Basic Equalization (MetaPop)

One of the most important aspects of a mixdown is equalization. It’s a simple concept that works by using filter circuits to alter frequency response. In this article we’re going to take a further look at what Equalization is and the basics of using filtering to alter sounds. 1. What is the Frequency Spectrum? https://drive.google.com/file/d/0B4I-xZfEjcKJV19BZUdRY2psOHM/view?usp=sharing (Image) What’s commonly referred to as the Frequency Spectrum is the range of frequencies the human ear can hear. 20 hertz (lowest) to 20,000 hertz (highest) is the standard range of audible frequencies. We often see this represented in audio software on a graph, the x-axis representing frequency (20hz-20khz) and the y-axis representing amplitude (level). In the above chart you can see a suggestion of the fundamental position for several instruments on the frequency spectrum. Something like the bass will typically be comprised of all low sounds and won’t have much presence in the high frequencies where the vocals are. Consequently these two elements often mix together easily and don’t compete for space in a mix. Drums and Bass however often occupy similar regions of the frequency spectrum and need to be managed with equalization and filtering. 2. What is Equalization and Filtering? https://drive.google.com/file/d/0B4I-xZfEjcKJNEs3MVE4VFdORjg/view?usp=sharing (Image) Equalization is the use of audio filters to alter the frequency response of an audio signal. A “filter” is an analog circuit designed to boost or cut audio at a specific frequency, a digital filter simply models this behaviour. Each “band” of an EQ is a filter, almost like a frequency specific volume knob. There are several different types of filters for each band. Here’s a video that utilizes several of the filter types on Ableton’s EQ Eight device to process a vocal: 3. Using EQ in Your Mix There are a few situations in which we will use EQ in almost every mix. The most common of these is likely using High Pass and Low Pass filtering to eliminate unnecessary frequencies. These types of filters reduce everything above or beneath a set cutoff point, literally letting lows or highs “pass through”. In the frequency spectrum example above you see the guitar fundamentally occupying the mid frequencies. The term “fundamental frequency” gets used a lot in reference to EQ and it typically pertains to the lowest frequency of a sound, which is also the basis for the harmonics of that sound (we’ll save this for an advanced EQ article). However, in this example we’re talking about the range of frequencies that give a sound it’s identity, the range that is most crucial for a clear reproduction of the sound. Because the guitar example above is most crucially heard in the mid range, we can utilize high pass filtering to cut out the unnecessary low frequencies and make more space for sounds that primarily occupy the low end (see below). https://drive.google.com/file/d/0B4I-xZfEjcKJZmY5RHpNaVB3ZFU/view?usp=sharing (Image) Alternatively we could use what’s called a “low shelf” (see below) which won’t entirely cut out the low end, but instead reduce everything beneath a specified cutoff point. https://drive.google.com/file/d/0B4I-xZfEjcKJMmpFTEFLa0w1RG8/view?usp=sharing (Image) This same concept applies for low pass filtering and high shelf eq. In the example of the guitar, we could likely utilize a gentle high shelf reduction to make more room for our percussion and vocal. Another common use for EQ is eliminating a specific frequency from a sound using a “bell” filter (shaped like a bell). Say we’ve located the frequency that best defines the thump of our kick sample, and we want to cut this frequency in the bass to blend the two sounds together. Here we could utilize a bell filter to slightly reduce a specific band of frequencies in the bass sound (see below). https://drive.google.com/file/d/0B4I-xZfEjcKJTEI5ZHBld3BoSGc/view?usp=sharing (Image) Alternatively, a few of the filter types mentioned above (low shelf, high shelf and bell) can also be used to boost the frequency range of a signal. In theory it makes more sense to cut out what you don’t want from sounds, rather than attempt to add to the sound by boosting frequencies. However, in some situations it can be critical to the overall balance of a sound to make slight boosts to compensate for cuts made elsewhere in our mix. 4. Further Learning These concepts outline some very basic ways in which we can use EQ. For further information and learning check out this overview tutorial below and continue reading some of these linked guides to advanced EQ and mixing techniques. Equalization Video:

Further Reading:


Fonte: MetaPop: Basic Equalization – By su na

How To Make Money On YouTube (Symphonic Distribution)

YouTube is one of the most popular websites in the world. Millions of videos are uploaded each and every day covering a million different topics. There are pros, cons, and controversies associated with YouTube (as with many websites), but there is also a hell of an opportunity for many individuals that have a YouTube account with original material to make revenue.

Here’s how to make money on YouTube:

Content ID

The first and simplest way to begin to earn revenue is to upload your material via our dashboard the SymphonicMS. Once that is done, we will upload into YouTube’s CMS system that operates “Content ID“. Their system will go ahead and finger print your music and then scan the rest of YouTube to find and search any videos that contain your song and/or songs. Potentially if you have a hit song that is being displayed on thousands of videos, it could add up pretty quickly to get you some solid additional income.

Create a YouTube account

Once you have a YouTube account, upload your videos and songs. With this piece, we always want to recommend that you upload material that is fully owned by you, the user, and that is able to be monetized and claimed all over the internet. If you upload material that is not rightfully yours and claim it (unless you have permission to do so), you open up the potential for issues arising from your uploads and for you to be potentially removed from YouTube.

Register your Channel

Once you’ve done those first two steps, you register your channel with a Content ID partner. Of course, since we’re writing this, we’ll be a little biased and recommend that you register with us by visiting our YouTube Monetization service.

We will monetize your videos and if deemed appropriate additionally enable “Content ID” on them for YouTube’s system to get to work. The Content ID technology will compare your videos against other videos uploaded on YouTube. If it finds a match, we’ll be able to claim and monetize each one of those videos. In some cases, we can even take the videos down to ensure that anyone who does not have the ability to upload the videos flat-out doesn’t upload the videos ever again. Even though YouTube’s technology is quite sophisticated, there is still a manual process involved to ensure that any matches that are not picked up (such as audio or visual) are found and properly claimed which is why our staff spends time daily to find and match any videos not located. This is a lot of tech language but basically, you upload your videos, we monetize them, and then we go after monetizing other accounts for you.

Feeling stuck on your YouTube journey? Check out these simple and effective YouTube tips.

If you didn’t know about this aspect of the industry, we encourage you to take advantage and register your YouTube account for Content ID and/or upload your assets through our management system to ensure your rights are protected.

Fonte: Symphonic Distribution: How to Make Money on YouTube

Tips For Networking In The Music Industry (Symphonic Distribution)

In the music industry, or any creative industry, a huge key to success is ‘who you know’.

It is crucial you know the right people, and in order to do so, you must first master the art of networking. These relationships will help to cultivate your brand, and introduce you to other connections who have made a difference in your field.

Here are a few tips that will help you make the best out of networking so that over time, with a bit of practice, you will become a more confident networker.

First off, you need to find the right people to network this.

A great place to start is with LinkedIn. If you assumed the music industry and LinkedIn do not mix, you are wrong. In fact, most times this platform will contain the only professional contact you are able to find of the person you want to connect with. LinkedIn is the only networking website that professionals are actively using right now, so make sure your presence on that site is clean and up to date. That means you should go through your profile at least once a month and make sure it is current.

LinkedIn, like any community, thrives off of engagement. Create thoughtful and genuine content, and most importantly, communicate and engage with your audience/mentors so that they may recognize you online before you meet in person. You will soon start to notice specific names and job positions pop up of the people you need to connect with. At this point it is crucial you start a list so that you can manage your contacts.

Keep track of information such as their name, contact (or link to the best social channel to contact them, the last date you reached out, the next time you want to reach out, and any additional notes you need to remember about that person. Finally, go through your list on a weekly basis to make sure it is up to date, and that you have not forgotten to connect or reconnect with anyone.

The next rule is a big one: do your research.

Find out who you should know, and try to learn everything you can about them. Know what they look like so that if you run into them at a networking or industry event (or even on the street), you are able to introduce yourself. Furthermore, find something that they are passionate about, or better yet, something you have in common. This will show them they you genuinely care about what they are doing, and will make your conversation more memorable.

Finally, and most importantly, let them know what you can do to help them out. Many people have this confused, and are quick to talk about their own goals and aspirations. The truth is they do not need you as much as you need them. Think of any avenue that will help to further enhance their brand.

For example, if they are working on a new project, you could propose interviewing them about the project, and then share the interview via your own channels, or one that has a decent following. If you help them out without expecting anything in return, they will feel grateful, and will hopefully want to return the favor.

Those are just a few rules to help you kick off your networking journey. As mentioned, networking takes time and consistency. If you do not hear back the first time, follow up!

Persistence and patience are key.

Fonte: Symphonic Distribution: Tips for Networking in the Music Industry

Se la copia diventa un capolavoro – Le Cavallerie Rusticane (Adriano Bonforti)

In questa rubrica analizzeremo alcuni casi famosi in cui il copiare ha favorito la nascita di nuovi capolavori che altrimenti non sarebbero mai esistiti. I casi da analizzare sono molti, e non necessariamente recenti: lo stesso Dante nella Divina Commedia dichiara apertamente di aver copiato lo stile di Virgilio quando, dopo averlo visto apparire davanti a sé, gli confessa nel primo canto dell’inferno : “Tu se’ lo mio maestro e ‘l mio autore, / tu se’ solo colui da cu’ io tolsi lo bello stilo che m’ha fatto onore.”

Oggi parlerò di un caso musicale che fece scalpore nell’Italia di fine ‘800, e che coinvolse alcune figure che hanno fatto la storia della Cultura italiana: lo scrittore Giovanni Verga, il compositore Pietro Mascagni, ed Edoardo Sonzogno, il più grande editore italiano dell’epoca assieme a Giulio Ricordi. Nella vicenda fa capolino, seppur non ancora con i poteri immensi (e con le immense distorsioni) che ha oggi, una nostra conoscenza di lunga data: la neonata Società degli Autori (oggi SIAE), che ha tra i suoi fondatori alcuni dei protagonisti della nostra storia: Edoardo Sonzogno e Giovanni Verga.

Sonzogno era un editore illuminato, ed ogni anno organizzava un concorso di composizione di opera lirica per scovare giovani talenti. Considerato l’enorme successo popolare che riscuotevano le composizioni di opera lirica presso il grande pubblico, potremmo quasi paragonare il concorso ad uno dei tanti concorsi televisivi che si organizzano al giorno d’oggi per scovare nuovi talenti. Con almeno una differenza: la (serissima e referenziatissima) giuria all’epoca poteva impiegare anche due anni per analizzare a fondo tutte le opere inviate e decidere a chi sarebbe spettato il premio in denaro ed il privilegio di veder rappresentata la propria composizione in un grande teatro italiano.

Non è un caso che il giovane Mascagni, all’epoca ventisettenne, avesse riposto in questo concorso tutte le sue speranze per poter diventare famoso e rivalersi delle feroci critiche che gli venivano rivolte puntualmente dalle colonne de “Il Risveglio” la rivista locale della sua amata Cerignola. Mascagni compose l’opera in soli due mesi, chiedendo ai suoi librettisti di adattare per l’opera la celebre novella “Cavalleria Rusticana” di Verga, il cui adattamento teatrale ad opera dello stesso Verga era molto conosciuto all’epoca.

Mascagni vinse meritatamente il primo premio: l’intermezzo della Cavalleria da lui composto è una delle pagine più belle in assoluto della tradizione operistica italiana. In vista della prima rappresentazione, Mascagni chiese quindi l’autorizzazione a Verga riconoscendogli il diritto di “imporre i patti” che avesse ritenuto “utili o necessari”. Verga concesse a Mascagni l’autorizzazione per l’esecuzione, sembra molto vagamente e con scarso interesse. C’è da dire infatti che la novella era stata già adattata pochi mesi prima come opera lirica da Stanislao Gastaldon, sempre con l’autorizzazione dello scrittore, ma aveva ottenuto uno scarsissimo successo, e Verga non immaginava evidentemente, neanche per questa nuova versione ad opera del Mascagni, un destino troppo differente da quello della versione precedente.

La versione di Mascagni, rappresentata per la prima volta il 17 Maggio 1890 al Teatro dell’Opera di Roma – conosciuto allora come Teatro Costanzi dal nome del costruttore – riscosse invece da subito un enorme consenso di pubblico, e fu solo allora che Verga si attivò con veemenza, intentando una causa a Sonzogno ed a Mascagni per vedere riconosciuto il proprio diritto d’autore, con parere favorevole della SIAE.

La questione sembrò risolversi definitivamente con il versamento di un’ingente somma da parte di Sonzogno in favore di Verga. Tuttavia pochi anni dopo, nel 1907, Verga, probabilmente per astio, spinse un altro compositore, Domenico Monleone, a comporre una nuova Cavalleria Rusticana. Per qualche tempo questa nuova Cavalleria rivaleggiò addirittura con la versione di Mascagni, bissandone il successo.
A questo punto però, con un notevole colpo di scena, furono Mascagni e Sonzogno ad intentare una causa verso Verga e Monleone (nonostante l’opera di Monleone non contenesse neanche una nota dell’opera di Mascagni), ottenendo di fatto una damnatio memoriae della nuova versione. Il povero Monleone fu costretto a cambiare la sua opera fino a che questa non divenne irriconoscibile, ripresentandola al pubblico quasi dieci anni dopo con il titolo “La giostra dei falchi”.

Chi ebbe ragione, chi torto, chi fu vittima e chi carnefice, chi ci guadagnò e chi ci perse, alla fine? È difficile, in questa trama ingarbugliata, prendere le parti di qualcuno. Certo è che grazie a Verga, Mascagni poté avvalersi di una trama di grande potere evocativo, da cui trasse un’ispirazione per la sua musica che non trovò più nella vita. D’altro canto, grazie all’adattamento di Mascagni, Verga poté guadagnare molti più utili di quanti non ne avesse accumulati precedentemente; e grazie a questi utili avrebbe potuto effettivamente vivere una serena vecchiaia, se il susseguirsi di processi non avesse inasprito il suo disprezzo per il mondo, trasformandolo un pò nel suo Mastro Don Gesualdo, personaggio principale dell’omonimo romanzo, così attaccato alla sua “roba” da farla diventare la sua ragione stessa di vita.

Forse tutte le parti hanno la colpa di aver visto la Cavalleria esclusivamente come “roba” propria, e di non aver capito che tutte le parti in gioco avevano contribuito equamente alla nascita di un nuovo capolavoro o, meglio, di nuovi capolavori. E forse le uniche vere vittime sono state la cultura ed il pubblico, che per tutto il ‘900 e fino a tempi recentissimi (una volta scaduti i diritti d’autore) non ha mai potuto assistere ad un’esecuzione pubblica della “terza Cavalleria”, tutto per un pasticciaccio brutto di diritti d’autore.

Adriano Bonforti – Founder at Patamu.com
Twitter: @adribonf

Fonte: Se la copia diventa un capolavoro – Le Cavallerie Rusticane