WFUV Music: The Holmes Brothers

The quest continues with The Holmes Brothers.

Date: March 3rd, 2010

Kick (in) Sennheiser e901
Kick (out) AKG C3000 off axis top left, 1' away angled downwards
Sn (Top) Sennheiser 421 1' away
Sn (btm) SM 57 1' away
Tom (hi) AMT 97C (muted)
Tom (low) AMT 97C (muted)
OH L/R AKG 441 Cross axis
HH AKG CK91 (muted)
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Bass (DI) Direct SWR Black Beauty
Bass (mic) AKG D112 lower left
Guitar (amp) SM 57 Fender Twin, right speaker, center
Guitar (amp) EV RE-20 left speaker, top mid-left
Piano (in) AMT M40 middle F, aimed 1 octave higher
Piano (out) Avantone CV-12 1' above piano, aimed towards strings. over high F
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Vox (lead) SM 87A
Vox (bass) SM 87A
Vox (drums) Beta 58
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Reverb PCM81 Vox Chamber
DDL SPX2000 Mono slap around 75ms
DDL 2 SPX2000 30/45
Parallel Comp Aux 6 Kicks, Snares to comp

Song Deconstruction - Lesson Plan

SONG DECONSTRUCTION
Audio Engineering Lesson Plan
http://rocketmusic.us
(c) Copyright 2010, Daniel J. Hodd

Materials Required:
- Whiteboard or equivalent
- 3 selected "top 40" songs from different genres

I. Introduction

A. Gain of Attention: What's In a Song?

1. Play song 1
2. "What did you hear?"
3. Self introduction and transition

B. Overview

1. Purpose: become better engineers through song deconstruction
2. Being aware of the components in a song will allow you to build better mixes yourself

C. Learning Objectives

1. Identify the 5 main components of a song's structure
2. Identify the 4 roles an instrument can fill within an arrangement
3. Deconstruct a song by identifying a song's structure, the instruments in the mix, and each of the instruments' role in the arrangement

D. Method/Media

1. Informal lecture method
2. Audio playback media and whiteboard

E. Evaluation

1. (Written, oral, practical application or none)

F. Safeties

G. Transition

[Next Page]

II. Types of Listeners

A. The Average Listener

1. The average listener is a music expert, though they do not know they are
(a) Have listened to studio recordings from birth
(b) Is able to tell you whether they like or dislike a song, but may not be able to articulate why

2. Will decide in under 30 seconds whether or not to keep listening to a song
(a) Most pop music conforms to time constraints that evolved in the 1950's

3. Often hears song lyrics, though some connect with rhythmic component more easily
4. Engineer's job is to make the song communicable to listeners

B. The Producer

1. What is a Producer?
(a) Can be likened to a "creative director"
(b) Manages creative elements from scratch to make song reach its potential
(c) Distinguish music producers from hip hop beat "producers"

2. Hears song structure and arrangement
(a) Define structure: The form of a song, consisting of repeating and non-repeating musical themes
(b) Define arrangement: A song's tempo and instrumentation

3. Listens for consumer appeal
(a) What is the best way to get the song's message across to as many listeners as possible, without upsetting the writer/artist?
(b) Aware of what makes listeners "tick". Groove, melody, and time management

C. The Engineer

1. Hears EFT: Energy, Frequency and Time
(a) Define Energy: Dynamics / ADSR - Attack, Decay, Sustain, Release
(b) Define Frequency: An instrument's place within the audible frequency spectrum
(c) Define Time: The length of time an instrument plays

2. Can discern EFT effects processing
(a) Ex: compression, equalization, reverberation. Covered in separate class

3. Listens to the mix and master
(a) Discuss the difference between a mix and a master
(b) Mix: Balance, depth and competitive quality in frequency, energy and stereo field
(c) Master: Competitive quality in overall frequency and energy components

III. Hearing as a Producing Engineer

A. Your Role as an Engineer

1. Listening versus hearing
2. Perform creative and technical tasks simultaneously. Left and right brain
3. Communicate with and interpret artists et al who may not be able to articulate what they want in technical terms
(a) "Make it sound brighter!"

4. Must be able to listen as a producer, an engineer, and an average listener
(a) Why?

5. Play song 1
(a) If someone asked you to sing this song, what would you sing? (The chorus?)

B. Arrangement Roles

1. Lead
(a) Listener actively listens to this component
(b) Ex: lead vocal, lead guitar, synthesizer, piano

2. Rhythm
(a) Gives the song a pulse, and moves listener forward in time
(b) Ex: drums, auxiliary percussion, rhythm guitar, piano, bass
(c) Can often be felt, more than heard

3. Pad
(a) Sets the stage through sustained tones
(b) Ex: synthesizer loops, guitars, strings, backup vocals

4. Fill
(a) Can posses components of a lead, but for short duration. "Fills" gaps in the leads
(b) Ex: drum fill, guitar embellishment, backup vocals

5. Everything heard in a song can be categorized into one of the above components
(a) Question: It seems like every instrument can serve any purpose
(b) Answer: It can. Consider what the part's primary role is. What function is it serving the most?

C. Structure Components

1. Introduction
(a) Sets the stage by introducing themes and groove
(b) Catches listeners attention and prepares them for what they are about to hear
(c) 4 to 8 bars

2. Verse
(a) Tells the story of a song. Repeated several times
(b) 8 to 16 bars

3. Pre-Chorus
(a) Builds energy and propels listener to the chorus
(b) 4 to 8 bars

4. Chorus
(a) The "hook." Also, the point of the song
(b) Most memorable part of song. Repeated several times
(c) 8 bars

5. Bridge
(a) AKA "Middle 8." A previously unheard musical theme
(b) Connects one part of song to the other, while maintaining listener interest (like a bridge)
(c) 8 bars

6. Other possible components
(a) Re-introduction
(b) Rhythmic break down
(c) Outro
(d) Non-standard

7. Typical Forms
(a) Pop/Rock: Intro / verse / chorus / verse / chorus / bridge / chorus / chorus
(b) Hip Hop: Intro / chorus / verse / verse / chorus / bridge / verse / chorus
(c) Intro: less than 30 seconds, arrive at first chorus in under 1 minute, arrive at bridge around 1:45, song ends in less than 4 minutes

IV. Practical Application

A. Song 2

1. Play 1: Class listens for structure and instrumentation
2. Play 2: Class listens for instrument roles
3. Play 3: Compare results

B. Song 3

1. Play 1: Class listens for structure and instrumentation
2. Play 2: Class listens for instrument roles
3. Play 3: Compare results

C. Song 1

1. Play 1: Class listens for structure and instrumentation
2. Play 2: Class listens for instrument roles
3. Play 3: Compare results

D. Question and answer period

V. Conclusion

A. Review the 4 arrangement roles

B. Review the 5 major structure components

C. Teach-back Period

1. Review definitions
(a) Arrangement
(b) Structure
(c) EFT
(d) ADSR (if covered)

2. Why is understanding structure and arrangement important?
3.How can knowing a song's structure help you create a better mix?
4. How can knowing a song's arrangement help you create a better mix?

D. Preview next class

E. Conclude class

Audio Production vs. Audio Engineering

A few questions have come up recently regarding the distinction between audio (or music) production and audio engineering. For the engineer creating a relationship with a new band, where, exactly, is the line drawn? Here's an answer, as I've come to view it. We'll start by assuming we're working on a song.

Music Production is primarily a creative effort. Production, as a term, inherently refers to the creative aspects of a work. Many popular songs would have ended up sounding vastly different (and not nearly as popular), if it hadn't been for the vision of a producer with the experience to attain it. The producer should be able to listen to a band's song and find the best way to communicate that song to a potential listener; after all, music is indeed a form of communication.

Sorting out the tempo, structure, arrangement and feel all fall in the realm of production. In many cases, production can also cross the "writer" line by suggesting alternate lyrics or a change to a melody. Most producers have extensive musical experience. During production, many different recording techniques may be used to attain a desired sound. For example, Linkin Park may use a layering technique to attain their distinctive guitar sound. This technique could involve recording a given guitar part multiple times on different tracks with different processing applied. The same creative acrobatics can take place in all aspects of the work. To summarize, a producer should be able to take a song and make it "better", in that it is more effectively communicated to potential listeners.

Audio Engineering is primarily a technical effort, but can require a substantial amount of creativity. It encompasses recording, mixing and mastering audio while helping achieve the sounds a producer or band are looking for. (Have you ever been asked to make a track sound more green?) Engineers use a variety of digital and analog equipment to perform their job. Generally speaking, engineers who understand both the scientific and creative side of audio are better able to accomplish the goals handed to them.

Some engineers specialize in a certain area. For example, its somewhat common to see a band use a studio's in-house engineer to record the tracks, then have a hired outside engineer perform the mix. Other engineers specialize in mastering 2-track recordings; they tend not to stray too far from that realm.

The Music Production Process - Part 2

2. Production
There are three stages to production. However, there are no rules in this creative endeavor, only guidelines. Sound on Sound magazine recently detailed the making of Black Eyed Peas latest album, in which the tracking process merged almost completely with the mix. The easy answer to the questions first posed is, "it depends".

Pre-production is the time to ensure your band is ready to record. Your producer listens to you rehearse the song, and typically makes notes on how you play. He'll listen for all aspects of your sound, starting with details about the song. For example: - Is the song length and structure appropriate? Or do we need to cut a given section? - Are the lyrics accessible and suited for the target audience? - Is the arrangement suitable? Are the drums too busy? Is the vocal line supported and up front? - How does the song feel? Is there a groove people can move to? - Can this song be communicated any more effectively than in its present shape? Then, there are other factors to consider... - Are the players well rehearsed in their parts? Are parts solidified, or is everyone making it up as they go along? - Is the drummer solid as a rock, or all over the map, dynamically and rhythmically? - Can the band play with a metronome without losing a natural feel? (Or, can they play with a metronome at all?) The band and the producer will make revisions to the songs structure, arrangement and content as needed. The goal is to make the song as effective as possible. (Example: no one will hear that great hook if they've already gotten tired of the 2 minute intro and shut the iPod off). The producer will also probably give guidance to the players so they are better prepared for their session. If necessary, he or she will make arrangements to have a session player (a very talented outside musician) record instead of a band member.

The Music Production Process - Part 1

What's the best way to record?
How are hit songs made?
Why can't I get my music to sound like what I hear on the radio?

These questions are pretty common amongst people like us. (Or at least, they were common at one point). A good understanding of the music production process can help answer them. In this example, we'll discuss from the perspective of a songwriter/artist with a producer. Here's the music production process, as I see it. It isn't the only way, but most people will find their process follows these steps, more or less.

1. Songwriting
Usually done by the artist or band, though in the case of famous artists, often done by a separate professional songwriter. A song normally starts as an elusive chunk of melody, lyrics and/or harmony, delivered to you by your muse. In the beginning, you may or may not know what you want the song to be about. It may just be a feeling you are trying to convey through music. Many writers start their song with lyrics, others with melody. I happen to start mine with musical arrangement ideas. There's no right or wrong, as its a creative process.

Most songwriters will chase the idea and try to flesh it out on whatever instrument they are strongest on. Keyboard works great for this. As you continue writing, the song should begin to take shape with a definable intro, verse, chorus, pre-chorus, outro, etc. These sections will be arranged into a form (such as A/B/A or A/A/B/A). You'll probably fiddle around with the lyrics for a while, doubt yourself, get extremely excited, rip sheets of paper out of your book and throw them across the room... Don't get discouraged. This is all normal. In the end, you'll have your song. Your producer may or may not be involved at this point.

Again, there's no right or wrong answers here. However, if you listen to the radio, you'll find that the majority of the songs are between 3 and 4 minutes in length, have well defined verses, choruses (aka "hooks"), and a bridge section. When you finish your song, your band picks it up and chooses what parts to play.

Part 2 follows..

Record Both Audio and MIDI

I found some great success recently when recording from a digital piano.

Record both the audio and MIDI signals at the same time. Of course, keep going until you get the take you're happy with. When your done, you'll have a slew of new options for that part. You can:

- Send the MIDI to a virtual instrument (another piano or something else)
- Create a bass part using part of the piano part
- Sync percussion instruments to your rhythm part (shakers, tambourine etc)

Try it out!

Overuse of Autotune.. forget it.

Well, if you've turned on the radio lately, you've probably heard Jamie Fox's supercharged nasal cavity squawking out something about alcohol. I'm still not sure what that song is about because I always just end up amazed by how little of that song is actual song, and how much is engineering. The vocal vibe feels as if his producer forced the engineer to make something usable out of the tracks. Then he threw enough money at radio stations to turn it into a charting song. I'll stop hating, because honestly, Jamie Fox was probably being coached all the way through - which is fine for an actor, I suppose. I do like him as a celebrity figure.

My problem is NOT with the use of autotune, be it invasive (eg: Antares) or non-invasive (eg: Melodyne). My problem IS with the overuse of autotune. In my opinion, when audio effects take more away from a song than they add, they should be reconsidered. For example, there's another song on the airwaves by Black Eyed Peas, which is creative, unanticipated yet fitting for the artist, and tasteful. The obvious effects aren't depended upon to make the song a song, and in the end it sounds great. "A-a-a-a-a-al-cohol", on the other hand, makes me want to shove a drill bit in my ear.

The tip here is as follows: don't rely on processing to make or break your song. If you find yourself at that juncture, take a hard look at the performance, the arrangement and the song instead (in that order). You'll be happier with the end result if you do.

Then again, what do I know - Jamie Fox probably made a million on that song already. You decide!