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5-Stepcoordination Challenge Pat Travers’ Sandy Gennaro Lessons Learned Mike Johnston Redefining “Drum Hero”
A WILD ZEBRA BLACK FADE DRUMKIT FROM $ WIN DIXON VALUED OVER 9,250 • HAIM • WARPAINT • MIKE BORDIN THE WORLD’S #1 DRUM MAGAZINE APRIL 2014 DARKEST HOUR’S TRAVIS ORBIN BONUS! MIKE’S LOVES A GOOD CHALLENGE 5-STEPCOORDINATION CHALLENGE PAT TRAVERS’ SANDY GENNARO LESSONS LEARNED MIKE JOHNSTON REDEFINING “DRUM HERO” MODERNDRUMMER.com + SABIAN CYMBAL VOTE WINNERS REVIEWED + VISTA CHINO’S BRANT BJORK TELLS IT LIKE IT IS + OLSSON AND MAHON GEAR UP FOR ELTON JOHN + BLUE NOTE MASTER MICKEY ROKER STYLE AND ANALYSIS NICKAUGUSTO TRIVIUM LEGENDARYIT ONLYSTARTS BEGINS TO HERE.DESCRIBE THEM. “The excitement of getting my first kit was like no other, a Wine Red 5 piece Pearl Export. I couldn’t stop playing it. Export was the beginning of what made me the drummer I am today. I may play Reference Series now but for me, it all started with Export.” - Nick Augusto Join the Export family at pearldrum.com. ® CONTENTS Cover and contents photos by Elle Jaye Volume 38 • Number 4 EDUCATION 60 ROCK ’N’ JAZZ CLINIC Practical Independence Challenge A 5-Step Workout for Building Coordination Over a Pulse by Mike Johnston 66 AROUND THE WORLD Implied Brazilian Rhythms on Drumset Part 3: Cô co by Uka Gameiro 68 STRICTLY TECHNIQUE Rhythm and Timing Part 2: Two-Note 16th Groupings by Bill Bachman 72 JAZZ DRUMMER’S WORKSHOP Mickey Roker Style and Analysis by Steve Fidyk EQUIPMENT On the Cover 20 PRODUCT CLOSE˜UP • DW Collector’s Series Cherry Drumset • Sabian 2014 Cymbal Vote Winners • Rich Sticks Stock Series Drumsticks • TnR Products Booty Shakers and 50 MIKE JOHNSTON Little Booty Shakers by Miguel Monroy • Magnus Opus FiBro-Tone Snare Drums Back in the day—you know, like ve years ago—you 26 ELECTRONIC REVIEW had to be doing world tours or making platinum records Lewitt Audio DTP Beat Kit Pro 7 Drum to in uence as many drummers as this month’s cover Microphone Pack and LCT 240 Condensers star does with his groundbreaking educational website. -
Recording and Amplifying of the Accordion in Practice of Other Accordion Players, and Two Recordings: D
CA1004 Degree Project, Master, Classical Music, 30 credits 2019 Degree of Master in Music Department of Classical music Supervisor: Erik Lanninger Examiner: Jan-Olof Gullö Milan Řehák Recording and amplifying of the accordion What is the best way to capture the sound of the acoustic accordion? SOUNDING PART.zip - Sounding part of the thesis: D. Scarlatti - Sonata D minor K 141, V. Trojan - The Collapsed Cathedral SOUND SAMPLES.zip – Sound samples Declaration I declare that this thesis has been solely the result of my own work. Milan Řehák 2 Abstract In this thesis I discuss, analyse and intend to answer the question: What is the best way to capture the sound of the acoustic accordion? It was my desire to explore this theme that led me to this research, and I believe that this question is important to many other accordionists as well. From the very beginning, I wanted the thesis to be not only an academic material but also that it can be used as an instruction manual, which could serve accordionists and others who are interested in this subject, to delve deeper into it, understand it and hopefully get answers to their questions about this subject. The thesis contains five main chapters: Amplifying of the accordion at live events, Processing of the accordion sound, Recording of the accordion in a studio - the specifics of recording of the accordion, Specific recording solutions and Examples of recording and amplifying of the accordion in practice of other accordion players, and two recordings: D. Scarlatti - Sonata D minor K 141, V. Trojan - The Collasped Cathedral. -
Designing and Composing for Interdependent Collaborative
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School May 2019 Designing and Composing for Interdependent Collaborative Performance with Physics-Based Virtual Instruments Eric Sheffield Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Composition Commons, Music Performance Commons, and the Other Music Commons Recommended Citation Sheffield, Eric, "Designing and Composing for Interdependent Collaborative Performance with Physics-Based Virtual Instruments" (2019). LSU Doctoral Dissertations. 4918. https://digitalcommons.lsu.edu/gradschool_dissertations/4918 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. DESIGNING AND COMPOSING FOR INTERDEPENDENT COLLABORATIVE PERFORMANCE WITH PHYSICS-BASED VIRTUAL INSTRUMENTS A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music by Eric Sheffield B.M., University of Wisconsin-Whitewater, 2008 M.A., University of Michigan, 2015 August 2019 c 2019 Eric Sheffield ii ACKNOWLEDGEMENTS Thank you to: Teachers and mentors, past and present|Dr. Edgar Berdahl, Dr. Jesse Allison, Derick Ostrenko, Dr. Stephen David Beck, Dr. Michael Gurevich, and Dr. Sile O'Modhrain, among others|for encouraging and guiding my music, design, and research interests. The LSU School of Music and CCT for letting me host a festival, funding my conference travel, providing great spaces to work and perform, and giving me an opportunity to teach computer music to LSU students. -
A NEWBAY MEDIA PUBLICATION How Will You Tell Your Story?
DM_cover1_ph1.qxd 12/17/10 9:04 AM Page 1 A NEWBAY MEDIA PUBLICATION How will you tell your story? Rev. Robert Jones, Sr. uses folk music to tell stories, and CDs to keep them alive. “Folk music is about everyday living. It sings about work and poverty, about love and loneliness, about bravery and fear, and it tells stories. Some stories are fun, some are poignant and some strike to the heart of who we are and who we aspire to be. Those of us who play this music have a responsibility to pass along its lessons to those who are ready eager to listen and learn.” Make it happen. www.discmakers.com Contents S The Musician’s Guide to Recording Presented by Music Player Network and SUZI ROK WORK IT! 4 Make Your Studio a Better Creative Space WRITE IT! 8 Songwriting Tips From the Hitmakers PRODUCE IT! 12 Top Producers Share Their Studio Secrets TRACK IT! 17 Recording Stunning Piano Tracks HAGGARD UL 24 40 Paths to Recording Great Guitar Tones PA 30 Capturing Beautiful Acoustic Guitar Sounds 35 Recording Lead Vocals For Maximum Impact 40 A Comprehensive Guide to Recording Bass 50 Capturing the Boom and Bang of Drums FROM DISC MAKERS 48 Why the CD Is Still a Crucial Music Media For Indie Artists 49 Choosing a CD Manufacturer MIX IT! 57 34 Steps to Crafting Dynamite Mixes MASTER IT! 61 Home-Studio Mastering Tips & Techniques S MARKET IT! SUZI ROK 65 Get Yourself Out There! HEY! Reading someone else’s copy? Get your own copy here: http://www.discmakers.com/RecGuide COVER PHOTO: SUZI ROKS discmakers.com/RecGuide THE MUSICIAN’S GUIDE TO RECORDING 3 DM_workit.qxd 12/13/10 10:29 AM Page 4 Work It! Make Your Studio a Better Creative Space Maximize Your Productivity our studio is an extension of your 12-1/2" x 12-1/2" x 5-3/4". -
Recording Drums ��� ��
TUTORIAL �� ���� ��� PRODUCTION � � FUNDAMENTALS RECORDING DRUMS ��� �� One of the trickiest Ever since Geoff Emerick boldly placed his KIT & KABOODLE microphones within sniffing distance of Ringo’s So what makes a drum sound good? Now, while ���� ���� engineering tasks in the Ludwig drumkit for The Beatles’ ‘White’ one person’s floor is another’s ceiling and good studio would have to be the album, it’d be fair to say that the recording of sound is a question of taste and context, there are ���� drums hasn’t changed very much. With notable a few indisputables that contribute. For instance, recording of drums. One of exceptions, such as the brilliant Tchad Blake the drum should be as round as manufacturable Australia’s finest recording and his dummy head binaural techniques and and the bearing edge (where the wood meets the various lo-fi adventures with just two well-placed skin) should be dead flat. All good in theory, but engineers, Paul McKercher, microphones, the practice of close miking each the mechanics of mounting a drum can conspire offers some salient advice element of the kit for impact and adding a few to distort its shape. Bass drum-mounted toms room mics for ambience remains a staple. are the worst offenders as the entire weight of to help us capture the the tom is transferred onto the mounting post While being able to pull a great drum sound is and into the bass drum. With wood being more power and majesty of this the mark of a recording engineer, I’d challenge flexible than metal, the drum and, in particular, the notion that it’s all about engineering crucial instrument. -
Play Trinity Rock &
ACCESS ALL AREAS... PLAY TRINITY ROCK & POP TRINITY ROCK & POP 2018 MASTER YOUR PERFORMANCE WITH OUR ROCK & POP PRACTICE APP: NEW RECORD & REVIEW FEATURE Our Play Trinity Rock & Pop app allows you to be the artist and the producer. You can mix your own performances with our professional session musicians and adjust pitch, tempo and the volume of each individual instrument track in the mixing desk. Buy and download the songs you’re working on directly to your phone, and practise sections or the whole song in a way that suits you. Now you can even record your own performances into the mix of your chosen songs and play them back. THE PLAY TRINITY ROCK & POP APP Our app puts a range of controls at your fingertips, THE RECORD & REVIEW FEATURE allowing you to: Polish your exam performance with the new Control the mix: isolate or adjust the volume of Record & Review feature. individual instruments Prepare for your big performance by recording Loop a section: choose a section of the song to your own part into the mix of your chosen Rock & loop on repeat to practise challenging parts Pop exam songs and playing them back to review. Adjust the speed: slow the track down to learn at The new Record & Review feature allows you to: your own pace Change the pitch: sing in a key that suits your range Be a performer on the songs you choose by recording with our Rock & Pop session musicians Come in with a count-in: make sure you start promptly and at the right speed every time Practise at home and bring a recording of your progress to your next music lesson to review with Keep perfect time: use a click track to make sure your teacher you don’t miss a beat Listen to your peformance and identify any Follow the lyrics: have the song’s lyrics scroll as areas that can be finessed before your exam you play or sing Work on delivering a full performance of a song Record & Review: record your own performance without stopping, and listen back to see how you’re into the mix and play it back to review. -
THE MUSIC PRODUCTION of a ROCKABILLY COMPOSITION with ADDITION of the BIG BAND BRASS SOUND Logožar R
THE MUSIC PRODUCTION OF A ROCKABILLY COMPOSITION WITH ADDITION OF THE BIG BAND BRASS SOUND Logožar R. 1, Lajtman M.2 ( [email protected] , [email protected] ) 1Polytehcnic of Varaždin, J. Križani ća 33, HR-42000 Varaždin, Croatia 2Lajtman j.t.d., Glavna 2a, HR-40321 Mala Subotica, Croatia Abstract. This paper describes the music production of a 1. INTRODUCTION rockabilly composition with addition of big band brass sound, and is based on the bachelor thesis of the second The standard music production generally deals with the author. In the preproduction phase the music genre and recording, editing, mixing and mastering of music. To- style were defined, and the full arrangement was pre- day it is quite common that the instrumental and vocal pared. The standard music production stages, recording, arrangements, as well as other creative, very often itera- mixing and postproduction, were all done by using the tive, phases, like selection of instruments and definition Digital Audio Workstation concept. The recording, in- of their particular and global sound, are also intermixed cluding a dozen of the brass sections’ lines, is done by with the recording and mixing process. This is especially the one instrument at a time method. Furthermore, all the so for the production of the contemporary bands without lines of a particular brass section were performed by many members, or the songwriter-performer-producer only one player. The richness of the sound could proba- teams who want to have the control of the whole produc- bly be better if more players were involved and if the tion process. -
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/NE/F&OUR!MAZING 0RIZE0ACKAGES&ROM )-02/6%9/52#/.#%.42!4)/.s).3)$%0!)34% 7). 4YCOON0ERCUSSION WORTHOVER -!2#( 4HE7ORLDS$RUM-AGAZINE !&2/0/0 "%!43 '!,!#4)#3 34!.4/. -//2% 7/2+).)4n(!2$ .),%3 '%/2'%+/,,)!3 &2%$(!--/.$3 #!,6).2/$'%23 $%6%,/0!42!.30!2%.43/5.$ -/$%2.$25--%2#/- ,)6).'#/,/523 7),,#!,(/5. s"2!$9+IT!ND3NARESs3/5,4/.%'OSPEL#YMBALS s4!-!3TARPHONIC3NARESs%!24(7/2+3$RUM-ICS s34!.4/.-//2%$25-#/-0!.94ITANIUM3NARE CONTENTS Volume 34, Number 3 • Cover photo by Dino Perrucci 42 Gene Ambo Dino Perrucci 48 60 FEATURES 42 NILE’S GEORGE KOLLIAS 14 UPDATE LIVING COLOUR’S In the world of extreme metal, there’s speed, and there’s SPEEEED! Renowned WILL CALHOUN for his incredibly fast double bass work—typically breaking the sound barrier, DIANA KRALL’S JEFF HAMILTON and eardrums, at around 280 bpm—Nile’s George Kollias is a quiet man with a brutal pair of feet. THE BANGLES’ DEBBI PETERSON 48 38 WOODSHED STANTON MOORE THE VIRGINS’ KEVIN RICE Galactic’s drummer is happiest working the fertile soil where tradition feeds innova- 40 IN THE STUDIO tion. The results of the drummer’s latest labors—an ambitious multimedia project and a clutch of new recordings—promise to fire our imagination for years to come. MAKING inFAMOUS 86 PORTRAITS 60 FRED HAMMOND’S CALVIN RODGERS FICTION PLANE’S PETE WILHOIT Since childhood, the star gospel drummer has had but one goal: to inspire others ANTHONY CITRINITE with his playing. Today, Calvin Rodgers’ powerful, unique, and tasteful drumming can be heard on some of the most influential gospel albums of the past decade. -
Listener Evaluation of Common Drum Recording and Mixing Techniques
Belmont University Belmont Digital Repository Mike Curb College of Entertainment & Music Audio Engineering Theses Business 5-4-2019 Listener Evaluation of Common Drum Recording and Mixing Techniques Tucker W. Arbuthnot Follow this and additional works at: https://repository.belmont.edu/msaetheses Part of the Acoustics, Dynamics, and Controls Commons, and the Audio Arts and Acoustics Commons Recommended Citation Arbuthnot, T. W. (2019). "Listener Evaluation of Common Drum Recording and Mixing Techniques." Master of Science in Audio Engineering (MSAE) thesis, Belmont University, Nashville, TN. 2. https://repository.belmont.edu/msaetheses/2 This Thesis is brought to you for free and open access by the Mike Curb College of Entertainment & Music Business at Belmont Digital Repository. It has been accepted for inclusion in Audio Engineering Theses by an authorized administrator of Belmont Digital Repository. For more information, please contact [email protected]. Listener Evaluation of Common Drum Recording and Mixing Techniques Master’s thesis presented to the faculty of the Audio Engineering Graduate Program of The Mike Curb College of Entertainment & Music Business Belmont University, Nashville TN In partial fulfillment of the requirements for the degree Master of Science with a major in Audio Engineering Tucker W. Arbuthnot May 4, 2019 Advisors Wesley Bulla Doyuen Ko Eric Tarr ABSTRACT This thesis explored whether listeners could perceive the differences between samples recorded and mixed according to methods reported by the so-called popular audio press and samples that did not utilize those methods. The three recording methods were: aligning multiple tracks to achieve a coherent phase relationship, microphone selection, and the style of recording. -
Stock, Aitken and Waterman George Martin
How to be a producer George Martin Stock, Aitken and Waterman Production lines As the line between artist and producer becomes increasingly blurred, we explore what goes into producing other people’s work and talk to some industry experts… hat do you picture when you and Rolf Harris – was to give him the song and mix, frequently composing the palette to a mainstream audience, has hear the word ‘producer’? A wide-ranging experience that would entirety of the artist’s record themselves: helped to create some of this decade’s W long-haired visionary telling enable him to help the Beatles Kylie Minogue’s I Should Be So Lucky biggest musical franchises: Nelly, Usher, the bass player of a band to wear revolutionise studio recording. and Rick Astley’s Never Gonna Give You Jay Z, Justin Timberlake, Kelis and P. purple shoes for improved ambience, or On Strawberry Fields, for example, Up were enormous hits, and the largely Diddy to name a few. They veer in the a drum ’n’ bass DJ turning his hand to Martin was required to interpolate instrumental Roadblock elevated them direction of artists themselves, stamping making a tune? Whether it’s Phil classical orchestration, a horn section, to even further fame. a clear impression on every project they Spector or DJ Krust who comes to mind, a Mellotron, a swordmandel and, at one take, and then extending this branding this month we’re separating fact from point, a large number of people banging Producer or artist? out to their solo careers – it’s a logical fiction and glamour from graft in the biscuit tins. -
How to Get a Great Drum Sound
http://www.behindthemixer.com | Copyright 2011 | Chris Huff Table of Contents Introduction ................................................................................................................................................................... 3 Parts of the Drum Kit: .................................................................................................................................................... 4 Kick (Bass) Drum ........................................................................................................................................................ 4 Snare Drum ............................................................................................................................................................... 5 Toms .......................................................................................................................................................................... 5 Hi-Hat Cymbals .......................................................................................................................................................... 6 General Cymbals ....................................................................................................................................................... 6 Types of Drum Sticks ................................................................................................................................................. 7 Methods of Drum Mic'ing .............................................................................................................................................