Home Recording Studio How to Start ?

http://rappingmanual.com/wp-content/uploads/2012/08/recording-studio.jpgRegarding an inexpensive but effective Home Recording Studio, the first thing to do is to carefully go over your budget, because once you get going it will be the little bits and pieces that can nickel and dime you to death. Know how much you can safely spend without putting yourself into financial jeopardy. So many people talk about getting Financial Backers but that isn’t always the best answer since they will often want the lion’s share of any rewards plus interest until the debt is paid back in full. Backers are also very impatient about repayment and don’t want to hear excuses as to why you had to pay your Rent before you pay them! When it comes to Bank loans, the Banks usually look at the Music Business as if it were smoke, something that you can see but cannot touch or hold in your hands.

They are very practical and cautious when it comes to giving out money for the Music Industry despite the incredible amount of money that is generated every year from it. Unless you have a lot of collateral to back such a loan, wait until you can show regular income from your initial endeavors first. Thinking big is fine, but starting out small and wisely is the best policy in putting together your own studio. The terms “Starving Artists” and “Starving Producers” come from the usual way of supplying your musical interests by means of a Day Job until you can wisely transition from one to the other IVR voice recording studio in Dubai.  Almost everyone does it and there is no shame in admitting it. Only the most obnoxious of Industry Professional will criticize you for it.

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Comprehension Phase

On the off chance that you don’t have an intensive handle on what stage is, and how it influences recording, blending, and mastering, now is the ideal time to peruse up.

At the point when taking a shot at a late blend, I recognized something was off about the kick drum. There were 2 tracks recorded (Kick In and Out) and they sounded extraordinary when soloed independently, however together needed definition and sounded sloppy.

Watching the stage relationship, I moved the Kick Out cut around 12 specimens to the left and it was a moment change. Also, knowing how and when to just rearrange stage is to a great degree essential. As far as I can tell, no boutique detachable apparatus can save tracks with stage issues, yet the basic click of the stage reverse catch can have the universe of effect. I apply these methods to practically anything that was twofold followed shamefully, and dependably give careful consideration to the stage relationship between the drums and bass. Look at this side by side correlation of 2 tracks of kick drum, one in which I rearranged the eliminate on the ‘Kick’, and one where I didn’t. Note the absence of low end and clarity in the variant without stage rearranged.

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EDM: Where Producing and Mixing Collide

If you’re reading this article you might already know that EDM stands for Electronic Dance Music. The styles range over a wide gammet of musics, from House to Dubstep, Drum-n-Bass, and IDM (Intelligent Dance Music). While the specifics of each style are extremely diverse (even within different styles there are dozens of sub-styles) – certain attributes remain consistent.

If you are just getting into EDM, or just want a fresh perspective on it, this article should offer some great food-for-thought.

Rhythm

The purpose of EDM is to make people dance. Period. The rhythmic elements and the movement of the record are sacrosanct. Once you find the pulse of the record, you make that as clear as possible. That means pushing the rhythm elements way up, exaggerating any kind of pumping movement and articulating the attacks of anything that is outlining that rhythm.

In addition, it’s best when people not only hear what they want to dance to, but feel it as well. One of the biggest challenges with EDM is packing that heavy bass into the mix. The first key is to remember that physical bass is a much wider range than just the sub. In fact, club systems tend to be very unreliable when it comes to the sub range. Pay special attention to what’s happening between 80 Hz and below 300 Hz. There’s a still a lot of physical bass there, and a little love in that zone can go a long way.

In fact, most instruments have “physical” ranges. For a snare, you might be looking at 100 Hz – 500Hz. For a hi-hat you might be looking at 1 kHz. To say exactly where the physicality of a certain sound exists is almost pointless – it varies widely. But when you feel it, you know.

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