In recording and pro-audio it’s all too easy to fall into a rut and never try new things. You have found a variety of mics that you like for certain instruments, particular pieces of outboard gear you always fall back on, and mixing techniques that you constantly use.
There are a number of reasons for that, of course. The biggest is probably time, which often equals money. In live situations, there usually simply isn’t time to experiment, unless you are fortunate enough to work with an act big enough where you can have technical rehearsals and full-blown dress rehearsals. In the studio, you are most likely working with a band who is under very tight budget constraints, and that is not conducive to being able to spend time trying different things.
When you have the time, though, it can be extremely rewarding, and can result in some stunning results.
There is also a trend started by some “how to” books to sort of ‘mix-by-numbers.’ They tell you that the kick drum should be at about -3VU on the stereo bus meters, and the lead vocals should be -5VU, or some such thing. Nonsense. Only your ears can tell you how loud something needs to be in the mix. There are some shortcuts you can sometimes take. For example, if you’ve mix a particular band often enough, you usually have a pretty good idea of where things are going to be panned, so it wouldn’t hurt to set the pan pots where you think they’ll end up. But, don’t be afraid to play around with those while you are mixing. You just might find a location for something in the stereo spread that works better for that particular mix. There are a lot of very stunning effects that can be accomplished with phase, delay, and panning, and you will never stumble across any of them if you don’t take the time to try something new.
Sometimes your mic selection and placement has gotten to be such a habit, that you don’t even consider something really different. The absolute best cranked Les Paul/Marshall tone I’ve ever heard was accomplished by a mic selection and mic placement that I NEVER would have tried. But someone took the time to try it, and found that it really worked.
Another, often ignored reason is that digital equipment makes it difficult, if not impossible, to do much “creative patching.” In the old days, you had a patch bay, with a number of mult points, and you could patch anything to anywhere, combining with other things or splitting the signal along the way. With a digital multi-effect unit, this is simply not possible. Most digital mixers and digital audio workstations impose rather rigid signal flow ideas. Beyond that, it is simply not possible to really explore parameters of the equipment that weren’t programmed into it by the developers.
But whatever your situation, try different things. The next time you are tracking a guitar, use your regular mic and placement, but also set up a completely different mic, and use a different placement. Record it on a separate track so that if you don’t like it, you haven’t cost anything, and compare the two. You might just find that it offers something you didn’t expect, and maybe something you can use alongside the other track in the mix.
Social Commentary in Music
April 22, 2009I’ve been an avid listener to music since I was about 10 years old. My parents listened to Big Band music (Glenn Miller, Dorsey Brothers, etc) a lot when I was young, so it’s been a part of my life as long as I can remember, but when I listened to my favorite type of music as a teenager, I quickly noticed something: there was almost always ‘social commentary.’ I don’t mean ‘teenage angst’ or love songs, or party songs – those things were present in the Big Band music of my parents (they didn’t listen to Cab Calloway).
I liked rock music. Specifically, what we called “hard rock.” A good portion of that music talked about government oppression, but even more devoted itself solely to the war (Vietnam, for you youngsters out there), or to the draft, racial and gender discrimination, unjust laws, unjust taxation, an out of control federal government, and a host of other societal problems. In many of the songs, there was anger. In fact, in many of the songs, there was a LOT of anger. But it was focused. There were also protests – a lot of them. They weren’t usually polite affairs, with proper government-issued ‘permits.’ In fact, if you had suggested that they ask the government for permission to protest, you would have been laughed out of the room.
And things changed. People came to see the war in Vietnam as the injustice it was. Gender and racial discrimination were tackled. The draft was eliminated. When the war and the draft were no longer an issue, most of the people in that generation basked in a brief glow of satisfaction, and then immediately went on to other things, like having a life, raising a family, a real job, etc.
Fast forward several decades, and now we once again have a war on foreign soil (two fronts this time), there is talk of mandatory ‘national service’ ( a draft, by any other name is just as repressive, and this one will be gender-blind), global narco-wars, fueled by the enormous profits created mostly by US drug laws, which has made it so profitable that entire countries have been corrupted simply by the huge profits to be had in the growing, manufacturing, transportation, and selling of the stuff.
Where is the social commentary? I see a lot of young white guys driving BMWs blaring rap “music,” and singing along about how bad it is to be a poverty-striken black youth in the inner city. Of course, the white guys in the BMWs are usually pulling up in front of a GAP store to get a new pair of $200 jeans, but the irony never seems to sink in. I see teenage white girls singing rap lyrics about how thrilled they are to be a young black drug dealer who shoots other black guys for fun before raping his girlfriend.
What I DON’T hear is music expressing anger against the war in Iraq, or the war in Afghanistan. I don’t even hear music expressing outrage over 9/11. Why? I wish I knew.
My band did a “protest song” a couple of years ago. I don’t want to think that only a bunch of guys over 50 are pissed off enough to write protest songs.
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Posted by Al Thompson