I’ll be adding to these videos as I complete them.
Acoustic Guitar. Chords in C Major:
Open Guitar Chords (Clean Electric):
I’ll be adding to these videos as I complete them.
Acoustic Guitar. Chords in C Major:
Open Guitar Chords (Clean Electric):
Recently I stumbled upon the youtube channel of Felicia Ricci and I really like her approach as a vocal coach. She explains things in a way that really makes the whole singing thing click for me. I figure the same may be the case for other struggling singers out there so I wanted to share her channel here … and a few of my favorite videos she’s done:
My new ear training series will use nursery rhymes to help get the sound of the major scale in your head in a more clear way.
The idea is that because most people know these tunes so well already it will be easier to get how the solfege substitutions are working. I also think it makes sense to use simple melodies for this kind of thing to keep your focus on the sound of the intervals rather than being distracted by funky rhythms and the like.
Additionally; I think using these nursery rhyme tunes could make this an ideal introduction of ear training to children.
I’ll be updating this post with these tracks as I complete them. I’m not sure how many I’m going to do in all but I have decided to start with “Twinkle Twinkle Little Star” (ie “Do Do Sol Sol La La Sol”) …
“TWINKLE TWINKLE LITTLE STAR” SOLFEGE STYLE
I’ve started working on a series of basic drum machine + piano backing tracks (each will be about 5 minutes long) that feature the most common four chord turnarounds (four chord progressions which repeat) in pop music.
They will be in a variety of keys and tempos to spice things up a bit.
The idea is that these tracks can help you get the sound of these popular progressions in your ear so that you recognize them when you hear them. I think this can help not only for musicianship but also for songwriting. One thing you may want to try is adding your own melodies to these tracks (like I did in this example.)
I’ll be updating this post as I create additional tracks.
I – vi – IV – V
(“the 50s progression“)
Examples: “Stand By Me” by Ben E. King & “D’yer Maker” by Led Zeppelin.
I – ii – IV – V
Examples: “99 Red Balloons” by Nena & “Somebody” by Bryan Adams.
Tags: Chord Progressions
I saw this video of Victor Wooten’s extreme time exercise where you use a drum machine that cuts out:
(((edit: the video has been taken off youtube…)))
and in response made this 100 BPM 4 bar drum loop (with progressively more and more of the beat cut out) to practice with:
If there’s a good response to this I’ll make more of these (different tempos and possibly other time signatures.) I practiced with it myself yesterday and it seems like really good timing practice.
I’m a huge Beatles fan and I yes I’m one of those folks that likes to listen to vinyl LPs from time to time so I’m pretty excited that The Beatles Stereo LP Box Set is finally coming out (on November 13th.)
Not only is this awesome because it’s the first time these new remasters are going to be on vinyl 16 audiophile 180 gram LPs) but it’s actually the first time that most of The Beatles albums will be available to buy new on LP for a long time (only Abbey Road has been available to buy new… and it was actually the top selling vinyl LP of 2011!)
Basically this is the vinyl version of the Remastered Stereo CD Box Set that came out back on 9/9/9. (I can’t believe it’s been more than three years already.) It includes 16 audiophile 180 gram LPs all together.
That’s 13 original Beatles albums and the Past Masters double album set of non-album tracks (for the most part that means songs on singles that were never included on their albums.) 13 + 2 = 15? Yes, you’re right! But of course one of those Beatles albums was a double album (1968’s The Beatles aka “The White Album”) so there’s the 16th LP.
If you dig The Beatles and you dig vinyl you may want to make your order quick because they say they are only making 50,000 copies of this box set worldwide. That doesn’t seem like very many.
I’m a big fan of this guys youtube channel (lots of Beatles related music lessons) and his most recent video is four tips to quickly improving your singing voice which I found quite useful. Thought it was worth sharing:
1. Emphasize the vowels.
2. Chew the lyrics.
3. Slide up to high notes.
4. Notice where the singer takes a breath in the original (if you’re singing a cover.)
If you’re looking to record someone singing and playing and an acoustic guitar at the same time while getting good separation between the vocal & guitar tracks and you’ve got a couple microphones that can be put in a figure 8 recording pattern then try this technique out:
1. Set two mics in a figure 8 recording pattern. Not all mics have this feature; my Shure KSM44 and my CAD M179 are two examples of mics that can be put in this “figure of eight” polar pattern (aka “bidirectional.”)
2. Point one mic at the voice and one at the guitar (obvious enough, right?) Of course you will want to fiddle about with exactly how you position the mics. If you are recording yourself you’ll probably have to do some trial & error, if you are recording someone else put your headphones on and listen (trying to hear what you hear through the headphones rather than what you hear in the space.)
3. The key to this technique (that allows you to get nice separation between the tracks) is to turn the mics sideways (rather than up and down) so that each mic is picking up as little as possible of the other source. Why does this work? It’s hard to explain without drawing a picture and drawing isn’t my strong suit. But if you think about how a figure-8 pattern works a bit I think it becomes clear.
If you experiment by trying it first with the mics standing up straight and then try it the way that I’m suggesting (with the mics sideways) I think you will notice quite a difference.
What I really like about my NI Battery 3 drum machine plugin is the huge variety of sounds that I can quickly call up with it. On the other hand, I don’t think it’s the best when it comes to realistic acoustic drum sounds (if that’s what you are looking for then you’ll have more luck with something like Superior Drummer 2.)
I usually use Battery 3 when I’m looking for drum sounds that sound sampled (rather than trying to emulate live drums.) For many genres of music this often fits much better than an acoustic drum emulation.
For example if you’re trying to create an Aphex Twin inspired track you’ll probably get a lot more use out of something like the “Glitch Kit” in Battery 3 than the realistic acoustic drum emulations you can get with Superior Drummer 2 or Addictive Drums. (Although a good argument can be made that it would be more creative to try to glitch up your own drum tracks rather than use the “Glitch Kit” samples.)
There’s also a lot of cool percussion and world music type “kits” in Battery 3 which sometimes come in handy. To my ears these usually sound pretty “sampled” too (rather than realistically emulating real percussion) but I still think they can be quite useful. It really just depends on what you are looking for.
When it comes to this sort of thing a minute of sound is worth a thousand words so here’s something I just put together to give you a small taste of what Battery 3 can do (just 8 of the over 100 kits included) —>
Battery 3 is included in the Native Instruments Komplete 8 pack along with a ton of other stuff.
There are four bits of advice that I think have most improved the quality of my mixes, I’ll quickly go over the first three and then focus on the fourth which is the topic of this post.
(#1) Use the best monitors you can afford (if you are going to splurge on any music gear, it should be your monitors.) The importance of a good set of monitors is difficult to overstate.
If you can’t accurately hear how what you’re doing is effecting the sound of your mix then it’s very unlikely you’re going to be able to create a decent mix that translates to various playback systems.
Don’t use headphones to mix. Yes, many people listen back to music on headphones now but what I’ve found is that if you can make your mix sound good on monitors than it’s going to sound good on headphones too but the reverse is definitely not the case.
(#2) Check your mixes in mono too. Even if you don’t think your music will ever be played back in mono (and you may be surprised at the scenarios where it may be) I still think it’s a good idea to check your mixes in mono.
Using one Avantone Mixcube as my mono playback system (and clicking on the mono playback button on Reaper) has been an ear opening experience. What I tend to do is get my mix sounding pretty good on my stereo monitors and then I switch to mono playback and I usually notice some issues that are not as obvious in stereo.
I think of it as a “microscope” for my mixes. It allows me to hear all of the problems much easier which is awesome because it also lets me fix them much easier! After I get my mix sounding good in mono on this “crappy” speaker it then usually sounds really good when I switch it back to my stereo monitors.
(#3) Acoustic Design. Those of us with home studios usually have less than ideal spaces to mix in but there are some things we can do to improve that space for mixing (and recording.) This is too big of a subject to get into in detail here but I would recommend buying this book and learning a bit about it. It’s important.
One easy thing you can do to lessen the impact of a subpar listening environment is to monitor at lower levels (this is also good to decrease the effect of ear fatigue.)
(#4) Cut it out. This brings me to my main topic for this post; the importance of muting unneeded tracks and what may seem like drastic use of EQ cuts to those who haven’t thought of using EQ in this way before.
(a) Just because it was recorded doesn’t mean it needs to be in the final mix. I almost always find at least one part that can be cut out entirely. If the part isn’t essential to the song; cut it out. Hit the mute button. Often times just muting one part makes all of the other parts sound better.
This goes back a bit to my point about mono playback. When you playback in mono it’s much more difficult to get everything to sit together. I do a lot of my muting & EQ cuts when I’m playing back in mono. Then when I go back to stereo I’m always amazed how much more clear and “professional” my mix sounds with the mutes & EQ cuts I’ve done in mono.
This brings me to another point which could really have its own header because of how important it is: Really listen closely to recordings that you love (or the songs you are trying to emulate) and notice how much (or how little) is actually going on. In most cases there’s less going on at one time then you probably thought there was.
(b) Massive EQ cuts to the lows & the highs. I put a cut on the bass on almost every track (even tracks that don’t sound like they have any bass often do have some rumble that’s sneaking into your mix and muddying it up.)
The easy way to do this is to cut the EQ up to the point where you can hear the effect and then lay back off it a bit until you can’t hear it anymore. I do this on both the highs and the lows. Generally I hear the cuts on the highs more quickly than I do on the lows.
You have to be careful here not to overdo it to the point where you make the parts sound overly manicured although you should also keep in mind that it doesn’t really matter what an instrument sounds like when it’s played back solo, it only matters how it sounds in the context of the song with everything playing back.
This is a very common mistake! People will spend hours getting all of their tracks to sound perfect when played back on their own but then they are dismayed when they play them all back at once and it sounds terrible. Think about what the word “mix” means and it becomes obvious why this is the wrong way to go about it. To repeat: It doesn’t matter what a track sounds like on its own.
The hardest part of this for me is finding a space for your bass and your kick drum. I don’t think there’s an easy to share formula for this, you just have to try to give each one its own space (and you have to decide which one of them is going to be the lowest part of the song, because they can’t both be at the same time.)
The end result of all of this cutting of lows & highs is not a song without any low end or high end but a song with much more clear and powerful low end and high end.
It may seem like having all kinds of stuff going on in the low end at the same time would be the way to have a really strong bass sound, but it’s actually the opposite. If you have a strong bass sound you want that sound to have that area to itself rather than letting it get muddied up by all the other crap in your mix.