Editing and mastering the music production for Sound for Media:

25/06/14. When we finished layering up the effects, main drop, lead sound and other filler effects, we had to reference the track using a range of different audio devices (speakers, different sets of headphones, phone speakers, laptop speakers and studio monitors). This was to ensure that the track sounded perfect, and had the right balance with the levels. Track structure: The production is made up of 15 tracks ranging from the drums to the bassline, and everything in between like the riser effects, noise effects and the build up drums. Each track was individually mixed down with occasional use of the solo feature of Garageband to ensure that the volume was levels were balanced, and so that we could get as much detail out of the tracks as possible without the overall mix sounding muddy or distorted.

Music tech case study: Creating a dubstep track with Subscape

Introduction

In this blog post, I will be going over how Subscape created one of his tracks (Nothing's wrong). The tutorial I will be referencing was created in 2010, just after the track was released.

Equipment List

• Mac with Logic Pro
• MAudio Keyboard
• Audio Interface
• Various plugins (software synths, reverb plugins and others)

Production Process

Subscape starts with the kick drums, adding extra layers to fill out the sound whilst removing some of the unnecessary low frequencies using the Logic EQ. He then moves on to working on all the other percussion elements (the snares with reverb and percussion, which is panned in the stereo spectrum to add depth and space.) After the drums and percussion, he then lays down the bassline layers, adding distortion and reverb for other textures. Other elements include the melodic hook and vocals, and a vinal effect to give it an "old school" feel.

Legal and ethical issues related to the Sound and media product

The possible legal and ethical issues regarding the sound for media production are: Permision to use the samples - as the samples used are widely available and the sample CD was purchased, the track doesn't infringe on copyright as the samples have been manipulated throughout the production process. If they were not, then the track could be subject to copyright infringement clames.

Risk asesments and possible solutions

Risk assessments Relevant risks Cables are a possible hazard: This can be prevented by making sure that cables are safely put away after being used. Also put trailing cables behind the equipment to prevent possible tripping hazard. Mike stands not set up properly could be dangerous: If not in use make sure that the mike stands are put away correctly. If being used insure that all the screws are properly tightened. Volume levels could be set too high and could damage one’s hearing: Insure that volume is set to 0DB and the master volume control is set to 12 o’clock. Before connecting devices make sure that the audio console is muted. Possible feedback from the monitors could also damage hearing: Make sure that gain levels and channel mute switches are properly used… Possibility of electric shocks from incorrect cable configuration: Make sure that cables are connected properly, and make sure that phantom power is only turned on for equipment that needs it.

Sound for Media, Resources Used

Media product plan Our product is an electro house track with simplistic vocals. Resources used: • Audio console • Mac book pro with GarageBand • Studio monitors • Vocal microphone • Computer with Soundforge audio editing software • Various loops and sample packs • Various software synthesisers • MAudio key station 49MK2 midi controller

Recording and production schedule and session overview

Creating sound for media product: Recording and production schedule Session 1: Monday 16th June 2014 Looking at different genres of music and deciding on the genre of the media product to create. Using samples, creating the intro drums for the track. Session 2: Friday 20th June 2014 Continue working on the intro drums and start to work on the breakdown for the track. Session 3: Monday 23rd June 2014 Continue to work on the breakdown of the track using various samples, create the buildup and paste in the drums for the drop. Also, think of and record vocals for the track. Another task is to think and record various sound effects and apply different effects to the recordings. Note. We recorded the sound of a traffic light beeper, but we didn't end up using it in the final production as we didn't see how we could fit it in. Session 4: Wednesday 25th June 2014 1/3 Apply different effects to the vocals recorded in the previous session and mix them in with the track. 2/3 Draft ideas for the melody for the drop and an background leads if applicable. 3/3 Apply the recorded melody into the drums in the drop and record and apply the leads into the breakdown of the track. Then, add effects to the ending of the track, reference the track on speakers and headphones, and make any necessary corrections to the audio file. Session 4: Thursday 26th June 2014 Export separate elements for the track as evidence.

Analysing a Media Product from my chosen institution

Analysing a Dub Police Media Product: As Dub police is a record lable, I will go over the basics of a track by Subscape called Close your Eyes. Purpose of product: The purpose of the media product is to entertain and to make people dance as it is quite energetic and uplifting. Genre: Close your eyes is a Dubstpe track, which is a subgenre of EDM (Electronic Dance Music). This genre of music has a following, but its not as big of a following as other genres as you don’t really see it at high positions in the charts. Form and style of the media product: As Subscape is signed to the Dub Police record lable, he creates his music based on fan interaction, and also tries to experiment with new sounds as well, which is what Dub Police tries to encourage their signed artists to do. In Close your eyes, Subscape uses some of his “signature sounds” so people recognise that it is his work, but also uses some different sounds to show the experimental side of the track. Dub police’s style is to send out previews on all social media platforms. When the previews are put up, they include purchase links and social pages for the artists. The style of the preview for close your eyes is short and to the point, with the key elements shown so listeners can make a decision on whether they should buy the track. Content: • Intro of the track is calm, but then builds up to be quite energetic. • Buildup – The song builds further into the drop. • Drop – the main energetic part of the piece that the fans look forward to. Meaning: The meaning of Close your Eyes by Subscape is to create energy on a dancefloor and to sound loud and energetic. It was produced for lovers of electronic dance music who are open minded to some experimental sounds as well as the usual signature sounds of dance music and the artist (Subscape). Production Process: Subscape uses a Mac computer running Logic, Appogi audio interface, MAudio keyboard and a numerous selection of software synthesisers and audio effects plugins. Everything is done digitally from Subscape’s side, but before the track was released, it was sent to mastering, which meant that an external audio engineer worked with him to get the track sounding perfect for the final release.

List of 3 production roles and how 2 are carried out:

List of 3 production roles and how they can be carried out Before, I had discussed the roles I had carried out in the Chapel sessions. I stated that I would be describing 3 of the production roles I carried out in detail, including some examples of them. 3 Production roles are: • Audio engineer – responsible for the sound (audio). • Video mixer – Responsible for managing cameras and mixing video streams. • Tape operator – Responsible for recording shows (audio/video). Audio Engineer: The audio engineer is the person who mixes audio and makes sure everything sounds as close to perfect as possible. The process the audio engineer goes through is: • Comunicates with the artist/band to get an idea of the audio levels and to make sure that every microphone/instrument is working properly (the sound check). • Once the sound check is complete, the audio engineer asks the artist/band if they want to record or have a run through, and then signals the tape operator to start recording. • Once the recording is done, a rough mix is created before the final mix is produced and sent off. • They are responsible for the final mix. Equipment used for audio engineers: • Audio console. • Headphones. • Studio monitors. Video mixer: Like the audio engieneer, the video mixer’s job is to quite literally mix and switch between different cameras. When recording a web TV show, cameras play just as much of a vital role as the audio side (microphones, instruments ETC). The video mixer’s responsibilities are: • Switching between different cameras to get the best shots at any one time. • Crossfaiding and blending the camera shots in. • Mixing still camera feeds. • Monitoring and switching between differen motion shots. Equipment list: • Tricaster/video console. • Tricaster software.

Sound for media product creation (session 1) 16/06/14

Session 1 overview: I worked as part of a team to create an electronic dance music track. As there are so many types of EDM, We spent the first part of the session analysing different subgenres (Electro house, Deep house, Dubstep and Trap). This was so we could get some ideas and inspiration on where we wanted to go next. The second part of the session in the afternoon was spent in a different studio actually laying down ideas. The genre we settled for was electro house. We created the intro drums, and decided on what the melody for the drop should be. Music tech used: • Macbook pro with Garageband software as the working environment. • Studio monitors for referencing, mixing and for general playback. • Audio console. • Patch bey.

Dub Police Case Studdy

The institution I have chosen is Dub Police records, a record label that promotes electronic dance music, primarily Dubstep. Owners Dub police is owned by Submerged music, and the label was founded by a dubstep producer/DJ going by the stage name Caspa (Birth name Garry Mccan) in 2004. Submerged music is an independent music label owned by a DJ with the same name (DJ Submerged, birth name Kert Gluck). Brief description of media products As Dub Police is a record label, their primary output is music products, including music videos and teasers on social media websites like Youtube and Facebook. Artists that are signed to the label include: •Subscape •The others •Trolley snatcha •Emalkay •Variations •Oiki Each artist has released Eps, singles and albums on the label in all formats (MP3 download, Vinyl and CD, and the number of releases currently stands at 89 as of september 9th 2013. Competitors The main competitors with Dub Police are Circus records, but other competitors include: •Never say die records. •Black butter records. •Smog. •Firepower Distrobution of media product: Dub police have been active since 2004. ,There first few releases (upto catalogue number 006) were distributed exclusively on vinal. Now, they release on cd, vinal and mp3. The first vinal releases were mainly only signed artists, but there were some guest appearances that either ended up getting exclusively signed to other record labels or ended up creating their own label.

Researching sound elements

Researching sound elements: Sound Effects: When producing sound effects, there is a process that the sounds go through before getting used in a project: • Recording the sound or sounds – a microphone (or microphones) is used along with a recording device. Some recorders have a built-in set of microphones, but Foley artists and other sound effects producers prefer to use external microphones so they can pick up the best sound as possible. • Importing to a computer or studio so that the sound effect(s) can go through post-production. • Post production – Adding audio effects e.g. EQ, reverb, delay ETC. Another primary function for post-production is to balance out the levels with compression and normalization. Equipment used when recording/producing sound effects: The equipment that could be used is: • Microphones – Bidirectional, stereo, cardioid, condenser, dynamic, contact ETC). • Recording devices – samplers, portable stereo recorders, computers, ETC. • Computer hardware/software (compressors, effects units, recording/editing software). Atmospheric sound Atmospheres and sounds that are used for background listening are recorded in basically the same way as sound effects. The only major difference in the recording of atmospheres and ambience is that they are usually longer and more drawn out (someone might literally stand outside with a recorder for 5-15 minutes). Atmospheric sounds are usually recorded with more than 1 set of stereo microphones, and they might even be multiple files that can be mixed together as layers. Music Music is a complex product to produce, as there is so many ways it can be done. From live recordings in studios with huge audio consoles and microphones to bedroom producers with nothing more than a computer and a USB microphone, there are almost limitless possibilities. Basic setups could consist of computers running music production software e.g. Pro tools, Logic/Logic Pro, Garageband, Sonar, Cubass ETC all the way up to studios running multiple computers with analogue synths, audio consoles, many! Instruments and other outboard equipment like effects processors. Equipment list: • Microphones (optional) • Audio console (optional) • Computer • MIDI controllers (keyboards, breath controllers ETC) • Optional outboard equipment (synthesisers, keyboard racks, MIDI clock synchronising tools, effects processors, live instruments like drums, ETC). Dialogue Dialogue for a media product is recorded using mostly a piece of audio editing software like Sound forge, an audio console and 1 or 2 microphones (sometimes unidirectional or 2 omnidirectional microphones). Dialogue could be: • Voiceovers for trailers. • Interviews (mostly recorded using bidirectional microphones or 2 omnidirectional ones). • Film performances from actors. • Dialogue for radio dramas. Each type of dialogue is recorded using different microphones and microphone positioning; some could be recorded with stereo dynamic microphones, and others a standard mono bidirectional microphones. Equipment list: • Microphones. • Audio console. • Computer with recording software e.g. Sound forge, Audacity, ETC. • Optional outboard affects processing units.