tag:blogger.com,1999:blog-30387346062726931272024-03-19T06:07:52.156-07:00Music creation, recording and mixingDoubleSharp Musichttp://www.blogger.com/profile/11656025684637087477noreply@blogger.comBlogger23125tag:blogger.com,1999:blog-3038734606272693127.post-16441274966650023602019-03-25T17:17:00.001-07:002019-03-26T05:24:06.284-07:00Compressors 103 - Going deeperToday I'm going to go a little deeper into how compressors work. But first do an experiment. This experiment will allow you to <b>SEE</b> what a compressor does. When I did this, things started to become a lot clearer for me. We have to listen <u>differently</u> when it comes to compressors. We are not listening for frequency, we are listening to dynamic range (amplitude, loudness).<br />
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For this experiment it would be better to use a bass track. The reason for this is one, we ALWAYS use a compressor on a bass track and two, one of the reasons to use a compressor on a bass track is because we want to <u>lengthen</u> the sustain of the notes, as they fade out quickly. Try to use a track that has a regular-type bass line, not one that is super busy.<br />
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<ol>
<li>Find a bass track (or create one using a VI) If a virtual instrument is used, use one that emulates a real bass guitar, not something like a synth bass. What is needed is a sound whose note decays after the initial onset of the note, like a real bass. Also the track will need to be printed. For this test to work we need an audio clip, not a MIDI clip.</li>
<li>Put a compressor on the bass audio track.</li>
<li>Set the ratio to something higher, i.e. 6:1. Set a fast attack, i.e. 3 ms; fast release, i.e. 18 ms.</li>
<li>Lower the threshold until the meter shows roughly 8 dB of gain reduction. Then add some makeup gain. Set this to the amount being reduced. If the gain reduction meter shows 8 dB of reduction, set makeup gain to 8 dB. This way the volume remains the same.</li>
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What you should start to notice is that the initial attack of the notes (when the player first strikes the notes) no longer punches. Now the dynamics are a little flatter, smoothed out. The second thing you should notice is that the notes are more sustained. You will no longer hear the decay, but a nice solid note that holds out for it's full duration of note value (i.e. quarter note, half note, etc.)</div>
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<b>NOW</b>, print the track again with the compressor engaged. What you should have are two printed bass tracks. One without compression and one with compression. Look at the differences between the two. The first track has a pronounced attack with high amplitude and fast decay. The second, the initial punch is now all or mostly reduced and the sustain of the note stays strong longer. Below is a picture of what this should look like. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeVxst9rMGRcRAShI47MrPd4JXt7Y4O4IDslyhu64GYIbs6bb1hA30dLTphdUfPNA0i36DdA2rSDFBBFBJnE-bWYQ0s7II0rXQDKqnvaBsuZBiE3tWZvyoTBmEP3VFpd7G9bWjnFGmVrE3/s1600/Bass+Print+w+compression.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeVxst9rMGRcRAShI47MrPd4JXt7Y4O4IDslyhu64GYIbs6bb1hA30dLTphdUfPNA0i36DdA2rSDFBBFBJnE-bWYQ0s7II0rXQDKqnvaBsuZBiE3tWZvyoTBmEP3VFpd7G9bWjnFGmVrE3/s640/Bass+Print+w+compression.png" width="640" /></a></div>
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I have done exactly that here. I used an Instrument track with Trillian Bass module - played a bass line - printed it - ran compressor with 6:1, 3 ms attack, 18 ms release, 8 dB gain reduction, and 8 dB make up gain. I think this helps to drive home what a compressors job is. In this example my goal with the compressor was to lessen the attack and give it more sustain.</div>
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I hope this helps - it did for me! Next time I will start to go into specific parts of a compressor, i.e. threshold, knee, attack, release, etc.</div>
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And as always - HEY! Make it a great day!</div>
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Tim</div>
DoubleSharp Musichttp://www.blogger.com/profile/11656025684637087477noreply@blogger.com0tag:blogger.com,1999:blog-3038734606272693127.post-73758470613714043222018-09-14T06:59:00.000-07:002018-09-14T06:59:55.155-07:00Organize, Organize, Organize! (Sessions, Folders, Files)I think I have always been somewhat organized. But I have learned to be <u><b>very</b></u> organized since running my studio. Things can get <u>very</u> unorganized <u>very</u> quickly.<br />
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If you want to save yourself some headaches down the road, grab 20-30 mins to take some time when you're not very busy and think about how you want to organize folders, files, sessions, and clients. </div>
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Being able to find a client's session quickly becomes key. For instance, I have one client who came in a few years ago with just one project. As the months and years have gone by she has done a dozen or so different types of projects. I made the mistake of thinking what she was bringing me was a one-time project, so I just threw it in with another of her sessions. I have now done that so many times that when she calls and asks if I have so and so I don't know the answer. She is the exception for me. But her different projects are a MESS!!<br />
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So I had to develop a "system" of sorts to stay organized. Here's what I do:<br />
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I put the clients' last name first, then first name. So Tom Smith becomes Smith Tom. Bands are simply listed by the name of the band. I always capitalize the main client folder and the main folder for a song (i.e. Smith, Tom). I usually put a sub-folder inside the client folder with the song title - and I do one folder per song. I do not put multiple songs in the same folder! If they have three songs, they get three folders. The folder for the song I put in caps, like "The Setting Sun". Then the session in that folder becomes settingsun. <span style="background-color: rgba(255, 255, 255, 0);">I always do 'Save As' with the sessions as I get something done, incorporating a number scheme. So the session I put settingsun_01 xxx. With the xxx being what was done during that session, i.e. vocal tracking, eq, rough mix, etc. Then settingsun_02,etc.</span></div>
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<span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);"><br />Although I don't always do it this way, it's good to know that 'year/month/day' formatted dates sort alphanumerically; 'day/month/year' (UK) and 'month/day/year' (USA) standards do not. </span><span style="background-color: rgba(255 , 255 , 255 , 0); font-family: "helvetica neue light" , , "helvetica" , "arial" , sans-serif;">Think about it: under the UK system, the 1st of December sorts in front of the 2nd of January because 1 comes before 2. And in America Jan the 1st 2008 comes before the December the 1st 2007 because 01 comes before 12.</span></div>
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<span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);"><br />This works for session files too. Versions of the same day get suffixed a, b, c etc.<br /><br />Dates are more logical than descriptives like... 'final mix', 'final final mix', 'final final mix THIS ONE', new final mix, 'new new final mix unmastered reverb +EQ' etc., etc. I don't use descriptives this way.<br /><br />If you use the YYYYMMDD format, they'll sort alphanumerically on a computer and you'll be organized!</span></div>
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<span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);"><br /></span></div>
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<span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);">I hope this helps!</span></div>
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<span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);">Peace-</span></div>
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<span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);">And remember - make it a great day!</span></div>
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<span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);">Tim</span></div>
DoubleSharp Musichttp://www.blogger.com/profile/11656025684637087477noreply@blogger.com0tag:blogger.com,1999:blog-3038734606272693127.post-76822783860062382972018-09-08T14:15:00.000-07:002018-09-14T07:20:15.577-07:00Compressors 102 (More of the Basics)After learning the basics about compressors (see Compressors 101 earlier blog entry), then you can use this general guide of the type of overall effect you are going for.<br />
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If you want a <b><u>Natural</u></b> sound (the compressor is not noticeable):<br />
Use a slower attack (longer than 75 ms) and gentle ratios (less than 2:1). Always allow the compressor to "relax" back to zero several times a measure.<br />
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For a <b><u>Punchy</u></b> Response:<br />
For a harder, punchier sound, use higher ratios and thresholds, but keep an ear out for any distortion.<br />
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If you want a <b><u>Thick</u></b> and <b><u>Dense</u></b> sound:<br />
For a thicker, denser sound use faster attacks, medium ratios, and lower thresholds. There will be much more gain reduction though.<br />
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If you want a <b><u>Pumping</u></b> <u style="font-weight: bold;">Effect</u>:<br />
For an overstated pumping effect use fast attacks, high ratios, and a longer release time.<br />
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<b>DO</b> - Avoid using extreme settings to begin with. This is especially true if you are just trying to control the dynamics.<br />
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<b>DON'T</b> - Add compressors to every channel just because you think you're supposed to! Start with minimal compression and carefully choose where, when and why to add a compressor.<br />
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<b>DO</b> - Experiment with different kinds of compressors. There can be some big differences!<br />
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<b>DON'T</b> - Don't forget to bypass the compressor occasionally to check that you're getting good results.<br />
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<b>DO</b> - Remember to balance the output gain so the level doesn't change when you engage the bypass. In other words the before and after volume level should be the same. We hardly ever use compression without changing the output makeup gain. If you add 3 dB of gain reduction (GR), then you should be able to add 3 dB or so of make up gain for the output.<br />
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<b>DON'T</b> - Don't be afraid to experiment. Some of the greatest sounds in the history of recorded music came from misused and abused compressors!<br />
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Next blog about compressors I will talk about the "Knee" of a compressor! I really do hope this helps. It helped me in the beginning!<br />
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As always - Make it a GREAT day!<br />
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T<br />
<b><u><br /></u></b>DoubleSharp Musichttp://www.blogger.com/profile/11656025684637087477noreply@blogger.com0tag:blogger.com,1999:blog-3038734606272693127.post-35322859835536069002018-09-01T11:59:00.003-07:002018-09-14T07:18:53.136-07:00Creating a Click TrackUsing a click track during recording is, of course, imperative. We can't do our work if we can't play to the beat! Luckily for us Pro Tools makes it easy to set up a click track! Just simply go to <b>Track</b> on the menu bar, scroll all the way to the bottom and choose <b>Create Click Track</b>. Pro Tools will create an auxiliary track and automatically put a metronome plugin on the track. The metronome will automatically set to the tempo (bpm) of the song.<br />
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The metronome is customizable. You can change the sounds used for beat 1 and all other beats (2, 3, 4, etc.). The volume for beat 1 can be set and the volume for all other beats can be set to something different. I usually have mine set so that beat 1 is louder than other beats and is a different sound. That makes it easy to find the downbeat while tracking.<br />
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When I set up my templates, I already have the click track set up and ready to go! Easy! And since I organize and colorize my tracks, for me, the click track is all the way to the left in the Mix window and a bright lime green. I always know where it is in the session, no matter working in the mix or edit window.<br />
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Peace! And HEY! Make it a great day!<br />
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TimDoubleSharp Musichttp://www.blogger.com/profile/11656025684637087477noreply@blogger.com0tag:blogger.com,1999:blog-3038734606272693127.post-88495046743421675132018-05-13T15:12:00.001-07:002018-09-14T07:18:19.293-07:006 Recording Myths - Busted!<div class="post_content" itemprop="description" style="clear: both; min-height: 200px; padding: 0px 25px 20px 15px;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">It is hard to learn how to record and mix music today. With so much information available on the web, sometimes it is hard to know if the information is true or not - whether it can be trusted or not. Here are six myths that are <u>not true</u>! Ask anyone who really knows his stuff and is experienced and successful.</span><br />
<h2 style="background-color: white; color: #111111; font-family: "sweetwater condensed", "arial narrow", sans-serif; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: 44px; margin: 20px 0px 14px; padding: 0px;">
<span style="font-size: large;">Myth 1 – You can’t use ribbon mics on loud sources</span></h2>
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<span style="color: #444444; font-family: "sweetwater" , "helvetica" , "arial" , sans-serif;"><span style="-webkit-tap-highlight-color: transparent; border-color: initial; border-image: initial; border-width: initial; margin-bottom: 15.62px; margin-top: 15.62px;"><img alt="" class="alignleft wp-image-80861" height="200" sizes="(max-width: 83px) 100vw, 83px" src="https://www.sweetwater.com/insync/media/2019/05/121-b.jpg" srcset="https://www.sweetwater.com/insync/media/2019/05/121-b.jpg 199w, https://www.sweetwater.com/insync/media/2019/05/121-b-124x300.jpg 124w, https://www.sweetwater.com/insync/media/2019/05/121-b-83x200.jpg 83w, https://www.sweetwater.com/insync/media/2019/05/121-b-186x450.jpg 186w" style="-webkit-tap-highlight-color: transparent; border: none; float: left; margin: 15.62px 20px 15.62px 0px; max-width: 630px;" width="83" /></span></span><span style="font-family: "arial" , "helvetica" , sans-serif;">This myth is a good one to start with because like the best myths, there’s just enough of a grain of truth to it to keep it going. It’s true that the actual ribbon element can be more fragile than the diaphragm of a moving coil or condenser microphone. It’s also true that in the early days of ribbon mics, those classic RCA mics from the 1940s would fail readily if you tried to use them on a screaming guitar amp or a kick drum. However, that hasn’t been true for decades. These days, arguably the most venerated guitar cabinet mic, the Royer R-121, is a ribbon mic. Ribbon mics these days can easily withstand extremely high Sound Pressure Levels (SPL) and can be used on any source. Some ribbon mics such as the Shure KSM313/NE utilize a ribbon made of Roswellite, a substance created using carbon nanofilm technology that is virtually unbreakable and can endure levels up to 146dB SPL.</span></div>
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<span style="font-size: large;">Myth 2 – Always record as hot as you can</span></h2>
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<span style="color: #444444;"><span style="border-color: initial; border-image: initial; border-width: initial; margin-bottom: 15.62px; margin-top: 15.62px;"><img alt="" class="alignleft wp-image-80847" height="130" sizes="(max-width: 231px) 100vw, 231px" src="https://www.sweetwater.com/insync/media/2019/05/vu-meter.jpg" srcset="https://www.sweetwater.com/insync/media/2019/05/vu-meter.jpg 300w, https://www.sweetwater.com/insync/media/2019/05/vu-meter-280x158.jpg 280w" style="-webkit-tap-highlight-color: transparent; border: none; float: left; margin: 15.62px 20px 15.62px 0px; max-width: 630px;" width="231" /></span></span>This is another myth that has roots in the early days of recording to tape. Back when your recordings had to stay above the noise floor of the tape, tracking too quietly could render your recording noisy and unusable. Not only that, but recording engineers realized that for rock music, slamming your recording levels produced a very pleasing tape compression and “heat” that could make things sound great. With digital recording, however, both of these are no longer true. With 144dB of dynamic range (24-bit recording) you can even record at -40dB and have 100dB of dynamic range. Early analog-to-digital converters (from decades ago) did sound better when recording near the top of their range but that is no longer the case. In fact, with digital recording, overloading your recording levels is decidedly unpleasant, resulting in a digital distortion when clipping that is ugly and abrasive.</div>
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<span style="font-size: large;">Myth 3 – External digital clocking improves the sound of your audio interface</span></h2>
<div style="background-color: white; font-family: sweetwater, helvetica, arial, sans-serif; font-size: 14px; line-height: 1.48; margin-bottom: 15.62px; margin-top: 15.62px; padding: 0px;">
<span style="color: #444444;"><span style="border-color: initial; border-image: initial; border-width: initial; height: auto; margin-bottom: 15.62px; margin-top: 15.62px;"><img alt="" class="alignleft size-full wp-image-80851" height="126" src="https://www.sweetwater.com/insync/media/2019/05/master-clock.jpg" style="-webkit-tap-highlight-color: transparent; border: none; float: left; height: auto; margin: 15.62px 20px 15.62px 0px; max-width: 630px;" width="227" /></span></span>If you’re interconnecting a lot of digital gear you may want to use a master digital clock. Get the best clock you can afford, and make sure everything is connected properly via Word Clock cables. In many cases, the master clock won’t have a drastic influence on the sound; the uniform clocking simply makes everything work together without digital pops and ticks. Just taking your audio interface and hooking it up to an external clock isn’t going to improve the sound quality of its digital-to-analog and analog-to-digital converters unless the clock in your interface is really poor. If you really want to improve your recorded sound, get the best mics, preamps, and audio interface you can. Only buy an external digital clock after you’ve made sure the rest of your audio chain is the best it can be.</div>
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<span style="font-size: large;">Myth 4 – Egg cartons or mattress foam are good acoustic treatments</span></h2>
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<span style="color: #444444;"><span style="border-color: initial; border-image: initial; border-width: initial; margin-bottom: 15.62px; margin-top: 15.62px;"><img alt="" class="alignleft wp-image-80853" height="231" sizes="(max-width: 231px) 100vw, 231px" src="https://www.sweetwater.com/insync/media/2019/05/egg-cartons.jpg" srcset="https://www.sweetwater.com/insync/media/2019/05/egg-cartons.jpg 300w, https://www.sweetwater.com/insync/media/2019/05/egg-cartons-200x200.jpg 200w, https://www.sweetwater.com/insync/media/2019/05/egg-cartons-55x55.jpg 55w" style="-webkit-tap-highlight-color: transparent; border: none; float: left; margin: 15.62px 20px 15.62px 0px; max-width: 630px;" width="231" /></span></span>No, not even close! And despite what you may read on the internet, they don’t sound-proof anything. Materials such as drywall, insulation, and acoustic foam can be great acoustic treatment materials. With these materials and proper construction and application methods, you can effectively tackle the two general aspects of studio construction: isolation and acoustics. First, if you’re concerned with keeping sound from getting in or out of your recording space, you’ll need to tackle isolation. This is best done with some form of mass-air-mass construction. A wall with drywall and insulation, empty space, then another identical wall with drywall and insulation will provide a great start. For controlling the acoustics inside your space, you’ll need a combination of absorption and diffusion. There are myriad ways and a long list of proper materials to implement this — egg cartons and mattress foam are NOT on the list!</div>
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<span style="font-size: large;">Myth 5 – External hardware always sounds better than digital plug-ins</span></h2>
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<span style="color: #444444;"><span style="border-color: initial; border-image: initial; border-width: initial; margin-bottom: 15.62px; margin-top: 15.62px;"><img alt="" class="alignleft wp-image-80855" height="126" sizes="(max-width: 230px) 100vw, 230px" src="https://www.sweetwater.com/insync/media/2019/05/rack-fx-300x164.jpg" srcset="https://www.sweetwater.com/insync/media/2019/05/rack-fx.jpg 300w, https://www.sweetwater.com/insync/media/2019/05/rack-fx-280x153.jpg 280w" style="-webkit-tap-highlight-color: transparent; border: none; float: left; margin: 15.62px 20px 15.62px 0px; max-width: 630px;" width="230" /></span></span>In the early days of digital, this may have been true, but definitely not today. Sure, there are hardware compressors, equalizers, and effects processors with a certain mojo that sound amazing. But there are also digital software processors that sound incredible and offer a level of precision and recall that you’ll never get with external hardware. There’s a reason that nearly every pro studio has a ton of high-quality plug-ins even if they already have and use great outboard gear. You may like the sound of a piece of hardware, but you may like, or even prefer, the sound of a digital processor. The days of digital being second best are far behind us.</div>
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<span style="font-size: large;">Myth 6 – There’s a “correct” way to record</span></h2>
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<span style="color: #444444;"><span style="border-color: initial; border-image: initial; border-width: initial; margin-bottom: 15.62px; margin-top: 15.62px;"><img alt="" class="alignleft wp-image-80857" height="156" sizes="(max-width: 230px) 100vw, 230px" src="https://www.sweetwater.com/insync/media/2019/05/mix-hand-300x204.jpg" srcset="https://www.sweetwater.com/insync/media/2019/05/mix-hand.jpg 300w, https://www.sweetwater.com/insync/media/2019/05/mix-hand-280x190.jpg 280w" style="-webkit-tap-highlight-color: transparent; border: none; float: left; margin: 15.62px 20px 15.62px 0px; max-width: 630px;" width="230" /></span></span>It might seem counter-intuitive after all these “wrong” myths to proclaim that there’s no “right” way. But it’s true! One way of doing things may not get you the results you’re after, but then there are multiple ways that will. The name of the game is experimentation! Never stop experimenting and searching to find techniques that work for you, your music, your musicians, your studio. If you wonder if something will work, even if it seems patently false, give it a go! At worst you’ll need to redo it. At best you may add another unique tool to your toolbox. And that’s what recording is all about!<br />
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These are truths that all of us can learn from. I hope this helps musicians and engineers alike get better at their craft!<br />
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Peace - and HEY! make it a great day!<br />
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T</div>
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DoubleSharp Musichttp://www.blogger.com/profile/11656025684637087477noreply@blogger.com0tag:blogger.com,1999:blog-3038734606272693127.post-2262981852321013882018-02-16T13:34:00.003-08:002018-09-14T07:17:14.274-07:00Compressors 101 - the Basics (part 1)Compressors seem to confuse a lot of people in the beginning, they certainly did me! Here is some helpful information concerning using a compressor in your mixing to help get you started. I will have other blogs on compression, so keep a look out!<br />
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1. <b>Decide what you want to achieve. </b>There are really only 4 reasons for using a compressor - control a dynamic signal, add punch or impact, change the sound, create an unusual effect. Make a decision on what your goal is, which one of the four you would like to achieve. Keep listening with your final goal always in mind. Here is a neutral starting point: 2:1 ratio; 75 ms attack; 100 ms release.<br />
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2. <b>Overdo to begin with.</b> Pull down the threshold until it starts working. It can be helpful to start with exaggeration. If you're having to turn the threshold way down - boost input level instead. Exaggerating can help get settings right.<br />
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3. <b>Listen.</b> Fine tune settings keeping end goal in mind. Once you get close, adjust the threshold.<br />
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4. <b>Listen again and balance different settings against one another. </b>Higher ratios usually need higher thresholds. Lower ratios usually need lower thresholds.<br />
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5. <b>Experiment.</b> Don't be afraid to change a setting. Just keep listening! Radical amounts are common: 15-20 dB for electric guitars, room mics, drums and even vocals.<br />
<br />
For a <b>smoother sound - </b>Use faster attack and higher ratio (But don't lose energy & excitement)<br />
To <b>reduce 'bounce' - </b>Use shorter release time & ease off threshold, or use a lower ratio. <b>Bounce </b>is when you hear the level ducking as the compressor kicks in and then springs back up when it releases.<br />
To <b>add punch - </b>Use a higher ratio, slightly longer attack and shorter release times, but watch out for <b>pumping. Pumping </b>is where the end of the note is louder than the start. Also when adding punch, be careful not to introduce any distortion.<br />
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If you add stereo buss compression - be gentle - 1.5:1 and only 2 - 3 dB of gain reduction.<br />
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Don't be afraid of using compressors. Experiment with them until you understand them. Try this experiment: print a bass track with heavy compression. Compare the original audio track with the compressed audio track. This will help you understand just exactly what the compressor is doing. You will see a visual representation of what your ears are telling you.<br />
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Compressors are a vital part of making music. We use them while tracking, mixing, and many times both tracking and mixing.<br />
<br />
I hope this helps! Peace - and as always - make it a GREAT day!<br />
<br />
TDoubleSharp Musichttp://www.blogger.com/profile/11656025684637087477noreply@blogger.com0tag:blogger.com,1999:blog-3038734606272693127.post-6516207496855341452017-07-19T12:54:00.001-07:002018-09-14T07:15:06.608-07:0010 Tips for a great vocal recording Here are ten quick tips to think about the next time you record vocals:<br />
<br />
1) <b>Warm Up</b>:<br />
Every vocalist needs to warm up. You wouldn't run a marathon without stretching first, would you? Vocalists should warm up for at least 15 mins. before laying down a great performance.<br />
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2) <b>Don't record vocals in the morning</b>:<br />
No vocalist is at their best if they've just rolled out of bed. If possible, try to schedule the vocalist in the mid-afternoon or evening. Use mornings for setting up and testing ideas. Always try to give the vocalist plenty of notice in advance before the recording session.<br />
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3) <b>Comfort</b>:<br />
Make it your job to ensure that the vocalist has space to move, the room is at the right temperature, and there's nice ambient lighting to help set the mood.<br />
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4) <b>Monitoring:</b><br />
Spend time getting the balance in the headphones that the vocalist wants. Add reverb to their vocal sound if they want it, and be prepared to adjust levels as the session progresses. Watch out for the vocalist drifting out of tune, this is often because they can't hear themselves but are too polite to mention that!<br />
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5) <b>Be extra kind and sensitive:</b><br />
Vocalists are a very sensitive breed! A lot of pressure rides on them to really deliver - on stage and in the vocal booth. One of the greater skills we can possess is the art of encouragement and support. Being able to coax amazing performances using expert direction is a real plus. Patience and confidence building are also important. The ability to keep the vocalist focused is essential. Always use tact!<br />
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6) <b>Phrasing:</b><br />
Spend time getting the vocal phrasing right. Subtle changes can transform an OK take into something exciting. Make sure the vocalist articulates the end of words as much as the beginning: this is vital for a sense of passion and engagement. Even if some rewriting has to take place, it's better than compromising with an awkward line.<br />
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7) <b>Vocal ticks:</b><br />
It's tempting to edit out breaths and other bits and pieces from the take. These details are an essential component of any vocal performance and can make your track sound more alive, no matter what your style!<br />
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8) <b>Choice of microphone:</b><br />
Condenser microphones are generally a better choice for vocals than dynamics. A Neumann U87 or TLM 103 are good choices if you have the budget. Experienced vocalists will have their own preferences. Accommodate them if you can.<br />
<br />
9) <b>Compression:</b><br />
Some engineers swear by compressing a vocal on the way into the DAW. This can work, but you can't remove compression once it has been recorded. Be sure you have tried this out with good results or you may end up ruining an otherwise perfect take. Another strategy is to set up the vocal mic with lots of headroom and just make sure to avoid any clipping if the vocalist suddenly starts getting loud. You can always add compression during mixing.<br />
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10) <b>The room:</b><br />
I saved the most important one for last! Don't forget that your recording will only sound as good as your room. If you have any nasty resonance build up, reflective surfaces, closets without acoustical treatment, etc., then steps 1 - 9 are kind of pointless. Obviously, this would need to be taken into consideration long before any vocal tracking were to take place. You can always use something like a Reflexion Filter (by sE Electronics) or something similar to improve your space.<br />
<br />
I hope this helps and HEY!, make it a great day!<br />
<br />
TDoubleSharp Musichttp://www.blogger.com/profile/11656025684637087477noreply@blogger.com0tag:blogger.com,1999:blog-3038734606272693127.post-18235787483494832692017-06-17T12:58:00.001-07:002018-09-14T07:13:09.251-07:00Calculating File Sizes (How much hard drive space does it take to record a song?)So . . . you want to record a song and you're running out of space on the computer's hard drive? Wondering if you have enough room? Here's how to figure out if you do have enough space:<br />
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The sample rate and bit depth of the audio you record are directly related to the size of the resulting files. In fact, you can calculate file sizes using these two parameters:<br />
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-- Sample Rate x Bit Depth = Bits per second<br />
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Or, stated another way:<br />
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-- Sample Rate x Bit Depth x 60 = Bits per minute<br />
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In the binary world of computers, 8 bits make a byte; 1, 024 bytes make a kilobyte (KB); and 1,024 KB make a megabyte (MB). Therefore, this equation can be restated as follows:<br />
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-- (Sample Rate x Bit Depth x 60) / (8 bits per byte x 1,024 bytes per kilobyte x 1, 024 kilobytes per --- megabyte) = Megabytes (MB) per Minute<br />
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Reducing terms gives us the following:<br />
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-- Sample Rate x Bit Depth / 139, 810 = MB per Minute<br />
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A lot of folks are recording these days at 44.1/ 24. That's a sample rate of 44,100 with a bit depth of 24 bits. Here is the calculation:<br />
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-- 44,100 x 24 / 139,810 = 7.57 MB per minute.<br />
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Here is a basic chart of different sample rates and bit depths:<br />
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44.1/16 bit = 5.04 MB/minute<br />
44.1/24 bit = 7.57 MB/minute<br />
48/ 16 bit = 5.49 MB/minute<br />
48/ 24 bit = 8.24 MB/minute<br />
88.2/16 bit = 10.09 MB/minute<br />
88.2/24 bit = 15.14 MB/minute<br />
96/ 16 bit = 10.99 MB/minute<br />
96/ 24 bit = 16.48 MB/minute<br />
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If you figure a normal song of 3 1/2 minutes recorded at 44.1 sample rate and 24 bit, you can plan on it taking roughly 26.50 MB of disk space. I am starting to run a lot of my sessions now at 96/24 bit. So a 3 1/2 minute song is costing me 57.68 MB of hard drive space per song.<br />
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Considering that terabyte hard drives are now running close to $50 these days, all this math stuff is not nearly as important as it was just a few years ago. But I know a lot of guys who still aren't purchasing a whole lot of TB hard drives! It's still useful information if it's needed in a crunch!<br />
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Hope this helps!<br />
<br />
HEY!! Make it a great day!!<br />
<br />
T<br />
<br />
<br />
<br />
<br />
<br />DoubleSharp Musichttp://www.blogger.com/profile/11656025684637087477noreply@blogger.com0tag:blogger.com,1999:blog-3038734606272693127.post-53685000249991517512017-06-06T08:05:00.004-07:002018-09-14T07:09:20.496-07:00Organize Pt. 3 (patchbays)<b><u>Patchbays</u></b><br />
<b><u><br /></u></b>
Having a patchbay helps to optimize your signal routing and organization. Even the most modest of studio setups can benefit from the simple addition of a patchbay. Almost any configuration of cable connection - xlr, 1/4" TRS jack, Cat5, etc. can be connected to a patchbay. And you can make your connections without ever having to leave your seat!<br />
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If all your equipment I/O is connected to the patchbay and it is labeled well, it will save you time by not having to go around the back of your gear to connect things. It will save wear and tear on the connections of equipment. It also centralizes the grounding of gear and reduces potential ground loop noise problems.<br />
<br />
I use two main types of patchbays in my studio: xlr and 1/4". The [Hosa] xlr patchbay is configurable. That is, the two types of xlr - male and female - can be configured to fit one's needs. You can have the front panel all xlr male, all xlr female, or a mixture. Conversely, you can set the back of the patchbay as well.<br />
<br />
The [Neutrik] 1/4" patchbay has a two-row topology and is typically set up with an out-over-in signal flow, or a downward signal flow direction. For instance, outputs on the top row and corresponding inputs below. Or, sends on top and returns on bottom. TRS patch panels have configurable setups called "normalled" and "half-normalled". <span style="background-color: white;"><span style="font-family: "times" , "times new roman" , serif;">In patchbays, a normal is an internal connection from the top row of jacks, to the bottom row. Normalling allows connections that are normally in effect to exist without the need for inserting a patch cable in the front of the bay. For example, the stereo outs of a mixer are generally connected to the inputs on a stereo mixdown deck. By connecting the mixer’s outputs to the top back row of a normalled patchbay’s jacks, and the mixdown deck to the bottom back row, a connection is made internally in the bay, and does not require extra patch cables. </span></span><br />
<span style="background-color: white; font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="background-color: white; font-family: "times" , "times new roman" , serif;">When a jack is inserted into the lower plug, however, the normal connection is broken. This provides a convenient way to route signals to multiple destinations. For example, the output of a mixer that is normalled to the input of a DAT on the patch bay can also be simultaneously routed to another patch point. To do this one would simply run a patch cable from the patch point that is the output of the mixer (an upper jack) to the patch point that is the input to the other device (a lower jack). This connection will break the normal of what would normally be feeding that other device in favor of the mixer signal that has been patched in. Signal will now be routed to the DAT and the other device. Another application might be to insert an EQ after a preamp but before the converters. Simply route the output of the EQ (an upper jack) to the normal input jack (a lower jack) for that mic preamp.</span><br />
<span style="background-color: white; font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="background-color: white; font-family: "times" , "times new roman" , serif;">As a final note - label, label, label!! In a previous post I mentioned owning a digital label maker. This is when it comes in handy! Also, write all the routing options down on paper <u>first</u> to help figure out organization.</span><br />
<span style="background-color: white; font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="background-color: white; font-family: "times" , "times new roman" , serif;">Having a patchbay will simplify your studio life and make routing an easy task!</span><br />
<span style="background-color: white; font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="background-color: white; font-family: "times" , "times new roman" , serif;">Peace - and HEY! make it a great day!!</span><br />
<span style="background-color: white; font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="background-color: white; font-family: "times" , "times new roman" , serif;">T</span>DoubleSharp Musichttp://www.blogger.com/profile/11656025684637087477noreply@blogger.com0tag:blogger.com,1999:blog-3038734606272693127.post-9954808927927233782017-03-02T05:55:00.002-08:002018-09-14T07:08:12.990-07:00Organize Pt. 2<br />
<b><u>Group Cabling</u></b><br />
Keep cables grouped together by type (audio, MIDI, mains, etc.). This makes it easier to find faulty cables, patch equipment quicker and easier, and help reduce cable-borne noise problems. Putting a little distance between different types will reduce the potential for EMI (electromagnetic interference) problems, because mains cables can induce a 50Hz hum on audio cables. Always try to keep power cords of any kind separate from audio cables. If they do have to cross, try to do it at a 90° angle to minimize hum induction.<br />
<br />
<b><u>Use Cable Wraps</u></b><br />
Using cable ties of some sort are definitely in order! Use Velcro or easy-release plastic ties. DO NOT use the infamous rock-n-roll duct tape! It will leave sticky residue once removed!<br />
<br />
<b><u>Label</u></b><br />
Label Everything! I used to use the little string tags (and if I was to be honest, there are still some being used). But I did finally invest in a digital label maker. Good Investment! I now have 2 different tape sizes and label everything - patch bays, monitor control, hard drives, cables, wires, boxes, etc. You get the point!<br />
<br />
<b><u>'Faulty' Box</u></b><br />
Get a large plastic box and label it "Faulty", "Not Working", "Needs Repair", "Bad" or something like this. You will end up with equipment that needs repair, faulty wires or cables, stomp boxes not working correctly, or just components that you can use later for recycling of parts. Almost everything in our studio can be repaired or used for parts. This helps keep unusable equipment from getting mixed up with the good. How many times have you reached for that cable that doesn't work or needs a wiggle when you use it! Throw it in the faulty box! When you have some time, get into the box and pick a project! Or better yet, sell the lot on eBay under 'needing repair' and get them out of your hair.<br />
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I now have initiated all of this in my own studio. I am much better organized, I have better workflow, waste less time and can focus more on my tracking or mixing. I hope this helps you too!<br />
<br />
As always-<br />
Make it a great day!<br />
<br />
TimDoubleSharp Musichttp://www.blogger.com/profile/11656025684637087477noreply@blogger.com0tag:blogger.com,1999:blog-3038734606272693127.post-84717568725075143122016-08-24T20:05:00.001-07:002018-09-14T06:58:05.445-07:00Timebase in Pro ToolsIn pro tools, material (audio or midi) on a track is associated with a type of <i><b>Time</b> <b>Scale</b>. </i>All track types can be set to either <b><u>sample-based</u> </b>(for the Sample Time Scale) or <u><b>tick-based</b></u> (for the Bars/Beats Time Scale). Different tracks can be set to different timebases as needed.<br />
<div>
<br /></div>
<div>
Audio tracks are sample-based by default. This means that audio clips have absolute locations on the timeline and are tied to specific sample locations. If you change the tempo or meter the audio <u>will</u> <u>not</u> move. This is helpful, for instance, if you import an audio clip and want to build other audio or midi tracks around it and end up changing tempos or meters a few times. You don't want to affect the original clip. </div>
<div>
<br /></div>
<div>
However, MIDI and instrument tracks are <b><u>tick-based</u></b> by default. This means that midi clips are <u>fixed</u> to bar and beat positions and <b>move </b>relative to the sample timeline when tempo and meter changes. So if you change the tempo, the midi will either speed up or slow down accordingly. </div>
<div>
<br /></div>
<div>
A good tip to keep in mind is Elastic Audio-enabled tracks can be switched to tick-based in order to automatically follow tempo changes in your session and conform to the session's tempo map. </div>
<div>
<br /></div>
<div>
And lastly, you select whether a track is sample-based or tick-based when you create it, but you can change timebases later as needed. </div>
<div>
<br /></div>
<div>
Hope this helps!</div>
<div>
<br /></div>
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Peace - and HEY make it a great day!</div>
<div>
<br /></div>
<div>
Tim</div>
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DoubleSharp Musichttp://www.blogger.com/profile/11656025684637087477noreply@blogger.com0tag:blogger.com,1999:blog-3038734606272693127.post-89166354491034788392016-06-27T16:14:00.000-07:002018-09-14T06:56:16.213-07:00Powering Up Your System in the Proper OrderDid you know that it is important to power up your system and equipment in a certain order? In the early days, for me, I didn't know that!<br />
<br />
Because systems are typically composed of both hardware and software, preparing your system for use might involve more than simply turning your computer on and launching your DAW of choice. The larger the system, the more important it becomes to follow a specific startup sequence. Starting components out of sequence could cause a component to not be recognized, prevent the software from launching, or cause unexpected behavior.<br />
<br />
The recommended sequence is as follows:<br />
<br />
1. Make sure all your equipment, including the computer, is off.<br />
2. Turn on any external hard drives that use external power (wait about 10 seconds for them to spin up to speed).<br />
3. Turn on any MIDI interfaces and MIDI devices (including any MIDI control surfaces) and synchronization peripherals.<br />
4. Turn on your audio interface. Wait at least 15 seconds for the audio interface to initialize.<br />
5. Start your computer.<br />
6. Turn on your audio monitoring system, if applicable.<br />
<br />
If your audio interface gets it's power from the computer, it doesn't need to be powered up in advance.<br />
<br />
That's it! When you get in the habit of always starting your recording or mixing sessions this way, it will ensure that everything works properly as it should!<br />
<br />
Till next time - Peace!<br />
And, HEY, make it a great day!<br />
<br />
TDoubleSharp Musichttp://www.blogger.com/profile/11656025684637087477noreply@blogger.com0tag:blogger.com,1999:blog-3038734606272693127.post-30873303309282631552016-05-20T19:11:00.001-07:002016-05-20T19:19:42.700-07:00Finally stepping up into Pro Tools HD!So I've finally moved into Pro Tools HD! I've wanted to do this ever since I first got into pro tools. I was able to get a good deal on pro tools 12 HD, 192 I/O, and an HD Native interface. I'm moving up from pro tools 8 LE and a 002 rack. I'm still working out the bugs on setting everything up. <div><br></div><div>Oh and did I mention I got the new Mac Pro!! Saweet! I'm loving it!!</div><div><br></div><div>As I work through all the issues I'll be reporting them here. I've already worked through some midi issues so that will come up first. </div><div><br></div><div>Stay tuned!</div><br><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGvqmeWS7dgqcjd1HlgKO64xUAFMtYRL3s7Kxjs_-lgJeJxAgGAuknyG5gMw5KuZ6stKyvSGmNkvTuelg4vxpxWPPLHvd3tW0KSTVoqqEtgSf3nPTcBTIgfiCVI_qvrIF0l6CTxYlyJsAZ/s640/blogger-image-839707966.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGvqmeWS7dgqcjd1HlgKO64xUAFMtYRL3s7Kxjs_-lgJeJxAgGAuknyG5gMw5KuZ6stKyvSGmNkvTuelg4vxpxWPPLHvd3tW0KSTVoqqEtgSf3nPTcBTIgfiCVI_qvrIF0l6CTxYlyJsAZ/s640/blogger-image-839707966.jpg"></a></div><br><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm1ZuM0iCoSPRfcpzabY5LjVXnTjPSp3_uVBBfbL03v91FFdOTdt5SBxfkOD7ntHgU12K0Cunr7PH8gbzYwrHrx3ZoA65OlDMsTdGjDwbRfMJGLUe5aH6-RwxN31DWQHTClooYHdoRj_uf/s640/blogger-image-267825722.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm1ZuM0iCoSPRfcpzabY5LjVXnTjPSp3_uVBBfbL03v91FFdOTdt5SBxfkOD7ntHgU12K0Cunr7PH8gbzYwrHrx3ZoA65OlDMsTdGjDwbRfMJGLUe5aH6-RwxN31DWQHTClooYHdoRj_uf/s640/blogger-image-267825722.jpg"></a></div><br><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht_Ch4Xa9T2tOofXeWKLOHXGwK-P2CVRtPtcL9vAcWVJ6z2cIuIKtcTC2-17LQtZqDiRZ4K0RMmi2qqauKyrokHJJutzoKBVvMTqdhpr3lVbAh-BasWUenmwB1X3oiLdzlRk1Y0FW1O7jC/s640/blogger-image--644686596.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht_Ch4Xa9T2tOofXeWKLOHXGwK-P2CVRtPtcL9vAcWVJ6z2cIuIKtcTC2-17LQtZqDiRZ4K0RMmi2qqauKyrokHJJutzoKBVvMTqdhpr3lVbAh-BasWUenmwB1X3oiLdzlRk1Y0FW1O7jC/s640/blogger-image--644686596.jpg"></a></div>DoubleSharp Musichttp://www.blogger.com/profile/11656025684637087477noreply@blogger.com0tag:blogger.com,1999:blog-3038734606272693127.post-85541009306639625002015-11-16T19:25:00.000-08:002018-09-14T06:54:12.795-07:00Recording from sound module without effectsIf you're involved with a lot of production work and do a lot of MIDI work like I do, you record a lot of projects using your sound modules. All sound (tone) modules automatically put effects on the sounds by default (so they sound better). Even free plug-in modules that come with recording software like Pro Tools do this. So if you use Xpand, Sampletank, etc. or you use outboard gear like Roland or Motif - you'll want to know this!<br />
<br />
When I use my Motif-Rack, I always go to the Effects Insertion Bypass screen and turn off the reverb and chorus. I am a piano player by trade and thusly do a lot of production work which involves piano tracks. I end up recording MIDI piano tracks dry, no reverb, no chorus. And if I use anything else - percussion, strings, etc. I also record those dry - no effects.<br />
<br />
Why? Because for one, I don't want chorus on a lot of my tracks (which Motif-Rack puts on all sounds by default!). I only use chorus as an effect once in a while (for the keys work I do). And two, the reverbs I have available as plug-ins in my DAW are better (i.e. Waves reverbs) than what Roland or Motif is going to give me.<br />
<br />
On Pro Tools' free instrument software plug-ins such as Xpand and Mini Grand, they always come with reverb (hall) or chorus or some kind of effect. Xpand down at the bottom has 2 effects - fx1, fx2. (If the green light is on - they are engaged) deselect those, and use the ones that come with your software. Sampletank has a place toward the bottom to engage effects but by default does not have them on when you create an instantiation and open the software.<br />
<br />
Try to record dry and then use other software plug-ins or hardware outboard gear for your reverb, chorus, plate, etc. Your music will sound better for it!<br />
<br />
Peace -<br />
<br />
And, HEY, make it a great day!!<br />
<br />
Tim<br />
<br />DoubleSharp Musichttp://www.blogger.com/profile/11656025684637087477noreply@blogger.com0tag:blogger.com,1999:blog-3038734606272693127.post-90715325810350259022015-10-12T19:21:00.000-07:002018-09-14T06:52:56.098-07:00Unmount hard drives from within Pro ToolsHave you ever tried to eject a hard drive from your system that you used in a pro tools session while pro tools was still up and running? It didn't work, did it?<br />
<br />
Here's the scenario:<br />
You're working in a pro tools session and the client gives you a hard drive to grab wav files off of. So you take care of that, go to the desktop, and try to eject the hard drive (command E) since you're done with it. You get some dialog box that says the hard drive is in use and can't be ejected.<br />
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Now, in the old days, I always closed the pro tools session I was working on, closed the application, and then went and ejected the drive. Well there's a much better way!!<br />
<br />
From within pro tools, go to the '<b>Window</b>' menu command on the menu bar at the top of the screen. Under Window, go to '<b>Workspace</b>'. On the left side it will show all hard drives on the computer. Select the one you want to eject (the client's hard drive). Then, at the top right of that same window there is a drop down arrow (in a circle), select that. Three quarters of the way down the menu list it says '<b>Unmount</b>'. Select it and it will unmount (eject) the hard drive!<br />
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Awesome, right!? Knowing this little tidbit helps save time and makes you look more professional in front of the client! All in a day's work!<br />
<br />
Peace!<br />
<br />
And, HEY, make it a great day!<br />
<br />
TimDoubleSharp Musichttp://www.blogger.com/profile/11656025684637087477noreply@blogger.com0tag:blogger.com,1999:blog-3038734606272693127.post-30402414996746180702015-09-21T16:54:00.001-07:002018-09-14T06:52:13.124-07:00Demystifying Pro Tools Preference Settings part 3/3OK today let's first go over the <b>Editing</b> tab. There's really only one item I want to make sure you know about. At the bottom of the page is 'Levels of Undo'. This preference sets the maximum number of actions that can be undone. The maximum is 32 levels of undo! That's a lot! You can "back up" 32 times. Sometimes I use this to my advantage - I may try something knowing that I can go back and undo whatever it is I'm trying. For instance, in editing I might try to edit two different sections together a certain way not knowing if it's going to work or not. And then if it doesn't work I can just back up until I see my two sections as they were in the beginning before I did any editing at all.<br />
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<u>NOTE</u>: The one thing to keep in mind is that setting this to a lower number can speed up the performance of slower computers.<br />
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The next tab in the preferences setup is <b>Mixing</b>. Under the <u>Setup</u> section I like to use the Default EQ and Default Dynamics windows. Here I set the EQ and Dynamics processors that I use most often. After setting them, they will show up when you're in the mix window and you click on an insert. The plugin appears at the top of the insert selector pop-up menu.<br />
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Next under <u>Automation</u> be sure 'Smooth and Thin Data After Pass' is selected. Pro Tools will automatically smooth and thin the automation data created in an automation pass if this is set. Be sure to set the 'Degree of Thinning' also. I have mine set to "more". I would leave this higher - either 'more' or 'most'.<br />
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And finally, notice 'After Write Pass, Switch To'. This determines what happens after you write the first pass of automation. <u>Touch</u> mode writes automation only while a fader or switch is touched or clicked with a mouse. When the fader is released, the writing of automation stops and the fader returns to any previously automated position. <u>Latch</u> mode works in the same way but continues to write automation until you stop playback.<br />
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So that's it for the Preference settings in the Setup menu! I hoped this helps. I hope this lessens any intimidation you might have felt while looking through this particular menu item!<br />
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Until next time -<br />
<br />
And HEY! make it a great day!<br />
<br />
TimDoubleSharp Musichttp://www.blogger.com/profile/11656025684637087477noreply@blogger.com0tag:blogger.com,1999:blog-3038734606272693127.post-78583147753882669122015-09-03T08:51:00.000-07:002018-09-14T06:50:32.638-07:00Demystifying Pro Tools Preference Settings part 2/3In the last blog post I covered the first tab under pro tools preferences - <u>Display</u>. Today I will cover <u>Operation</u> Preferences. First section is Transport: The very first selection '<b>Timeline Insertion/Play Start Marker Follows Playback</b>' is important and I use it all the time. When selected, the Timeline Insertion
and the Play Start Marker both move to the
point in the timeline where playback stops.
When deselected, the Timeline Insertion and
Play Start Marker do not follow playback, but return
to the point in time where playback began. Many times I leave this deselected because I want to play a section of my song and I want playback to start from the same place every time. This way I can listen to the same section over and over for whatever reason. If you select it, then when you are in playback mode, wherever you stop and then restart, playback continues from wherever you stopped.<br />
**This can also be selected/deselected from the Edit window - underneath the Edit Tools - the farthest right icon (looks like a rt. arrow with vertical line and play button).<br />
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The <b>Numeric Keypad mode </b>determines how the numeric keypad functions. The main thing I set this for is memory locations. Whether you have it set for <u>Classic</u> or <u>Transport</u> will determine how you recall different memory locations using the numeric keypad. This will be a personal preference for you. I use Transport setting, just because that is how I prefer to move to my memory locations when using the numeric keypad.<br />
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The really BIG ONE is <b>Auto Backup.</b> You <u style="font-weight: bold;">DEFINITELY</u> want to have this <b>selected</b>! This determines if pro tools <b><u>automatically</u></b> backs up your sessions! If hard drive space is limited you may only want to keep the last 3 backups and backup every hour. I think I normally keep the last 5 or 10 sessions and backup every 20 minutes. Ask yourself how much work and time you are ready to lose and have to re-do? Sometimes when I am working on an intense session or one with heavy work changes or with a client where a lot is happening, I will keep more back ups and back up at more frequent intervals. Other times it's not that critical so I decrease the number of backups and frequency. But every backup takes up hard drive space, so keep that in mind! As terabyte hard drives continue to come down in price, this becomes less of an issue!<br />
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On the right side is the <b>Record</b> preferences. The default settings here should be adequate for most people most of the time. I believe the default settings are <b>Latch Record Enable Buttons</b> (selected) and <b>Link Record and Play Faders</b> (selected). Also make sure <b>Open-Ended Record Allocation </b>is set to 'Use All Available Space'.<br />
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That's it for the Operation preference! We'll cover some others preference settings next time, so until then . . . .<br />
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HEY! Make it a Great Day!!<br />
<br />
TimDoubleSharp Musichttp://www.blogger.com/profile/11656025684637087477noreply@blogger.com0tag:blogger.com,1999:blog-3038734606272693127.post-66318008866635630792015-08-20T20:05:00.003-07:002018-09-14T06:48:32.641-07:00Demystifying Pro Tools Preferences part 1/3I remember how terrified I felt going to the Preferences (under Setup) tab! I looked at all that and said "Maaann! I am NOT touching anything here! I didn't understand it and I CERTAINLY wasn't going to <b><u>change</u></b> anything!! Wow! I think the first 3 or 4 years were like that - maybe even longer! It seemed too confusing to me and I just didn't bother to change anything, much less even get in there! But now, I am in there <b>all</b> the time, changing settings the way I need to, when I need to, to help accommodate my workflow.<br />
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Let me see if I can make it less intimidating for those just starting out. There are definitely a few things in there that are worth looking at. So - Go to Setup > Preferences . . . Today we'll deal with just the first tab - Display. First off, if you aren't very familiar with the different functions in either the edit or mix window, you can set pro tools to tell you what the different functions are. Under <u>Basics</u> - select Tool Tips: Function & Details. That way when you hold the cursor over an icon, tool or abbreviated name, pro tools will tell you what it is or what it does. This is a great way to learn your way around!<br />
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Another neat function under <u>Basics</u> is 'Organize Plug-In Menus By:' menu drop down. When you are choosing an insert plug-in, the way the list shows up can be selected here. You can choose a Flat List, Category, Manufacture, or Category and Manufacture. Typically I just use Category, but you may choose to do it by manufacture for instance. Kind of helpful!<br />
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Below the Basics area is the <u>Meters</u> area. I sometimes need to change how long the setting for the Peak Hold or Clip Indicator is seen - either 3 seconds, Infinite or none. And I have used all 3 settings at one point or another.<br />
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The only other area under the Display tab is the Color Coding which I talked about on 5/18/15. Next time we'll talk about the Operation tab.<br />
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And HEY! Make it a great day!<br />
<br />
Tim<br />
<br />DoubleSharp Musichttp://www.blogger.com/profile/11656025684637087477noreply@blogger.com0tag:blogger.com,1999:blog-3038734606272693127.post-62302656618601601732015-05-18T18:06:00.000-07:002018-09-14T06:47:56.485-07:00Stay organized by colorizing the tracks in Pro ToolsTo help stay organized in Pro Tools, I colorize my tracks, MIDI channels, and sometimes regions. My master fader is always one color, the aux tracks are always a certain color, all the drum tracks are the same color, vocal tracks are all one color, etc. Separate colors can be assigned to audio and MIDI regions, tracks, markers, and groups. <u>Default</u> colors are automatically assigned to tracks, but I always override the default and set my own color scheme.<br />
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[This is done on pro tools 8] First you have to go to preferences and change the color coding options.<br />
To change color coding options choose Setup > Preferences. Click the Display tab. Under Default Track Color Coding I usually select Track Type. But I have also at times selected Tracks and MIDI Channels or Groups, depending on what I was working on and which was easier for my workflow. If you want to change the colors of Regions, you will also do it here. Under Default Region Color Coding choose one of the options listed, such as Track Color, Tracks and MIDI Channels, or Groups for instance.<br />
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At the top of this area there are two other Color Coding options which I always leave selected. The first one, Always Display Marker Colors divides the Markers ruler at the top of the edit screen into different colors per section. In other words, if you have gone through the trouble to label the sections of your song Intro, V1, Chorus1, V2, Chorus2, Bridge, etc., each of those sections has it's own color on the ruler bar. Very cool and it makes it really easy to see your different sections of the song at a quick glance.<br />
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The other option which I always have selected is MIDI Note Color Shows Velocity. So for those of us who use MIDI (and I use a lot), when you pull up the velocity window underneath a MIDI track, it shows you different colors which tell you how hard (velocity) the notes were struck (played). I can tell at a quick glance if notes are too soft or too hard just by looking at them.<br />
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**NOW - to change the color of the tracks - go to the mix window, at the very top or the very bottom of each track is a solid horizontal colored bar. Double click this bar and a palette window opens up. This is where you choose which color you want. Check out the drop down menu to select Tracks, Regions in Tracks, Regions in Region List (Very cool!), Groups, and Markers. Play with the Saturation and Brightness sliders and watch what they do! **See pics below<br />
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Explaining all this sounds complicated, but it is really a very simple process. And in the end this will improve your workflow, and THAT my friends is what it's all about!!<br />
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Work smarter - Work better!<br />
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And as always - Make it a great day!!<br />
<br />
**The top pic is showing track colors. The 2nd pic is showing region colors matching track colors.<br />
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<br />DoubleSharp Musichttp://www.blogger.com/profile/11656025684637087477noreply@blogger.com0tag:blogger.com,1999:blog-3038734606272693127.post-83457929180479385312015-03-25T19:49:00.003-07:002018-09-14T06:46:45.054-07:00Organizing sessions in your DAWI don't like wasting time while working on a mix. Being organized in a session is critical. A lot of time can be wasted looking for tracks again and again and again! (Like I used to do in the early days!)<br />
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Because I use templates (see the post dated Feb. 23, 2015 'Creating and using templates in Pro Tools 8'), a lot of my tracks are already organized how I like them, before I ever start. Sweet!<br />
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It is important to set up all your sessions the same way. That way you always know where certain tracks are going to be and can get to them quicker. A lot of time can be wasted looking for the aux track that has the reverb for instance. Or trying to find the bass track. Or . . . you get the idea.<br />
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I always organize the mix window from left to right (top to bottom in the edit window). I always start with the <b>click track</b>. Next are the <b>drums</b> (kick, snare top/bottom, hh, toms, overheads, room), <b>Bass </b>gtr, <b>keys</b>, <b>guitars (elec. then acoustic)</b>, <b>lead vox</b>, <b>background vocals</b>. I follow this with a group of Aux tracks (for reverbs and delays). And then last is the final master fader.<br />
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The click is always far left - the master fader is always far right. I always know they are there. Or in the edit window the click is always at the very top and the master fader is always at the very bottom.<br />
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What if you have a percussion part or a tambourine or something else? I worked out an order (for me) that puts these extra parts in their respective group. Basically I go low to high (in sound or timbre) or main instruments part and then auxiliary instruments.<br />
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In a later blog I will talk about sub mix groups.<br />
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And HEY! Make it a great day!<br />
<br />
TimDoubleSharp Musichttp://www.blogger.com/profile/11656025684637087477noreply@blogger.com0Atlanta, GA, USA33.7489954 -84.387982433.3266004 -85.0334294 34.1713904 -83.7425354tag:blogger.com,1999:blog-3038734606272693127.post-83774871995541006452015-02-23T20:39:00.001-08:002018-09-14T06:45:18.939-07:00Creating and using Templates in Pro Tools 8Even though Pro Tools offers QuickStart session templates, you may choose to do what I do, which is create your very own unique template to start a session. I have created quite a few "job-specific" templates like: song-writing, audio+midi, rock band, jazz band, basic midi, etc. Each of these templates have features that are unique for each of these session setups.<br />
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There are two different ways to create a template:<br />
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1) Start a new session, set it up how you would like, save and close. On a mac system, after creating the session and closing it, go to that session file using the Finder window. Select the file, and type 'Command+i'. That's the command we use for 'information' on the folder or file. On the dialogue box that comes up select the box for 'Stationary Pad'. Then command+w to close the window. It is now a template. Next time you select it a dialogue box comes up asking if you want to edit the template or use it as a new session.<br />
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But, there is now an easier way (which was not in place prior to pro tools 8 I think).<br />
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2) Start a new session, set it up as you would like. BEFORE closing, select File>Save As Template. It will give you a choice to either save it in a QuickStart category or in another folder of your choosing. I have a specific folder labeled 'Templates'. This is a fairly quick way to take care of things. If you need to make changes to the template, simply open up the session, make the changes, and follow the same setup for saving it as a Template. Use the same name and it will overwrite the old version.<br />
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When I start a new session I always go to my Templates folder, find the one that is closest to what I will need, open it, and save it under a new name under a new folder for my new session. It saves a lot of time, I have a session that has 95% of what I need, and I can start recording sooner!<br />
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Hey! Make it a great day!<br />
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TimDoubleSharp Musichttp://www.blogger.com/profile/11656025684637087477noreply@blogger.com0tag:blogger.com,1999:blog-3038734606272693127.post-85680345624816246892015-01-23T16:23:00.000-08:002017-09-29T06:05:57.623-07:00WelcomeHi guys! (And when I say that I mean guys and girls!)<br>
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As I think about topics to talk about, I think back on my own path which began just over 10 years ago (at least for the recording studio). I was always in bands and was on the "other side" of the glass (the "talent"). Now I'm on "this side" (the engineer). And honestly, when I started my recording studio, I didn't have a clue!! Everything I have learned, I have learned on my own through reading, tutorials, books, talking with friends in the business, trial and error, and lots and lots of hard work!<br>
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I work on a mac G5 running Pro Tools. But, really, it doesn't matter your DAW of choice. What matters is how you do things. Some of what I cover will be specific for pro tools users, but many things will be on song-writing, producing, mixing, etc.<br>
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As an example, I remember how intimidated I was with the 'Preferences' setting (under 'Setup') in pro tools. I didn't go in there for the first 5 years! But now, I'm in there all the time making custom settings that help me do my job easier! And this is a topic I will be covering in a blog later.<br>
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And - I will always try to keep these short and to the point. I will not "ramble".<br>
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And remember . . . . make it a great day!<br>
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TimDoubleSharp Musichttp://www.blogger.com/profile/11656025684637087477noreply@blogger.com0tag:blogger.com,1999:blog-3038734606272693127.post-35027327765851950142015-01-18T10:57:00.001-08:002015-01-18T10:57:10.875-08:00Intro<div style="background-color: white; color: #333333; font-family: 'Helvetica Neue Light', HelveticaNeue-Light, 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; line-height: 19px; margin: 0px; outline: none; padding: 0px;">
<span style="line-height: 1.4;">Hi guys - this is the first entry for my new blog on music song-writing/composing, recording and mixing. I have been involved with music all my life, of course. I have also always been a composer. Even when I was a young kid first listening to the Beatles and Creedence Clearwater Revival, I was already starting to make my own creations.</span></div>
<span style="background-color: white; color: #333333; font-family: 'Helvetica Neue Light', HelveticaNeue-Light, 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; line-height: 19px; text-align: justify;">I jumped into music recording/mixing 10 yrs. ago (Oct. 2004). I have learned much but still have much to learn. Honestly, I don't think I will ever stop learning, because this path goes on and on and on and .......</span><br style="background-color: white; color: #333333; font-family: 'Helvetica Neue Light', HelveticaNeue-Light, 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; line-height: 19px; text-align: justify;" /><span style="background-color: white; color: #333333; font-family: 'Helvetica Neue Light', HelveticaNeue-Light, 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; line-height: 19px; text-align: justify;">I am a composer and song-writer. I own a recording studio (DoubleSharp Music). And I engineer and produce music. I LOVE what I do! It's such fun! It is truly my passion.</span><br style="background-color: white; color: #333333; font-family: 'Helvetica Neue Light', HelveticaNeue-Light, 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; line-height: 19px; text-align: justify;" /><br style="background-color: white; color: #333333; font-family: 'Helvetica Neue Light', HelveticaNeue-Light, 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; line-height: 19px; text-align: justify;" /><span style="background-color: white; color: #333333; font-family: 'Helvetica Neue Light', HelveticaNeue-Light, 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; line-height: 19px; text-align: justify;">And Hey! Make it a great day!!</span><br style="background-color: white; color: #333333; font-family: 'Helvetica Neue Light', HelveticaNeue-Light, 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; line-height: 19px; text-align: justify;" /><br style="background-color: white; color: #333333; font-family: 'Helvetica Neue Light', HelveticaNeue-Light, 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; line-height: 19px; text-align: justify;" /><span style="background-color: white; color: #333333; font-family: 'Helvetica Neue Light', HelveticaNeue-Light, 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; line-height: 19px; text-align: justify;">Tim Wheeler</span>DoubleSharp Musichttp://www.blogger.com/profile/11656025684637087477noreply@blogger.com0