By David Franz | Tuesday, October 30, 2012
Have you ever wondered how dynamic, ribbon, and condenser mics vary in function, price, and utility? Or how a mic picks up sound, and how that mic’s pickup pattern might affect its placement in the recording process? In this blog post, I will explore these questions offering visual examples from our recently released Audio course, Audio Recording Techniques.
By David Franz | Tuesday, May 08, 2012
We’ve all heard that annoying hard “s” sound that happens when a vocal track is recorded with a less-than-optimal microphone choice. That high-pitched irritation is called sibilance and it can be found on all kinds of vocal tracks, whether your recorded voice is singing, or speaking words for a podcast or a book on tape. This challenge is very prominent in the recording world, and for anyone recording an individual with a natural accentuation or particular penchant for emphasizing words that contain the letter “s,” a de-esser can be a welcomed friend of the ears.
Also known as a frequency-dependent compressor, a de-esser is made specifically to only compresses certain frequencies that we want it to reduce in volume, and does not compress the rest of the track’s frequencies. For vocal tracks, this usually occurs in the frequency range between 6-8 kHz. When the de-esser compresses the particularly offending frequency, it leaves the rest of the frequencies in the signal alone, which maintains the natural sound of the original performance.
By David Franz | Friday, December 23, 2011
Remixing a song is a skill that requires a lot of musical and technical know-how. Two of the most important elements to consider when beginning to create a remix are determining the original tempo of the song you’re remixing and lining up the vocal stem track to the beat.
Apple’s Logic software provides a handy plug-in called the BPM counter that helps to determine the tempo of a piece of music. Check out how to use it:
Often, remixers receive vocal stem tracks that don’t clearly align with the tempo grid when they’re imported into a project. That is, it’s unclear from the raw stem file where the downbeat is in comparison to the vocal performance. Check out how to align a vocal track with the tempo grid of a project:
In Remixing a Song in Logic, renowned remixer and author Josh Harris takes us through all of the remixing steps as he literally remixes a song in front of our eyes and ears. He covers all facets of the remixing process—aligning the vocals, working with loops, programming bass and synth parts, adjusting the remix arrangement—all the way to mixing and mastering the final version.
Check out Remixing a Song in Logicin the Online Training Library®, and look out for new training on the leading digital audio workstations coming soon.
Interested in more?
• All Logic courses in the Online Training Library®
• All audio courses in the Online Training Library®
By Crystal McCullough | Thursday, July 16, 2009
Pro Tools 8 Essential Training unveils the inner workings of the industry-standard software for music and post-production. Musician, producer, and educator David Franz demonstrates all the concepts and techniques necessary for recording, editing, mixing, and mastering in Avid’s Pro Tools 8. He teaches how to create music with virtual instruments and plug-ins, edit with elastic audio for time and pitch manipulation, create a musical score, and mix with effects loops. This course can help any music producer, sound engineer, or hobbyist become proficient in Pro Tools 8.
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