A little social media, a lot on sound studio stuff
Ok.. so… according to my stats.. when I was blogging like every day.. sustained for.. however long I sustained it, my stats doubled…. so there is a pragmatic value in at least pumping something out every day.. which.. is pretty well known… but um.. it’s striking to see.. so I’m going to try and do that, put out something at least every day.
You know.. I have this habit of writing sorta long entries.. which.. for various reasons isn’t the greatest blog strategy thing.. I suppose if I’m forced to blog every day.. maybe what happens is I don’t feel the same need for the long stuff..
Still.. the long stuff is so me.. the long kind of think pieces, I guess.. .
Latter that night:
Into the Sound Studio Stuff
I’m debating more studio tools things.. kind of an old story that I’ve probably blogged about too much as it is.. but.. its on my mind, and talking about it sometimes helps me get think it through, so here goes:
I’m looking at Liquid Mix 16.. which is half the power.. plus a little less hardware interface / controller then the full Liquid Mix.. The full is selling for $800 these days, and the 16 is at $500… last I checked… and my thinking is sorta evolving.
This is software that runs on a processor that is a part of what you’re buying when you buy these packages. Basically.. if you’re a sound engineer on a budget.. this is an awesome deal as it puts really good quality emulations of classic EQs and Compressors at your finger tips…. for way less then it feels like these things should cost..
As a point of reference… Waves makes a native software emulation (meaning it runs on your computer’s processor) of the EQ and Compression found on SSL consoles.. the list price for which is a grand, and I think they’re now selling for a little over $700. The SSL console EQs and Compressors are highly prized items… with the exception of dealing with short attack times.. what I’ve hears is the emulation in Liquid Mix is better then what you get in the Waves bundle.. plus you get a boat load of other highly sought after EQs and Compressors and what not..
Ok.. so here’s the deal with 16… You get 16 instances.. an instance counts as being able to apply both the EQ and the Compressor to one mono channel in your mix.. as a plug-in. If your dealing with stereo that number drops down to 8. This is at a 44.1 kHz sample rate.. and it might even include 48 KHz. Without explaining digital audio, 44.1 kHz is the sample rate found on CDs.. It is now considered standard.. when doing music production, to be working at substantially higher sample rates… I wonder bother to bore you with the explanations why.. I’ll just go so far as to explain this much.. . Now the deal is.. as soon as you jump the sample rate up.. with Liquid Mix.. your instant count cuts in half… and if you go really high, a quarter.
So I’m thinking.. $500 for 4 stereo instances (each stereo instance counts as 2 mono instances) versus $800 for 8.. perhaps I should go with 8? There is an expansion card.. I wanna say it’s running at around $250.. that will give you your full instant count at the higher sample rates… In any event, you can see why I’d be leaning for the full version.
But now I’m starting to contemplate this from a different angel. For starters there’s the question of what I need / what is optimal.. which is a difficult to answer question. First off how many channels do I have running in an average mix anyway? The answer is probably less then 8… although that number reflects working on a G4.. which was very limited in how many instruments I could get going at once anyway… So in point of fact we don’t actually know how many instruments I’d be using when I’m in a situation where I basically don’t have limits…
The second question is how many instances of EQ / Compression do I use? The primary reasons for EQ and compression is.. exerting control over the dynamics of your mix, and carving out frequency spaces for the individual components of your mix. The process I have always used, and I’m sure this will sound crazy to many a sound engineer… is one where I don’t actually use any EQ or Compression at all!
That said.. we have about 3 things going on that are changing.
- As the number of channels / instruments in your mix expands.. the need to exert control over the frequency space, at least, goes up… Thus if I do start dealing with higher track counts the need for EQ and compression go up.
- Besides one’s mind and ears, EQ and the compressor are the most important tools to the mix engineer.. so if I want to really master art and science of mixing.. well, I’m gong to need to start using more of this.
- I’m getting into a Heavy Metal production thing.. which is a style of music that needs EQ and Compression in a way that the music I was doing previously didn’t.
So.. Basically how many instances of EQ and Compression we would need is an open question at this point. That said.. between what is currently a part of my studio tool kit, and what I’m imagining will soon be a part of my tool kit.. there are other nice EQs… and perhaps even nice compressors… so, running out of instances doesn’t necessarily have to be a big problem.
When I think about where I’m likely to go with the metal I see a few possibilities:
I could treat my instruments as mono instruments.. guitars and bass and vocals.. The guitars would no doubt be multi tracked.. meaning there would be many component tracks of each guitars, each wanting its own EQ… But we are still probably only talking about around 8 instances.. maybe add 2 for the stereo buss.. 2 for the drums.. another for the bass.. lets say 4 for the vocals.. and assuming I’m working at 44.1 kHz… I’m only ok at only 16 instances.
So clearly there are trade offs.. but it also seems like those trade offs might not always be too significant… and when I then stop to think about what I could do with $400, the price difference between the full version and the 16… It becomes clear that if I were to work with smaller sample rates.. perhaps a limited number of instruments… I’d have a better studio.
Next day sometime:
There are problems with Liquid mix out side of the issue of instance counts.. one of the bigger ones is latency. Latency is the time gap between when you play a sound into your computer and you hear it played back. Latency is a big issue… the way you work with Liquid Mix is.. via your DAW, via production.. in a way where latency no long matters.. You don’t use it in a live setting. I have some mind to work at being a live sound engineer… a context inside of which liquid mix is worthless.. and there are many contexts inside of which I would want an EQ or compressor that didn’t suffer from latency issues.
In the broader mix of my sound work at this moment.. these kinds of applications are at a minimum.. but there is a huge revolution going on in my sound work.. and we don’t really know what its going to look like at the end of the day.
The Road Map
I have a vague sorta schematic of ideas.. which.. may or may not be indicative of what things will look like at the end of the day.. the trouble is.. for most of these ideas.. the cost of the technology is prohibitive. Lets look at some of those ideas… mind you we are not to take them too seriously.. in terms of what they are.. but more if we can see these ideas as manifestations of thoughts in one moment of time.. that are more expressive of a trajectory then what they are at the momment… which is a little hard to explain but..
- Live sound engineer: I know a reasonable amount about the mix engineering field.. even if most of that is directed at making records.. the task of bringing those to bare into the live context.. at least to get started, its not so bad. The business reasons for being interested in this are multi fold: Networking inside of the local music scene.. I have packages I could offer bands.. from web design, recording mix engineering, some kind of a studio, photography.. I could do your live mix, and also a record based off that live mix.. social media marketing… video production.. internet and social media strategy more generally… and the list probably goes on.
- Electronic Music type DJ: There’s always been the challenge of.. well how making music live fits into how the music business usually works.. doing the live DJ thing is certainly one approach to trying to solve this problem. As with the live sound engineer stuff.. what we need here is a lap top plus a few other software odds and ends. For DJing.. it might make sense to look at hardware controllers.. the digital equivalent to turn tables..
- Lets become a street Musician: This is sorta equivalent to the DJ shtick.. again we need a laptop.. some sorta PA system / amp thing that makes sense for this context.. perhaps a controller.. grab the guitar, midi food controller.. You could sell your CD, hand out free postcards / stickers that relate to your web presence.. not to mention the free music from that.. You could do live video streaming on the internet of these performances.. etc.
- Lets put together a Band: I suppose I really just need a real guitar amp, right?
I’m going to cut this short.. as this is really something that, to really go into.. it would take a whole other blog entry, at least.. there’s more stuff to list.. but this gives us a broad brush stroke outline of some of where we might be going. It’s enough to bring back to the subject of what sorta gear we ought to be looking at.
Verdicts, I think, where all this leaves us is..
Going with the Liquid Mix 16.. might very well be the best choice. There’s a fairly cheap bundle of effects I’m looking at that runs at $200 that offers various eqs, compressors, and other odds and ends of this sort.. which I think could really offer some good stuff to my mixes for not a lot of money… this would then leave another $200 for other stuff.. I’m thinking digital delays and reverbs.
Of course there’s another part of my brain that’s thinking Max/MSP/Jitter Check out this DIY controller someone mad… working with said software.
I haven’t talked too much about the Max/MSP/Jitter thing in this blog yet. It’s a bundle that costs $700… for electronic music.. its on the geek out side… But it’s also the land of the hard core serious electronic music stuff.. this is where the serious cutting of the edge happens, right? Perhaps this and CSound?
Basically.. this bundle is sorta equivalent to Native Instruments Reaktor… with certain pros and cons…. of which I don’t know as much as I’d like. My understanding is the Max/MSP/Jitter this is better on your processors.. also.. Jitter is a program that does very interesting things with video.. in an interactive way.. which is probably the only solution that makes sense for certain video ideas I’ve been playing with.
So yeah.. those are some thoughts