The Sound and Music Industry Assignment

In this assignment I will be taking three job roles from the music industry and talking about them. One job from performance and two jobs from other areas. Among these jobs, I will be talking about the session musician, the music producer and the recording engineer in depth with facts.

1: What each role does day to day. Why are they important

2: Role Interaction?

3: Self employed or Employed? Contract? Dangerous work? Money?

4: Full time or part time? Hours (If any)? Seasonal or time off in between hours?

5: Qualifications (If needed)? If needed, how to get them and where? Give examples (Links)

6: What can these lead to?

 

Session Musician

This job role means that you will be a hired gun of sorts to help out someone who is in need of a certain instrumentalist or vocalist. Most of the time it’s either just backing for a band/group or it will require them to be a touring member of a band that doesn’t have the original instrumentalist for some reason or another. Sometimes it might be a job with an artist who is already famous and then the musician might even end up being there permanently if they are skilled enough.

This job role is a self employed one, there are no set kind of hours to work. If it is recording and the musician is very good, the work will be done in no time and because of this, the musician will get a good reputation. As this keeps happening, more and more people will want him for their recordings. This job role, to give you the best opportunities, requires you to be very open minded about the music you play because the more styles of music you learn to practice and play, the more job offers you will receive.

To perform well in this job role, no higher education or qualifications are required. However, knowledge about music theory will possibly be needed. This also isn’t necessary, but having a skill with multiple instruments can give you an edge as a session musician in a few ways. Going back to the first paragraph, it can give you an advantage over other session musicians who might not be able to do as much as you. Also, it just means that you could possibly fill in for more instrument parts if needed in a recording situation. Another skill that would be handy to learn would be sight reading and learning from ear. These two skills are an instant judge of character because they aren’t the easiest skills to learn of pick up, so going into education for those things would help you out tremendously.

All of this can lead to you getting jobs with possibly many artists if you are very talented not only at your instrument(s), but with your success rate and your good reputation. But it is a slow battle at first since you have to build a reputation to have one and not many people would trust an unfamiliar face in the music industry. Most of all, you need to be kind, persistent.

According to this website, their annual pay average is around $54,600 (£38811.63).

 

Recording Engineer. 

A Recording Engineers job is to record a band making an album or some other kind of recording. But not just to record it, to also mold it to the desires of the band in charge of the album. He edits and mixes the sound captured via his microphone set up and placement and also setting the right levels so nothing is clipping throughout. They should also have good knowledge of both digital and analog tape recording. Usually the engineer can also act as the producer as he can add his input to a certain part of the recording that the band might not have thought of that might sound good, this takes an engineer with good people and a good ear. The work is hardly dangerous either but there can be the odd mistake that can take place, as in being careful around the desk with liquids and foods.

Education wise, you don’t really need a whole lot of GCSE’s or other grades, however you do need to have an advanced knowledge of a desk and the software that comes with digital recording. Usually this information is a for YouTube videos away or a few links and a half an hour read away, but there are places like Kendal College and Lancaster and Morcombe college is a good place to earn degrees for universities such as BIMM in Manchester or LIPA in Liverpool and also those courses teach you all about the desk and software.

According to this website, down the page there is a line graph showing the average percentage of employed and self employed recording engineers with 49% being self employed and 36% being in full time work which would imply that most recording engineers would prefer setting their own hours without limitations of shutting down before the band or artist finish their product.

Engineers can be payed or work on a project-to-project basis. If they work with a big studio they will get payed a big sum annually, but if they work from home, they can charge their own rates per session and they’re usually big rates depending on the amount of hours it takes to record. Average annual salary earnings according to this website are $40,000 (£28433.42).

Music Producer

A music producers job is to basically write the music for popular artists who are either just the vocalist of a pop group (Rihanna, Adele, Beyonce) or they would write the beats and backing for singer songwriters (Ed Sheeran, James Bay, Hozier). It’s their job to arrange music for artists or bands that come through their doors, they also can act as a musical coach to the musicians who might be stuck for ideas. They’re also their when it comes to the final stages of the recording such as the audio mixing and in some cases even the audio mastering. When they’re on break, they usually have to deal with phone calls and social media affairs of other artists wanting their product recording. On their off time, they go to shows to find other talent around the area and they also find artists via social media because it’s become so easy to scout with Facebook and Soundcloud. It’s also not just making music for artists, sometimes people go down the soundtrack route and work their way up from film to film.

Once again, just like the Recording Engineer, you don’t really need qualifications only really an advanced knowledge of the desk and the software that is used in their establishment. However, going to a college course to learn that is one thing but unlike a recording engineer, a music producer would heavily benefit from also doing the musical side of things on a college course as well because they have to have a sense of directing when it comes to making music for an artist.

A music producer usually would end up in a studio working full time depending on how much of a reputation they make for themselves. They would end up working with massive artists and become a beacon of hope for all artists. But, like most job roles in the music industry, it’s about starting from the bottom and working upward. It might be sending scores to companies to see if they’ll use them, or perhaps making your own songs on software such as Studio One or Protools. They would usually start off self employed but get picked up by a studio and then studio hop until they are in a very good position.

According to this website, an average annual earning for a music producer is $49000 (£34349.81)

 

 

 

Pop Music History (Chronological)

The history of popular music is a rich tapestry, in this assignment, I shall be taking a chronological approach at detailing all the different types of popular music for the 50’s to the 90’s. I will choosing 10 artists over the 5 decades and go over each decade’s artists and why they were influential, whilst also comparing and contrasting between the decades.

 

 

The 50’s

Ther 1950’s is where popular music started out in the musical evolution, an evolution from the ‘Crooner sound’ of the 40’s which was basically male vocals accompanied by orchestra or big band. It was in this decade that it became less about big band acts and Jazz bands, but more about songs that appealed to a much bigger audience in the mainstream. Artists such as Elvis Presley and Little Richard, the two I will talk about for this decade.

Elvis

Elvis, or better known as “The King” was an american musician and most notable for boosting the success of the Rock’n’Roll genre. Because it was so new at the time, people took one listen to his voice and guitar and loved it. His posture also helped his fame because of the sexual nature of his movements on stage. It was his movements, his clothing and his attitude when performing that gave single handedly gave him success in the mid 50’s, this was because all the women wanted him and all the men wanted to BE him. He didn’t have any competition when it came to other musicians, but there were some other very popular musicians around.

Little Richard

Little Richard was another popular character back in the 50’s, but for much different reasons than Elvis. His whole genre was soul and blues, this became very popular because it was very much a black community standard however Little Richard brought it into the white community and it caught on. Little Richard was a church based person and his lyrical content wasn’t anywhere near as absurd or pointless as some of Elvis’, however they both had a very distinct vocal style of loud and aggressive singing.

 

The 60’s

The 60’s was more about bands rather than single artists with bands around them. Among them were some big hitters in the musical world, this would include The Beatles and The Jimi Hendrix Experience (Technically still a band). These two artists, although very different, had a major effect on the 60’s and also onward, but I will just be talking about the two for this decade.

The Beatles 

The Beatles were a 4 piece english band from Liverpool. Their first release was a major success because of a few reasons, their look was an integral part of their success because of how smart they looked. This made them look audience friendly and gave different types of people a reason to listen to the also audience friendly music they were writing about relationships and life. The Beatles had a different kind of weapon though, not only was their look notable, they had two more things. They had the Lennon McCartney duo harmony singing and the fact that Paul McCartney was left handed and made the band look more symmetrical. They created “Beatlemania” and took England and the world by storm

 

The Jimi Hendrix Experience 

This group fronted by Jimi Hendrix was an English-American rock band. This is a particular case of being messy was considered a good thing, Jimi’s style in this band was very harsh and fuzzy which was unique because his riffs were very notable for the time. It was around this time that psychedelic drugs were being used in bulk around the country and with this bands music being heavily influenced by drugs like LSD, it struck a chord with the masses. This is the complete opposite to The Beatles because of the raunchy lyricism and the guitar solos and stage antics. If mothers wanted to listen to The Beatles, they definitely wouldn’t want to listen to Jimi Hendrix.

 

The 70’s

The 70’s saw a very big increase in new genres: Disco, NWOBHM, Punk, glam and progressive rock. With bands like King Crimson, Yes and Genesis, they were paving the way for the Prog genre with extensively long songs with difficult chord progressions and lengthy guitar and keyboard (and every other instrument for that matter) solos.

Yes

Yes were a Progressive rock band in the 70’s that along with Genesis and King Crimson popularised prog into what it is today. Yes were purely based around fantasy with their lyricism and with the instrumentation, it really fit with the themes because the songs really make you feel as though you’re in the landscapes that they sing about. That was their appeal to a niche audience, however they were influential in that sense, they were one of the big three in the prog movement.

Stevie Wonder

Stevie wonder was the most popular R&B singer songwriter of the decade and yet again, appealed to the black community with his soul sounding music at times. But it was again a case of the white community adopting him and also realising the merit behind his work. Also his sight ailment made him somewhat of a commodity and ironically a ‘Wonder’. He released songs like “Superstition” and “Signed, Sealed and Delivered” to critical acclaim worldwide.

 

The 80’s 

Many singers were coming back into the fray with the bands at this point in time. People like Madonna and Michael Jackson reigning supreme in the pop music world. However there was a thrash movement appearing with bands like Metallica and Anthrax bringing metal to a faster new world. Music in the coming decades was about to become more of a culture thing between different people, with some not liking others based on their musical tastes. Metallica was one of these bands.

Metallica

Metallica started off in the early roots of thrash and as one of it’s creators. They wanted to go against the social norms of regular pop music and play fast guitar riffs with face melting solos. They became popular at the time because of the intensity of the music. They released “Kill em’ All” and they were the fastest in the game at the time along with Megadeth when they released “Killing is my Business… and Business is good”. They were influential because of their stage antics with beer and the rebellion in their lyrics (mainly about drinking and living life on the edge). There was a stigma back then of glam metal being a really

Michael Jackson 

Michael started off his humble beginning in The Jackson 5 as a young boy. The great success of that group gained him worldwide commercial fame though. Soon enough he was singing his own material. The apex of his fame was when Thriller was released in 1982. Everyone knew Michael Jackson, but when he released Thriller, he was a worldwide phenomenon. He had many things about him that were recognizable, such as the moonwalk, glove and his ‘Crotch grab, high voice’ move. All of this became his brand and was distributed worldwide.

 

The 90’s

The 90’s saw another movement become popular stemming from the late 80’s. This movement was evolved from punk but slowed down, it was called Grunge. The main antagonist of this was Nirvana with their heavy riffs and shouted, harsh vocals. On the other end of the spectrum, a band called The Red Hot Chili Peppers were reaching their apex of fame with the release of Blood Sugar Sex Magik in 1991.

Nirvana

Nirvana were a 4 piece Grunge band, that came out of nowhere with their first album and then released their seminal album “Nevermind” with the help of Sound City studio. Songs like “Smells like Teen Spirit” and “Lithium” put them on the map in the musical world. Again, with Nirvana there was a stigma attached to them about if you liked them or not. They had a mass following of people who had no one to listen to or look up to, then Nirvana come along with their anti political messages and their mental illness messages and gained a cult following of teenagers who had a lack of direction. When Kurt died, they say that the grunge movement died with him, only serving to prove that Nirvana were definitely influential.

The Red Hot Chili Peppers

The Red Hot Chili Peppers were a 4 piece American Rock band that dropped their highly successful album “Blood Sugar Sex Magik” in 1991, same year as Nirvana’s “Nevermind”, yet this was a funk based band with a completely different message and stage persona. They were more fun loving and about fantasy. When Blood Sugar Sex Magik was released, they were known by way more people because of the commercial spread of songs like “Suck my Kiss” and “Give it Away”. Michael ‘Flea’ Balzary was also their main weapon in this band race because of his technique behind the bass and his presence on stage. These days, they are still staying relevant with evolutions in their sound with albums like “I’m with You” that keep original elements of funk but also adding modernised guitar sounds with effects.

2000’s

The decade of the 2000’s was the year of Nu-Metal. Bands like Disturbed, Linkin Park and Limp Bizkit. These types of bands became popular because of their lyrical content appealing to teenagers feeling angry or oppressed. Not only that, but girl and boy bands were emerging such as S-Club 7 and Girls Allowed. These commercialised groups are formed by companies and then made into walking, talking merchandising products.

Linkin Park

Linkin Park were one of the first popular Nu-Metal bands to appear in the early to mid 2000’s with releases such as “Hybrid Theory” and “Meteora”. The gained commercial success with songs like “Numb” and “One Step Closer”. They mixed heavy distorted guitars with rapping and turntables for a mixed genre feel and this was an influential move for bands at the time or in the future (Deftones). They also had Chester Bennington on vocals with his multi range voice of clean vocals and harsh screams, this gve them the edge over most Nu-Metal bands at the time because not a lot had both worlds at their disposal. As they progressed throughout the 2000’s, the became more and more accessible to the masses and way more radio friendly.

S-Club 7

S-Club 7 were an English pop group created by the former Spice Girls manager Simon Fuller. It was a mix of men and women to keep things gender balanced and have something in it to appeal to everyone as the company that ‘owned’ them would have wanted something that would sell quickly to all audiences. They had hit singles such as “Reach” and “Natural” which quickly spread all over the radio and with their catchy hooks and the well sung vocals. The reason they got so popular though is much akin to the reason One Direction got popular. They appeal to the masses of teenagers and because of the amount of marketing that is sunk into these groups, they get spread so quickly that it’s almost shoved down people’s throats. But, it is an effective method of getting your act famous; and it worked.

In conclusion, there are a plethora of artists throughout the decades that received fame and fortune for how great they were as musicians or however they were marketed as a final product. It shows that if a band has enough of a personality, then they can leave an everlasting effect on the community (Hendrix setting guitar on fire). There will come a time in the future when music will change in a massive way yet again and it will yet again shake music’s foundations.

Recording Blog Assignment

From the start of the year, we have had recording lessons with Paul about more in depth ways of capturing live sound in the studio. Then we have also had Luke teaching us about it as well and also preparing us for doing it our selves. Below is a detailed blog on the journey that we embarked upon into our recording adventure.

We started the unit off being put into bands; My band consisted of Kane Carson, Cara Hughes, Jack Tyson and Kyle Petcher. We had to record an A side and a B side song so that when they were finished, we would take them into Studio One to mix and master them. When we were tasked with coming up with an A side, we decided to all write a song together, as it would be unique to us and easier to master since it would be out own creation. Kane came up with a basic chord structure from the verse, chorus and bridge and Jack, Kyle and I worked around it just being a basic rhythm section; Cara came up with all her own lyrics to suit the song as well. When the song was well practised, it was obviously time to record it and when it was our turn to record we had to capture it in a live setting (Somewhat). Jack and I recorded the drums at the same time in the recording booth as that was one of the parameters of the project. Kane and Kyle recorded at the same time with Cara, however Cara was outside of the recording booth in the actual studio with a condenser microphone. We got the song down in a few takes and it sounded very good, the tones on the guitars sounded nice and distorted as it was a rock song and the drums gave a nice kick to the sound as well since we used Jack’s breakables and snare (He’s already in a blues rock band).

We had to wait a while before recording the B side because other bands needed to record their songs as well, so we were put on the engineer/mixing desk jobs along with helping to mic up the amps and the drums along with the two other bands.  This was helpful because I still struggle using the desk properly and Paul and Luke were very specific about the use of the pots and how to bring the rest of the band’s levels up or down in people’s cans if they needed it. I already knew how to use Studio One because of last year and I can set up sessions quite quickly when needed, however this was usually taken over by other people when they weren’t quite as in the know about it. Packing away the studio and the recording booth was another thing that was part of the whole process. Since people would usually leave to get to their next lesson it would only ever be a handful of people left to help pack away all the XLR and Jack leads used by the microphones and the guitars. This was bad because when some people that don’t usually do it stayed behind to help, their knowledge of bundling up cables was to wrap them around their elbows and hand in a circle, not knowing that doing that puts tension on certain parts of the inner wires and can lead to cable damage with no culprit.

When it was our turn again to record our B side, we decided again to write another song. This time it was a much heavier track without vocals. Heavily inspired by the musicians Kane looks up to, it was a riff that was unused by one of Kane’s current bands for being “Too heavy!”. So we took it upon ourselves to make sure the riff didn’t go unrecognised by making a full instrumental heavy rock track. Again, this was all Kane in the writing. There were a different set of parameters for this side, as in we had to record everything separate to one another and we had to do it to a click track. This was fine for Kane, Kyle and I because we’ve been in professional recording sessions before in both of our bands and everything needs to be tight for professional releases. With a few takes under our belt, it was time to record the drums. Jack is a very talented drummer, however he did have some trouble with playing to a click track. It was during the first verse when he kept slipping out of time to the metronome in his cans, we thought it was just a one off thing at first but we persevered. We had no idea what the problem was and we thought we might have to find a way around the issue; This was before we knew that he didn’t have enough bass in his cans. He recorded it it one take after the bass was turned up, it was then and there that we understood that Jack is a true rhythm section player at heart! With that, our B side was recorded (and still untitled…) and we could sit back and help the other bands with their recordings since Kane is basically already a sound engineer and I am good with Studio One.

Finally it was time to do the mix downs of our songs. We were given 4 weeks to complete our MIDI portfolios with Luke and also complete our mixes. The MIDI stuff was easy as it was just using techniques and samples built into Studio One: this includes using the Humanize and Quantize tool, using the Automation tool. Once that was done, it was time to start mixing. Luke instructed us that the most basic form of mixing was setting the stage gain with an insert called “Mixtool”, inserts are what you put onto certain tracks to add to it. For example, the Mixtool allows you to turn the gain structure of a track down without having to use the faders. Another one we were prompted to use was the “ProEQ” which is an insert that basically alters the low and high frequencies in the separate tracks. With these two you can alter how the raw wav files sound, you could boost the low end and give something more bass, or you could boost the high end and give something more clarity. Other things I used include a distortion insertc called “RedLightDist” which is a distortion module, I used it on the bass on the A side to make it stand out a bit more and to give it a punchier sound. I also used a bit of reverb on Cara’s vocals also on the A side to add a subtle room effect and it went nicely with the track. For my B side, I did not use the second track we recorded, simply because we were given the option not to. So I instead went with another bands track which was a cover of “We’re Gonna Groove” by Led Zeppelin. I chose this mainly because of the variety of the separate tracks. Lorna McCarthy’s voice is a very powerful one, so it was a good chance to use the ProEQ and the Mixtool to full effect to bring her vocals out a bit more. Also using the left and right panning on the drums and guitars to make the song feel a bit more real.

My A side files corrupted and i had to start all over again, I had no idea about the inserts that I had put on and I had very little time to make a new one from scratch. So, My A side sounds very sketchy and rough, but there was no way to recover the old files and the files that were there, were blank and useless. This should also be a lesson on backing up files and bringing in my own devices to store files incase of an emergency that would be beyond my control.

In conclusion, I have learned a lot about live sound and how it is done. I have been behind the desk first hand and using the software in which to capture music and then get to play the creative engineer for my own creations. I can say that this knowledge will come in handy when I eventually move up into the musical world in terms of my own creations, as I’ll be able to record and mix my own music and depending on the software, I’ll be able to use it.

Unit 25: Music Production Techniques

There are many recording techniques used when it comes to music production. We need these specific things to make the recording sound listenable and with the right mind, sound wonderful to the ears. Below I will just name a few techniques used in producing music and describe how each one works.

Microphones: 

Polar patterns 

A polar pattern is something that corresponds to certain microphones. It is the area in which sound is picked up by the microphone. For example, here is an image of a ‘Cardioid’ polar pattern, which is commonly found in Dynamic microphones:

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Notice how there is a semi circle around the mic. This cardioid mic only picks up sounds that come from directly in front of it. It is mainly used for live sound, as the vocals need to be picked up and not all the noise of the instruments as well.

Here is another example, this one is a ‘Super Cardioid’:

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This one is similar to the cardioid, except it has a polar pattern that goes both forwards and backwards, meaning that it can pick up sound from either end (albeit a little less sensitively from behind).

There are many more that are great for different things and it gives our product a more varied sound, some make things more distinct than others and it really takes a creative mind to find a good use for all of them.

Sensitivity 

Like in the above statement, microphones need to be sensitive for them to be able to pick up vocals and amplify them. For example, a dynamic microphone is really sensitive from only the front, this is because there is a diaphragm in the basket that needs to be vibrated by sound waves for it to amplify anything; the louder you sing, the more you vibrate the diaphragm.

Then there are some Condenser microphones, which are sensitive to everything else. They are good microphones for recording with in a ‘dead room’. This is because any slight sound that is made in the background could possibly be picked up and ruin the recording.

Type (E.g. Dynamic) 

Condenser

Condenser microphones are really good microphones for getting clear and crisp recordings. Unlike Dynamic microphones, this kind of mic runs off battery power and it also needs the aid of a mixing desk to work. You need what is called ‘Phantom Power’ which is just sending 48volts of electricity straight to the mic.

Ribbon

 

Boundary

 

Mixing Desk:

Routing

When you have a recording session going on, depending on what you’re recording, you are going to have the channels used up on the mixing desk. For example, in our studio we have a ‘Multicore’. A Multicore, commonly known as a stage box, allows the extension of equipment cables giving more distance between the mixing desk and the performer. Usually microphones are plugged into said system, then the Multicore is already wired up to the desk. Each input of the system is paired up with a channel on the desk. So, routing is when you make said instrument in Channel 2 record onto input 2 on Studio One (In our case).

Channels

Channels are located on the mixing desk. There are faders located at the bottom of the desk, and those are the grey blocks that you can slide up and down. They are the volume control on each channel. When something is recording on said channel, you will see the volume go up and down from Green to Red.

Busses

When you use a bus, you are just routing more than one audio signal to any given destination. These destinations would be things like Groups, auxiliary sends or a stereo mix. More commonly though, busses are used in routing channel signals to a master fader or the main stereo master fader.

auxiliaries

Auxiliaries are pots on the mixing desk that are settings for each instrument you have set up in a channel, or they can sometimes be used for setting the volume right in each channel. Or for example, if a guitar is being used, you could use the two pots for reverb and pan them left and right; this is what is called as the Dry/Wet Mix.

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Inputs

When you have a sound source going into an Input, it means that it has been recognised by the desk and it is time to get it ready for the output into studio one. You would do this by setting a ‘Gain Structure’ which is getting the sound source loud enough to be recorded, but not so loud that it would start clipping/distorting. You would do this with the Gain pot on the mixing desk:

MAYMAY

As you’ll notice above, the green lights, this is usually what you want it to look like when you’re setting a gain structure. When it gets in the red, the sound will be distorted and hard to listen to.
Recording Devices

There are two types of recording medium, these are Analog and Digital. Digital is what is used more often in this day and age whereas Analog (Usually Reel to Reel equipment) is more of a piece of nostalgic mantle piece. Reel to reel uses tape as it’s sound source capture, when you want to edit the sounds, you have to actually cut the tape where ever there is a mistake and then put it back together again. This was a method that really needed someone with both a keen eye and ear, because things like solos or harmonies could have been lost. Digital recording is done using programs on computers, typically most people go with the top three: Studio One, Logic or Pro Tools. Gone are the days of having to cut tape and put it back together again, with Digital recording, you can cut sections away and copy and paste sections of audio. This is essential and very helpful because you can record songs in mere hours instead of having days of just messing around with tape.

 

 

 

Remix Report

I started my remix with two completely different sounding songs with the same tempo of 111bpm. I ended up with Miami Showdown by Digitalism and 5 minutes alone by Pantera (With a little snippit of Walk, also by Pantera). I have edited both of the tracks in such a way as to create the illusion of song. With editing though, all it took was distortion on the vocals to make it sound the same as the track, really distorted sounding synths going on.

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The effect I used was ‘RedlightDistortion’ and with the high frequency set quite high and the drive set at about 9 O’clock, it gave the vocals a really trebly ‘AM’ radio kind of sound; I thought it fit really well with the synth distortion going on.

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I also had a look at the Pro EQ insert, and the boost to the low end gave the distortion a bit of kick and clarity and the small boost near the mid range gave the high frequency a bit more of a cutting edge.

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Lastly, when it came to editing, I added the ‘Ampire’ effect, this was just to add little adjustments to the distortion in the vocals just to clean things up.

I also had to make the vocals fit with the beat in some areas, even though the track and the isolated vocals are the same tempo, the vocalists delivery was slightly off the beat. Screen Shot 2016-02-10 at 4.37.56 PM

This is an example. With the cuts, the vocals sound as though they are being sung to the beat of the track placed in Studio one. Not only that, but I also cut some of the vocals out in small areas. I did this to simulate a glitchy, machine sort of sound; I thought this fit really well because it sounds almost, dystopian in a way.

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In this shot, I have used automation. This is to gradually ease the some lyrics into the song. In the beginning, there is a slow fade in to the actual song, so I used automation on a time stretched section of a vocal line and it fades nicely into the start of the beat with the volume rise. Not only that, but I programmed in some Contrabass Tremolo with the automation rise as well.

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Here is another use of automation, except this time it’s more to help the transition of the song into the last section.

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Here, the vocals here have had the high frequency boosted to the point where it is no longer intelligible. However, it sounds like white noise flickering into the track. I thought it would be cool, because I was going for the whole, futuristic and dystopian feel.

After this, the song now starts to fade out, so I added some last vocals and time stretched them along with the sound effect. This alongside the track makes it sound like a machine is being shut down, kind of like a story, this is the ending to mine and I thought it was a cool idea.

 

 

Fire and Rain -The Rise of the Singer Songwriter

1. List as many singer songwriters that first came to prominence in the late 60’s and the early 70’s?

  • James Taylor
  • Carole King
  • Jackson Browne
  • Joni Mitchell

 

2. Why do you think the ‘ Troubadour’ or ‘Singer Songwriter’ movement developed so strongly in the early 70’s?

Because bands and popular music was slowing dow. The Beatles split and The Rolling Stones were inactive, this is when the ‘Singer Songwriter’ was able to find it’s feet in the breath that the popular rock and roll music was taking. Also, the honesty in the lyrics was something bands and popular music just didn’t have and it had the ability to make people stop and properly listen for a while.

 

3. Carole king – What made Carole Kind unique when compared to other songwriters of the late 60’s? Do you think her personal circumstances informed her songwriting?

She wrote piano arrangements for guitar bands. Motown sounding guitar melody came from Carole King working at the Brill Building just sat behind a piano from 9 to 5. This meant that she was getting her songs out there and getting paid, just that she wasn’t getting the full recognition for it. She didn’t look the part according to the music industry, but she persisted and broke through that barrier that was set. She was also very knowledgable about musical theory, so she knew exactly what worked and what didn’t.

 

4. James Taylor – Describe James Taylor’s performance style when he sings ‘Fire and Rain’? Does the imagery shown during the song contribute to the songs meaning? 

I think that imagery of was and patriotic things alike really add to the ‘feel good’ aura that this song leaks. ‘Try not to feel band right now, listen to my song and get relaxed’ it the kind of feeling I get.

 

5. Name as many modern ‘singer songwriters’ performing now who may have been influenced by the early 70’s/

  • Ed Sheeran
  • Jack Johnston
  • Ben Howard
  • Keaton Simons

ENSEMBLE SKILLS – TASK 1 PROBLEMS THAT COULD ARISE…

For this assignment you need to make a list of the possible problems that could stop your rehearsals from running smoothly. You then need to go into more detail explaining your reasons for this. You should also use your experience of the rehearsals you were part of before Christmas. The following headings should help you:

Technical issues and problems

  • resources not being right

If someone hasn’t learned a certain song, they could show up with sheet music or tablature and learn it during the practice. However, most of the time, people don’t have the time (Are too lazy) to do such a thing, so the practice suffers as a result.

  • equipment not available

Someone might not show up with the right equipment i.e. Jack Lead, Tuner, Strings.

  • setting up equipment properly

Someone might not know how to set their amp up properly for the best sound, so they might just be coasting through with a bad tone and the practice not going as well as it could.

  • sound levels

A practice starts off, usually, with members getting a level of each of their instruments to see if everyone is at an equal volume. If this is not done, then the bassist could be louder than the lead guitarist which is not very good for some situations. It is also a good idea to test out pedals with your original amp settings as well.

Musical issues and problems

  • choice of material not working

If people don’t agree on the music chosen in amongst them selves, then there needs to be a middle ground compromise; There can’t be a song that everyone in the bands hates.

  • songs chosen not at right level for individuals

If a song is chosen that is far beyond one or more of the musicians skill, then it might be an idea to try either a different song by the band, or try a different band in the same genre area.

  • songs chosen require certain instruments

If you’re a regular 4 piece band, and you want to cover some Stevie Wonder for example, you’re going to need some brass players to really make the song feel right. This is either easily counteracted, or will become a nightmare hunt for the right people. Either way, don’t pick those songs until you have everything right.

Practical issues and problems

  • poor attendance or timekeeping

If there is a certain person that is either constantly late or absent from a practice, they should be told by either the band made leader or the entire band. They should either be on time 100% or not be there at all; you run the risk of being kicked out!

  • not enough time to rehearse

If you don’t have a long enough time to rehearse, it will make your band hard to get gigging because you’re just simply not ready for it. You need to relocate to somewhere you can get a proper rehearsal to get some real hours in.

  • leadership or lack of leadership, too many cooks…

Usually, a band needs some kind of strong figure type to lead the band, not in a tyrannical way, but in a productive way. If there are too many of this type of person, there could be clashes within the band and nothing would get done. On the other hand, if there are no leaders, nothing productive will happen and nothing will also get done.

  • lack of teamwork, lack of communication, personality clashes.

Teamwork is needed in the band to keep the train rolling. When members of a band stick together, they will achieve lots more than a band with one or two passengers. Communication wise, all members have to talk to one another, whether it be little changes within songs that maybe a member or two weren’t there. Sometimes a song could be added to the setlist. Everybody needs to know what’s going on, if they don’t there are weak links then and the band will fall apart slowly. Lastly, personality clashes can hurt a bands stamina greatly because one idea will be shot down for another and it can hurt a members ego or sense of self worth. A middle ground always needs to be found in bands with personality clashes, otherwise it’s just not worth pursuing.

Course Review 2016

1. My current attendance? 89%
2. My current punctuality? 91%
3. If applicable at Target for improving attendance/punctuality? I will set louder alarms to actually wake me up.
4. I have most enjoyed working with the new students in the bands.
5. I have found some of the written work the most challenging because it’s a lot more difficult than last year. This is because of the word count being raised, but that in itself is a blessing because it leaves room for more things to be explained.
6. Two new personal targets I would like to set? 
1) I would like to raise my merit on the album review to a Distinction.
2) I would like to learn have a solo performance ready to play.
unclebulletwound2

Texture Song Analysis

There are two songs I’m going to be analysing from a Textural stand point, these songs are “Open your Eyes” by Snow Patrol and  “Colour to Life” by Temples.

Open your Eyes

The song starts with the primary guitar strumming “The mindless chord”  G in crotchets and it just rides on that ad infinitum. The bass is the main melody keeper in the beginning as it is playing G C Em and back to C in crotchets. The vocals then come in loosely following the bass melody, and a few bars later, the bass drum appears playing quavers along to the melody. Synth and another kind of legato guitar melody is played underneath the main instruments, along with the drummer now playing the tom, this really helps build the song up to where it’s going later on. Later on in the song is when it really reaches the apex of it’s density. There are loud, stabbing guitar chords as well as tremolo picking

 

Colour to Life

Song starts with the primary texture, the guitar, playing 4 bars of the main melody.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Analysing Chord Progressions

Song 1: “Alright” – Supergrass

Key D Major – D, em, f#m, G, A, bm, C#o

Intro: D / / / |D / / / |D / / / |D / / / |

Verse Chords

D / / / |D / / / |D / / / |D / / / |

em7 / / / I em7 / / / ID / / / ID / / / I x2

————————————————————-

Bridge/Chorus

F#/ / / IF# / / / I F / / / IF / / / I

em7 / / / I em7 / / / IA / / / IA / / / I

Intro: 1///|1///|1///|1///|

Verse Chords: 

1///|1///|1///|1///|

2(7)///|2(7)///|1///|1///|

bridge/Chorus

3(Minor)///|3(Minor)///|3(b)///|3(b)///|

2(7)///|2(7)///|5///|5///|

In the song “Alright”, there is a semitone of a change in the bridge/chorus from F(sharp major) to F, I feel this adds tension to an otherwise happy up beat song. The way the song rides the root on the keys in the beginning whilst the other instruments have other rhythms really is a unique for back then.

 

Song 2: “Old Man” Neil Young

Key D Major – D, em, f#m, G, A, bm, C#o

Intro

D / / / IF / / / IC / / /I / / G /I

D / / /IF / / /I C / / /IF / / /I

Verse 1

D / / / IF / / / IC / / /I G / / /I

D / / /IF / / /I C / / /IF / / /I

D / / / IF / / / IC / / /I G / / /I

D / / /IC / / /IF / / /IG / / /I

link to chorus: D / / /ID / / /IAm7 / / /IEm7 / / /I

Chorus

D / / /ID / / /IAm7 / / /IEm7 / / /I x3

————————————————————-

Intro

1 / / / Ib3 / / / Ib7 / / /I / / 4 /I

1 / / /Ib3 / / /I b7 / / /Ib3 / / /I

Verse 1

1 / / / Ib3 / / / Ib7 / / /I 4 / / /I

1 / / /Ib3 / / /I b7 / / /Ib3 / / /I

1 / / / Ib3 / / / Ib7 / / /I 4 / / /I

1 / / /Ib7 / / /Ib3 / / /I4 / / /I

link to chorus: 1 / / /I1 / / /I5m7 / / /I2(7) / / /I

Chorus

1 / / /I1 / / /I5m7 / / /I2(7) / / /I x3

The chord changes are really nice and easy flowing. The atmosphere matches the lyrics in that way too I suppose, because they’re talking about an old man and how Neil is a lot like him.

 

Song 3 – ‘Just’ Radiohead

Introduction:

C / Eb / I D / F / I x3

Then we get the verse:

Am / / / I Ab / / / I Eb / F / I

Am / / / I Ab / / / I Eb / Bb / I

Am / / / I Ab / / / I G / Gb / I

F / / / I

Chorus

C / Gb / I F / / / I C / Gb / I F / / / I

C / Eb / I D / F / I C / Eb / I D / F / I

Key C Major – C, dm, em, F, G , Am, Bo

————————————————————-

Introduction:

1 / b3 / I b2 / 4 / I x3

Then we get the verse:

6 / / / I b6 / / / I 3(Major) / 4 / I

6 / / / I b6 / / / I 3(Major) / b7 / I

6 / / / I b6 / / / I 5 / b5 / I

4 / / / I

Chorus

1 / b6 / I 4 / / / I 1 / b6 / I 4 / / / I

1 / 3(Major) / I b2 / 4 / I 1 / 3(Major) / I b2 / 4 / I

The song is based around a bunch of semi tone changes, like the Am going into an Ab; it really gives the song an un easy feeling. The lyrical content gets behind all this as well as it seems to be about a relationship ending, really bad stuff!