

Win Over $3,300 in M-Audio Gear Complete an online survey to win the ultimate M-Audio studio including the ProFire 2626 interface, Studiophile BX5a Deluxe monitors, Pro Tools M-Powered software and more. Click here to enter the sweepstakes

Painting with a Hammer - How to Select a Microphone

Painting with a Hammer: How to Select a Microphone for Recording
by Jason Johnston

So you want to record audio and you are smart enough to know that you need a microphone. But you ask yourself, "With So many options, how do I select the right microphone?" You'll want to select the right tool for the job - just like construction: No one paints with a hammer. Maybe I've been watching too many politicians over the last couple of months, but I'm going to answer your question with three questions: What do you want to record? Where do you want to record it? What is your budget?

What do you want to record?

In a broad sweep, engineers tend to use dynamic microphones on louder sound sources, like close micing of drums and guitar cabinets, and condenser microphones on quieter sound sources that need more attention to detail like voices, strings and pianos or on more distant micing, like a room mic, a stereo choir recording or drum overheads. Here are a few typical applications and microphones used:

Source	Usual Type	Our Budget Picks	Our Higher Priced Picks
Vocals	Large diaphragm condenser microphone, usually with the cardioid polar pattern.	M-Audio Luna or Solaris, if you want multiple patterns and the Sputnik if you would like the warmer sound of a tube microphone	The new AKG C214 or the top end AKG 414, if you want multiple patterns.
Drums	Typically a host of dynamic mics plus two condenser mics for overheads	One of the Drum Mic Kits are probably the best bet - good selection and quality for the price and then add a condenser pair like the M-Audio Pulsar II	We like to mix and match in our studio: current picks - Kick: Audio Technica ATM250 - Snare Top: AKG D5 - Overheads: Se Electronics SE 3 pair
Acoustic Guitar	Usually a combo of a large and small diaphragm condenser mics	A combo of the M-Audio Pulsar single and the M-Audio Solaris is nice.	Small diaphragm we like the Se Electronics SE 3 single and for large we like the AKG 414

(These are just typical examples - in the end use what sounds good! )

Where do you want to record it?

In a live concert situation, one would typically using dynamic mics, close to their sound sources to avoid picking up background noises, the main speakers or monitors and other instruments (in a multitracking situation). In a more controlled studio room, you have the luxury of using condenser microphones that are more sensitive and will pick up nuances of the source, like a vocal.

What is your budget?

You've heard it said, "You pay for what you get." This is essentially true. Although you may find a few exceptions, a lower price microphone will typically yield less dynamic range (the width of frequency it will pick up), less detail (the clarity of those frequencies) and higher self-noise (the internal noise that every microphone creates to varying degrees). Spending a little more money will gain you the opposite. I say this is "essentially" true because there is also the law of diminishing returns involved. Once you break the $900-$1000 level on a microphone, it will take a lot more money to get noticeable results.

Pick and Pick Again

There is one word we use a lot around the store and studio: "Typically." These mics are just typical suggestions, but in the end you need to use your ears and imagination to get your desired results. Don't be stuck in the idea that "I must have this mic" or this "this mic always works for such and such." Focus on the principals rather than a cookie cutter solution. Use your head and what you have on hand until you can afford more. Because there is another saying we have: You can never own too many microphones!

Jason Johnston is the leader of the Revolution, musician and part-time professor of Music Technology at Sheridan Arts College.

ATH-ANC7 Noise Canceling Headphones Review

Review of the ATH-ANC7 Noise Canceling headphones
I may never fly without them again!
by Jason Johnston

I decided to test the Audio Technica ATH-ANC7 headphones on a recent flight flight. I like to travel as light as possible, especially if I have to make connections, but decided to take the protective carrying case as well in my laptop bag since it was not that much bigger than the headphones themselves and was extremely light. (click here for more technical info on the ATH-ANC7's)

Once we were at cruising altitude, I decided to try the headphones first with my MP3 player. Right away I noticed how light they were on my head, the adjustments were easy and the earpieces nicely angled for comfort and fit. I decided to try them passively first (without turning on the active noise cancellation) and found that they cut out quite a bit of noise without even being turned on. But on the downside, I found the volume level output to be on the low side compared to my earbuds. But this, and my whole flying world, changed the second I turned them on. In one word... "Wow." It was like the entire full flight and the engine all hushed in silence as soon as I flipped the switch. The volume level as well immediately increased and I was able to turn down my MP3 player, I'm sure in part to all the outside noise it was competing with before.

The music was clear and reminded me of other top non-noise canceling headphones in it's class. I found the detail of the sound to be quite good, the higher frequencies clear but soft and the bass not too pronounced. If you like the exaggerated bass sound of cheaper headphones, the ANC7's are probably not for you. But I found the listening experience with Rock, Acoustic, Bluegrass, Folk all to be remarkable. I didn't test them on classical, but from the strings I heard in other mixes I expect it would sound great.

The ANC7's also come with some handy accessories like a 1/8 to 1/4 converter and an airplane audio adapter which saved me $3 and let me test it out on the inflight action movie. The bass was smooth, the dialog was clear and it was an enjoyable listening experience.

To wrap up, you can buy a simple pair of noise canceling headphones for less money. But if you want great noise canceling and excellent sound I would recommend the ATH-ANC7 headphones.

Find the best price for the ATH-ANC7 headphones here online

Izotope Ozone 4 Announced - shipping January 2009

Around Revolution Audio, we have found the Ozone 3 Full-Suite Mastering Plug-in (pictured here) to be an amazing tool for all of us on the front lines. So, we are very excited about the updated version coming this January. Anyone who purchases Ozone 3 after Oct. 1 -in stock and available in our online store here - will be entitled to a free upgrade in January. Check out the full press release below: IZOTOPE ANNOUNCES OZONE 4 October 6, 2008 Ozone 4 builds on the program's reputation for superior sound quality and industry-standard mastering tools with new innovations. iZotope has updated and expanded Ozone's processing algorithms, optimizing them for today's low-latency DAW environments. Ozone 4 features a new Intelligent Loudness Maximizer, Perfect Reconstruction crossovers, mid/side processing for superior control over the sound stage, and a new True Envelope dynamics processing mode. In addition, numerous interface improvements and ease-of-use additions make Ozone even more accessible to musicians and engineers who want to quickly finalize their projects. Key Features:

* Integrated mastering system combining analog warmth and digital precision * New Intelligent Loudness Maximizer mode provides full-sounding masters while handling transients with unprecedented clarity * New Perfect Reconstruction crossovers combine analog character with digital clarity * New mid/side processing adds a whole new dimension of power to Ozone's EQ, dynamics and harmonic exciter by letting you process different parts of the soundstage separately * True Envelope dynamics processing introduces a new alternative to traditional Peak and RMS-based dynamics processing for exceptionally transparent compression, expansion and limiting * Improved and enhanced preset system lets users adjust a few simple parameters to get amazing results * Many more interface and ease-of-use additions

Plug-in formats: Pro Tools 7 (RTAS/AudioSuite), VST, MAS, Audio Units, and DirectX Platforms: Windows Vista, XP Apple OS X (Universal Binary) Pricing and availability: Ozone 4 will be available from Revolution Audio in January of 2009 pricing TBA. Purchase Ozone 3 here and get a free upgrade when Ozone 4 comes out in January

Sonar 8 Recording Software for PC

Sonar 8 Recording Software now Shipping Roland / Cakewalk has announced Sonar 8 software is now shipping. Here is a brief review of what to expect in this new software. The top new features include:

Loop Explorer 2.0 view provides browse and preview of audio and MIDI groove clips and patterns; quickly drag and drop loops and patterns into the track view; MIDI groove clips and patterns can be previewed with the virtual instrument of your choice. Dedicated Instrument Track single track optimized for mono or stereo virtual synths which simplifies the process of working with virtual instruments. In the pursuit of offering users options in how they want to work, the multi-track method of using virtual instruments employed by previous versions of SONAR is still supported. In addition users can split and combine instrument tracks to/from discrete audio/MIDI tracks. SONAR Performance Optimizations with focus on functionality including improved performance at high track counts and low latencies, faster launch time, and the ability to change audio devices without restarting; streamlined communication with VST plug-ins and Improved ASIO performance with output latency compensation. User Interface optimizations smoother display when resizing windows and panes, optimized metering, more responsive zoom and scroll. Channel Tools provides easy and powerful zero-latency channel processing for adjusting L/R channel placement, gain, pan/width, and phase; sample delay for precision timing adjustment of L/R channels in recordings; Automatic Mid-Side decoding of imported Mid-Side recorded material. Channel Tools can also provide a widening or narrowing effect to stereo recordings through adjustments to mid-side gain.

They have also added a number of new instruments included, only in the top Sonar 8 Producer version:

Beatscape loop performance instrument Beatscape, the latest instrument by Cakewalk's premier synthesis architect René Ceballos takes loop manipulation and realtime triggering/performance to new heights. Beatscape provides 16-pads to load and trigger loops or samples for sequencing your productions and beats. Each pad features a full powered REX player, Rapture-style step generator, multiple effect processors, and sophisticated groove slicing and dicing tools powered by Cakewalk's own AudioSnap slicing technology. Dimension Pro SONAR now includes a full version of the acclaimed synthesizer that combines real instruments with advanced synthesis for endless sound possibilities. The underpinnings of Dimension Pro's creative possibilities is the powerful Cakewalk's Expression Engine providing several types of synthesis including multi-sample rendering, wavetable synthesis, waveguide synthesis, and REX playback and manipulation. TruePianos Amber VSTi Module One of four modules that currently ship with the full version of TruePianos VSTi, the TruePianos Amber Module will provide SONAR users with world-class, playable piano sounds through its combination sampling, modeling, and synthesis sound design. TruePianos sounds and feels great, just like a real acoustic piano, with all the important characteristics: sympathetic resonance, inter-string harmonics, repedalling and more.

And a number of new audio processors, also exclusive to Sonar 8 Producer:

TS 64 Transient Shaper a powerful tool for sculpting the transient dynamics of any percussive based source material such as drums or guitars. The TS 64 Transient Shaper employs powerful envelope/transient-detection, linear-phase filtering, and gain-shaping to control the dynamics of individual transients of any sound with amplitude variation over time. TL-64 Tube Leveler a line driver/leveling processor that employs advanced analog vacuum-tube circuit modeling algorithms to add the unique qualities of tube color and warmth found in classic recordings to whatever source material it is applied. Native Instruments Guitar Rig 3 LE S built on the latest award-winning guitar amp modeler from Native Instruments; 3 amps and cabinets, 11 effects, tuner, metronome, and over 50 presets.

In Conclusion: Sonar software, especially the Producer version, has always come packed full of extra instrument and audio plug-ins and Sonar 8 is no exception. Sonar 8 Producer is excellent value for money and has the full capabilities to be the center of any PC based recording studio and is Revolution Audio's current choice for working in the Windows Vista 64 bit environment. The full version of Sonar 8 Studio and Producer and upgrades from previous Sonar versions are available through Revolution Audio.

NEW PRODUCT: Universal Audio LA-610 MKII

In the Revolution Audio studio we love our Universal Audio LA-610, now we can't wait to hear the new LA-610 MKII preamp compressor in the very slick "black on black" that was announced this week at AES 2008. Please call or e-mail for availability. Here are more details from Universal Audio:

The LA-610 defined the affordable, ultimate vintage tone channel strip. So how can UA improve on tonal perfection and what was already a hit product? Enter the sequel... LA-610 Mk II, a second-generation revamp of the original 2005 LA-610 design. While the preamp and compressor are identical to the original LA-610 that users have come to know and love, user-requested features such as true compressor bypass, larger metering, improved output signal, an auto-sensing power supply have been added bringing the end user an enhanced user experience. The LA-610 Mk II also features the highly popular black on black cosmetics of the LA-610 Signature Edition.

• Based on Legendary Bill Putnam 610 Tube Mic Pre and EQ Used on Countless Classic Recordings
• Authentic Teletronix LA-2A-style T4 Opto-Compressor
• Complete vintage channel-strip at groundbreaking price within project studio reach
• Mic Pre with Gain and Level controls, variable impedance switching, and Instrument DI for recording tone color
• Mk II Features such as True Bypass, Larger Metering and Improved Signal Output
• UA build quality and heritage, audiophile components, hand-assembled in the USA

Click here for more information or to buy the Universal Audio LA610 MK II online

Pro Tools 8 announced - is it worth the upgrade?

Digidesign has just announced Pro Tools 8. It should be shipping in Canada by the end of the year. It may be available as a downloadable upgrade before that. New Features So, as with every software update you have to ask the question: Is it worth it? Will it give me more than just a new number at the end of my software name? At first glance, this seems like a very impressive update. Knowing Pro Tools 7, here are a few features that point to the fact that this upgrade will be worth it: Advanced MIDI Editing and New Software Instruments MIDI is the area that I felt Pro Tools 7 was lagging behind Cubase and Sonar for functionality. They have now added some more virtual instrument plug-ins right out of the box: inluding Mini Grand piano, Boom drum machine, DB-33 tonewheel organ, and Vacuum and Xpand!2™ synths. These are not just "light versions" of other full software expecting you to upgrade. There are also some new MIDI editing features that seem promising including a separate MIDI Editor window! For avid Cubase users for myself, this is a huge upgrade. You will be able to open your MIDI information in a new floating window, or split the screen (looking a little bit like Garageband, if you are familiar with that program). Pro Tool 8 also includes a "Scoring Feature." While it will not be as feature rich as Finale or Sibelius, it's nice to have for some situations. New Look Pro Tools is now starting to look like it has joined the rest of their competition in the new millennium. Looks are not everything, but it's a nice change. More Tracks The default for Pro Tools LE will be 48 tracks now. Nice upgrade, especially as computers are much more powerful now and can one could easily take up the 32 voices available before, especially I found if you are doing anything with post production. Other Features It seems they have also added a few more audio plug-ins, more control surface integration and a number of other audio editing and mixing functions. We will review Pro Tools 8 at a later date when we have our hands on it, but from the feature list and videos it is looking like a great upgrade. Available (hopefully) by the end of 2008 for Pro Tools LE, Pro Tools M-Powered and Pro Tools HD.

New AKG C 214 Mic review : The coveted C 414 at a home studio price?

ORDER THE AKG C 214 MICROPHONE HERE One of my favourite "go-to" mics of all time is the AKG C414 (specifically the B-XLII). It is super quiet, has multiple patterns and attenuation switches and just simply sounds great. The diaphragm is based on the AKG flagship microphone the C12. But having this quality with this number of features comes at a higher cost, often higher than home studio users want to spend. So, in steps the new AKG C 214. A lower cost alternative to the 414 without the sacrifice of quality. What do you get? I the package you get the mic, hardshell case and AKG shockmount. The mic sounds fantastic and has a fixed cardioid polar pattern, used most often when micing vocals or instruments. It also has a 20 db attenuation switch and a bass roll off. It's a clean, killer vocal mic without the extras. What do you miss? If you need the multiple patterns, and multiple roll-off and attenuation switches, go for the AKG C414 XLII instead. It will cost you more, but this is a lifetime investment if you take care of it that will be usable in many situations. Final Assessment If you are looking for a quality, large diaphragm, cardioid microphone that should last for a long time, the AKG C 214 is a great pick. If you need more flexibility in your polar patterns, you may want to do the upgrade or find lower quality microphone with more features in this price point. Some other competing Large Diaphragm Microphones: M-Audio Sputnik : Multi-Pattern Tube Microphone AKG Perception 420 : Multi-pattern Mic SE Electronics Z3300A : Multi-pattern LD Condenser Mic CAD M179 : Multipattern Condenser Microphone Audio Technica AT 4040 : Fixed cardioid condenser Browse all of Revolution Audio's Mics here

M-Audio ProFire 610 Now Shipping

Now Shipping: ProFire 610 FireWire Audio Interface

Mobile Recording. Remastered. M-Audio is pleased to announce the availability of the new ProFire 610 audio interface. As the latest entry into M-Audio's newly designed FireWire product line, ProFire 610 features the same innovative design elements and high-quality components as the critically praised ProFire 2626. Two preamps with award-winning Octane technology deliver warm, pristine audio right from the start of the signal path. Carefully chosen A/D-D/A converters with JetPLL jitter-elimination technology ensure accurate sound at sample rates up to 24-bit/192kHz. ProFire 610 even offers dual headphone outputs and an advanced onboard DSP router for creating multiple unique cue mixes. By incorporating these features in a bus-powered, compact enclosure, ProFire 610 represents an unbeatable choice for personal, high-definition recording.

Cubase 4.5.2 Free Update

There is a new free download update to Cubase 4.5.2 for Mac and Windows XP or Vista - You must have Cubase 4 already installed: http://www.steinberg.net/en/support/steinberg_support_downloads/cubase_4.html This is a free download for any owners of Cubase 4. For more info and to purchase Cubase 4 in Canada please click here.

Two Secrets to a Professional Sound

Two Secrets to a Professional Sound By Jason Johnston Everyone is looking for an "easy button." It happens with dieting, relationships and even (gasp) with recording. People are looking for that proverbial plug-in with an "awesome" switch. While there is no easy button, I have found two essential keys to making your recordings sound as professional or even more professional than any recording studio in Canada. The first key is signal path. The chain is only as strong as its weakest link. Below is a simple and typical home studio setup for recording vocals.

The illustration shows a microphone connected to an audio interface sending sound out to powered monitors. (The computer would be connected via a firewire or USB cable, but this is not important in the context of signal path right now). Here is the all important input signal chain:

Microphone > XLR Cable > Interface

If any one of these links in the chain are of low quality or damaged then your signal is going to be low quality or damaged. If you keep this signal chain as high a quality as possible, then you will reap the benefits of having a top quality, professional sound. For example: you could have the best microphone and best interface but if you are using a frayed XLR from the 70's, your signal chain is as weak as that link. Buy the best quality you can afford for every chain in the link, especially on the input signal chain. The second key to a professional sound is simple: Your Knowledge. This is even more important than your gear or signal path. Your command and control of that gear is the most important aspect of your studio, and in the end the greatest secret to a professional sound. So go back and evaluate your signal chain and make it as strong as possible then learn all you can to use it so your recording will sound as good as possible too. Some sources for learning: 1. Classes: we host a wide range of classes here at our Mississauga Store Front 2. Books / DVD's: If you are not local, books and DVD's are here to help 3. Make Friends with other home studio users: Make friends at our Revolution Audio facebook group. Ask questions. Help some others at the same time. Jason Johnston is the leader of the Revolution, musician and part-time professor of Music Technology at Sheridan Arts College.

Getting the Vocal to "Sit" in the Mix

Getting the Vocal to "Sit" in the Mix by Jason Johnston

Have you ever stopped to think about what make a great photograph? Often it is a matter of clearly focusing on one subject and placing that subject clearly against some sort of interesting background. If the subject is a person, it is maybe a close up with the other crowds of people blurred behind. Or perhaps a lone tree contrasted against a sunset.

Good audio mixes are like a great photograph. Especially when it comes to solo subject matter like a lead vocal or guitar. The best mixes create an interesting background on which to set your subject. The key is how to set the subject against this background without it being either too separate from the rest of the music, or blending into the background too much, being obscured. Usually raising and lowering the volume of a vocal track is just not enough to make it sound just right. Here are a few tips on getting a vocal to sit well on a background, without using volume:

- Compression: Using compression with a ratio of 4:1 or so will allow decrease the high and low dynamic of the vocal and make it easier to place in the mix. It will also highlight breaths, pops and even subtle clicks, so be careful. Most pop music uses too much compression for my taste, but you have to admit that lead vocals on the radio reach out and grab you.

- EQ: Sit the vocal just under the surface of the background and then use a little EQ to bump it up just enough to hear it. This is often either in the upper-mid ranges (around 7-8K) for more bite and into the higher regions (around 12K) for more sizzle. Using EQ on all the other tracks to notch out a space for the vocal is a great method used by the best everywhere. (Listen to U2's Beautiful Day for a great example of a vocal set into the mix using EQ)

- Reverb: Most amateur mixers use too much Reverb. This can often make the lead vox muddy, blending too much into the background and making it almost impossible to place it correctly in the mix. Most engineers tend to record completely dry and use as little reverb as possible, unless there is a particular creative effect that is desired.

As always, the major rule is this: there are no rules. Or at least rules are only guidelines or a starting point. Experiment. Use your ears. And just keep the hard drive rolling!

Jason Johnston is the leader of the Revolution, musician and part-time professor of Music Technology at Sheridan Arts College.

Five Things to Do BEFORE the EQ

By Jason Johnston

It is so tempting. Those fancy little knobs or virtual sliders where you can dial up a little more high or low frequency, maybe scoop out the mid or try to get a little more life out of that vocal sound. But, there may be some actions to do BEFORE you reach for that Equalizer (EQ). So, use some restraint and think through this list to see if these questions apply:

the UAD Cambridge EQ

1. Is it the Right Microphone?

If you find yourself immediately adjusting the EQ to get a little more "presence" out of the microphone, maybe it's not the right mic for the job. You can't boost something that is not there. And if it is there in just a smaller amount, you will also be boosting the noise with it. If you have some other mics you can try, take a couple minutes and do it. It always serves you to know your microphones - read the manual, study the frequency response graph that came with them or look them up online.

2. Is it the Proper Mic Placement?

The distance of the microphone from the source you are recording can make an enormous difference in the frequencies. For instance, have a cardioid microphone really close the source will boost the proximity effect, creating a much boomier lower end (also called the James Earl Jones effect...). Putting the microphone further away will thin out the sound. This can be effective when recording backup vocalist or other instruments that will not be front-and-center.

When it comes to recording acoustic guitars a mic in the wrong place will make it sound dull and lifeless and in the right place will make the sound come alive. Trust me - you don't want to be trying to create sonic life out of a lifeless track with EQ! It will be like beating a dead horse.

When recording drums, mic placement is king. Even a good mic in the wrong place will have you fumbling to your EQ for more thud, snap, crack or sparkle. I know the band is waiting. Just tell them that perfection takes time and find those proper placements for the drum mics to get the sound you want.

3. Do I need to Change the Strings, the Drum Heads, the Picks, get a setup etc.?

If you are trying to capture a sound and make it sound better than the instrument does in real life you will have a difficult time of it. Many instruments have "consumables" that wear out over time. I often instruct acoustic guitar players to change their strings a few days before, play a little bit to let them get worked in (so they will stay in tune) but not too much to smack the life out of them again. New strings on a guitar might sound a little bright to your ears, but tend to record very well. A proper guitar setup with a trusted (and timely) guitar tech is usually a good choice before an important recording.

In a similar way, Drums have heads that need to be replaced depending on use, especially when it comes to the kick batter head and the snare head. If you are looking for that "smack" try tuning and mic placement first, but if the head looks like the original that came with kit in the 60's you might have just found your problem.

4. Is the Cable the Culprit?

Signals sent from a microphone or guitar cabinet are converted into low level electrical impulses and sent through cables first before going to your recording device. If it is sounding lifeless, the cable could the culprit. Either because they are low quality to begin with, or because of wear and tear, the signal may not be getting through as cleanly as it should.

Do this test sometime: Go out and buy one high end cable like the Monster Pro 1000. Put your pile of old cables on the floor. Setup your best microphone and record something like a voice or guitar in the same piston strumming the same chord over and over using a different cable each time. You'll be amazed at the sonic and volume difference you will come up with.

5. Is it the Room?

If you are using a microphone, think about the room in which you are recording. Your microphone will not only pick up the source but the room the source is resonating in. This is especially true of louder sounds and instruments. If the vocalist is sounding a little dull and lifeless on the top end, and you know you have the right mic and placement for the job, maybe your room is too absorbent in the high frequencies? You can remedy this by replacing some of the absorbent material with hard surfaces to make the room brighter. I heard of one studio hanging old CD's in their vocal booth to help reflect a few of the high frequency sounds. Use your imagination but think about the room you are recording in.

Okay, you can use your EQ now....

When you need to use the EQ: 1. Use it sparingly at first.; 2. Cut first, boost second. 3. Use your ears not just your eyes. You've heard the phrase "We'll fix it in the mix." Well I like this idea much better: "Let's do it right the first time." Think about what you are recording, where you are recording, and the method or tools of recording it first before reaching for that EQ.

Jason Johnston is the leader of the Revolution, musician and part-time professor of Music Technology at Sheridan Arts College.

Programming Believable Drums

By Jason Johnston - the Rebel Leader

Can you program your own realistic sounding drums without (gasp) a drummer? Some say yes, some say no. Here are a few tips to help you get at least a little closer.

Start at the Source

Programming drums is all about triggering samples with MIDI information. The same rules apply to working with a real drum mer for a recording: You want some rhythm. You want some feel. You want a kit that sounds good. In the world of MIDI this entails having a sample based plug-in of some sort. Our two favourites around the rebel base are Addictive Drums and Battery 3. You can also find drum samples as part of other larger sample libraries like Sampletank and Dimension Pro. It is important to start with a decent enough source sound, or you will just be frustrated if you are trying to make them sound realistic.

Ready-made or Play-it-yourself

Some plug-ins come with MIDI beats built in, like Steinberg's Groove Agent 2 or the aforementioned Addictive Drums. These beats may not be exactly what you want, but they will sure get you grooving in a hurry. With any of the drum sample plug-ins you can also used pre made MIDI beats by companies like Groove Monkee. And then there is the long, often painful, but always rewarding direction of programming the beats yourself. You can do this by using a MIDI controller to trigger the sounds. A typical drum layout on a MIDI controller is found below.

An easy way to program is to play your best through the whole song and then go back and cut and paste the parts you like.

Make Some Frequent Mistakes

You can quantize your drums, which is something that forces the MIDI information into a particular grid, but remember: real drums sound like they are being played by a real person. And real people make mistakes. Don't forget to either leave in some mistakes or make some frequent ones if you have quantized your track. Not big ones, just small changes to make the track sound human. Take the snap off in Cubase or put it to Slip mode in Pro Tools and just slide around and humanize a few of those MIDI hits.

Share Your Reverb

One great way to blend your MIDI drums into the rest of your track is to create a "send effect" with some room reverb, then send not only your MIDI drums, but also a little bit of the other instruments to the send effect. Let them mix and mingle and create the illusion to the listener that they were all once in the same room together.

Supplements

If your drum sounds are not cutting it, maybe it is time at the end to supplement them. Many programmers will record some real cymbals, percussion or snare drum over top of their programmed drums. This can a lot of difference if you take the extra effort.

Wrapping Up

These are just a few of the drum programming tricks and approaches I have used over the years to try to create realistic sounding drums using MIDI. And the best part of all: There is no need to rent a van!