Wednesday, December 9, 2015

Modern Vs Classical Music

   From the 12th century to the 21st century music has been vital to everyday life. Whether the music is coming from the trumpet playing an old time classical or from the beat boxer raping his favorite tune song; the creativity and passion for music starts to flow out of every person who lets it. Music had changed drastically over the years. Three ways music has changed is by adding instruments, changing the message, and by changing the purpose. A lot of people have been exposed to music, whether it’s classical or everyday modern.
          
  The basis of music has changed, since the early days of just playing one instrument and singing the thoughts that pop into the singers head. Music started out with little equipment and has only progressed since. Today, music goes through a process before it’s even heard. There is so much work put into having a song sound good. Back in the old days, music was played out of enjoyment. It came from the heart. Classical music is known to have a wide dynamic range and will often speed up and slow down at different times. While modern music often expresses emotion through the singer, there is more of an emphasis and variation that in classical music. From classical to modern music the amount of instruments has increased tremendously.
          
  In classical and modern music the message differs in each century. Whether the people know it or not music can affect their mood and influence their behaviors as well. Music had personalities, which can express what people feel. Each song touches someone through ways like teaching a life lesson or by touching you heart. Every generation has music that impacts the world by motivating people to do certain things or defines a person’s personality. Each had music sums up the generation. Classical music generally gives the message of relaxation and peace. Modern music has many messages depending on the genre. There is a song for every mood. Within each century the message changes through each passing mood.
         
   In modern and classical music the purpose for the songs written had varied. Classical music’s purpose is generally to entertain an audience and to excite listeners emotionally and intellectually. While some modern music is developed to stimulate in similar ways, it also diverges from classical music. Most modern music is developed simply for dancing, which is uncommon for classical music. Whether your purpose is to dance and jump around or to relax in bed, there are endless possibilities.

         
   Throughout the years, each music genre has been imperative to oneself. Music is what moves everyone, and without it, life would be meaningless. From an old hymn to a funky lyric; the intentions have changed but one thing still remains. Music has and will always be a way of life to our culture.  Music has transformed by adding instruments, changing the message, and by altering the purpose. Although music has changed through each passing year; it is still vital in how we view life today.

Tuesday, December 8, 2015

Hans Zimmer - THE MAN OF STEEL

A bold new approach by Academy-Award winning composer Hans Zimmer.  The result couldn't be more different than Williams' beloved and now more than 30-year old score.  Where John Williams used brass fanfares and snare drums accompanied by full symphony orchestra Hans Zimmer uses a 12-member drum band of renowned drummers accompanied by 8 pedal steel guitars, and synthesizers. 

Zimmer has composed two principle themes for this score.  The first is a theme representing Superman's hope and struggle to become part of human race.  This delicate piano theme was featured at the beginning of the third trailer for the movie released earlier this year.  Incidentally, the entire cue from the trailer is included on the album in track 17.  This theme, the Humanity Theme, finds liberal usage in several cues including the highlight cue, Earth, which presents several satisfying variations.  Like his theme from Inception, Time, the Humanity Theme is very simple, but it touches the heart in its intimacy especially played so tenderly on the piano.

Henry Cavill as the Man of Steel
The second theme is Superman's.  In composing this theme and anthem Zimmer has stated that he procrastinated for three months just feeling intimidation at the prospect of treading in John Williams' shoes.  For those like myself who have grown up with John Williams' epic theme and can whistle and air conduct it on command its hard to imagine anyone topping Williams' legendary effort.  That said I had high hopes for Zimmer especially since he has composed some amazing themes such as those for Crimson Tide, The Lion King, and Backdraft.  The result is a theme or really anthem, much simpler and shorter in construct than Williams' work, that will likely find popular appeal.

Superman's theme first appears in the Look to the Stars where it receives a restrained and very slow tempo treatment conveying a sense of reverence and nobility.  Some alluring vocals enhance the beauty of this cue.  The best performance of Superman's theme comes in the concert-fit piece What Are You Going to Do When You Are Not Saving the World (that's a mouthful).  This cue begins with the humanity theme and then at 1:23 the drum march subtly begins.  Over the next minute the music continues ascending and building anticipation until at 2:41 the full on anthem explodes and you cannot help but envision Superman flying triumphantly through the air.  Chill inducing?  Yes!  Exciting?  Yes!  Inspiring?  Yes!  Zimmer's approach couldn't be more different than Williams', but at its core Zimmer's anthem inspires the same feelings of elation as Williams' theme.  Unfortunately, nowhere else in the score on album does that anthem reach those same heights.  This is Clark Kent and Flight do offer some swell, but short variations on the anthem.

Zimmer's Man of Steel Drum Band
Percussion obviously plays an important role in the score.  Oil Rig brings on the big drums in beat-you-over-the-head fashion.  The first minute of Terraforming features my favorite drum march performance on album.  Probably the most intense drumming comes in This is Madness! where the drummers go gangbusters for almost four minutes with virtually no other accompaniment.


The destruction of Krypton was an epic part of John Williams' score and so too for Zimmer's.  If You Love These People is a perfect merging of guitar, the drum band, and the chorus.  At its climax the cue recalls some of Zimmer's best choral action work from The Lion King.  The finale of the cue reprises the violin solo heard earlier during the cataclysm of Krypton's destruction with a beautiful solo violin.  Don't be surprised if you find yourself wanting to hit the repeat button when you come to this cue!

Friday, December 4, 2015

Knowing your rights

Copyright means the protection given by the laws of the U.S., as well as many other countries of the world, to the original works that a writer creates. The works can be songs, or underscore to films and television programs, or symphonic or electronic pieces, or advertising jingles or any other original creation of music, lyrics or both. 

The Copyright Law gives to the copyright owner (the writer, publisher, etc.) of a work, a number of exclusive rights which are good for a specific number of years. The law also puts certain limits on those rights. The exclusive rights include the right to produce a work in copies and records; the right to prepare derivative works; the right to distribute copies of the work; the right to perform the work; the right to display the work; and most recently, a limited performance right in sound recordings digitally transmitted. 

In late 1998, Congress passed the Sonny Bono Copyright Term Extension Act which changed the 1976 Copyright Act by significantly increasing the length of time a song remains under copyright protection. Different rules though apply for songs written prior to January 1, 1978 and those written on or after that date. 

For compositions written on or after January 1, 1978, the basic term of protection is the life of the writer plus 70 years. For example, if two 20 year old writers wrote a song in 2005, and one lives to be 50 and the other lives to be 100, the copyright protection for that song would last for 150 years from its creation. In this case, the protection would last from the time the song was written through the life of the last living writer (i.e. 100 years minus 20 = 80 years) plus an additional 70 years. 

For compositions written prior to January 1, 1978, and which were still under copyright protection as of the time the Term Extension Act was passed, an additional 20 years of protection was added to the old law's terms. As the total number of years of protection for most pre-1978 songs under the 1976 law was 75 years (28 original years + 28 renewal years and a 19 year extension), the term of protection for these works has been extended to a total of 95 years from the original date of copyright. 

As to "works made for hire" written on or after 1/1/78 (many compositions written for film and television fall into this category), the new law's term of copyright protection is 120 years from creation or 95 years from first publication, whichever expires first.

Tuesday, December 1, 2015

Genre Discussion - Country Dance Music

Country Dance Music

(aka CDM)


Country Dance Music, 
  • Basically a 4/4 beat structure
  • Electronic production overlaid with folk or country melodies or vocals


CDM origin,
  • What happens when you mix a Luke Bryan song with Eminem?


(Luke Bryan - new age country singer)


Results,
  • Creates a RAGE in traditional country music fans.
  • But answer is simple: PEOPLE DANCE



DJs in clubs,
  • Nashville record labels are bringing it to MAINSTREAM
  • Second life by remixing country witha thumping techno making them dance tunes.


(Carrie Underwood / Dolly Parton) 



Reasons,
  • Country music isn’t slow - it’s party music.

“We’re keeping the music, but just giving you a different way to listen to it” - Jason Aldean.


Pop and country is also blend together, challenging task.

Adding elements like,
 - accelerated dance beats
 - drums
 - keyboard
 - electronic sounds
keeping the original guitar track to maintain the root of the song.


Young generation market:

Huge trend toward hip-hop, EDM and other styles of dance music.
“I’ve noticed as much as people want to two-step and waltz all night, there’s a lot of people who just want to shake it.” - DJ DU.

COMBINE THEM.!!!! CRAZY PARTY

Current country singers, grew up listening to hip-hop as well as country. So a lot of their melodies have a hip-hop element to it.

Balance, keeping the country roots while adding new remix flavor.







Bibliography:



http://www.maniacmusic.net/home/blog/5-new-music-genres-you-need-to-hear-in-2015

Reviewing Kontakt

 Native Instruments Kontakt 5 is a robust and versatile soft sampler that operates as either a standalone or as a plugin within your DAW. It delivers tremendous value for its price, but how much you get out of that depends on your musical goals and willingness to delve into the guts of the sounds you are working with.

                                                                                                      SAMPLER VS. SAMPLE PLAYER
Kontakt Player
There are a lot of sample playback engines on the market. NI’s Kontakt Player (which is a separate but related product) is among a strong pack including EastWest’s Play engine, Vienna Symphonic Library’s Vienna Instruments, Best Service’s Engine 2, and a whole lot of others. You can get good mileage out of simply buying instruments that come with their own playback engine, but what you will miss out on is the deep customization and sound creation power that a full sampler offers. Kontakt 5 performs all the functions of its little brother, the Kontakt Player, and goes far beyond that. It offers a full-fledged suite of tools for you to edit existing instruments or create your own from raw sounds. You don’t have to be an expert to benefit from these tools. It is easy to pick up the basics, and there are many resources available for those who wish to learn the deeper intricacies. Once you realize all the ways you can improve the instruments you own, or tailor them to your workflow, you may find it hard to go back to more restrictive sample players. It is worth noting that not all libraries that work in the full version of Kontakt are available in the Kontakt Player format. Many developers do not go through Native Instruments due to the costs involved in obtaining the license. The full version of Kontakt offers access to a far wider variety of sounds.

Kontakt with Orchestral Instrument
KONTAKT VS. OTHER SAMPLERS
    There was a time when Kontakt was the de facto standard format in which sample libraries were developed. It supplanted Gigastudio, the original king of the softsamplers, and for a while it was nearly the only game in town (particularly if you worked with orchestral sample sets). Increasingly of late, though, developers have shifted to their own proprietary engines like Play and Vienna Instruments to deliver their content. Despite this move, Kontakt has retained a massive cast of providers who offer top notch, cutting edge libraries which are unavailable in other formats. Kontakt isn’t the only softsampler available. Users of Logic have EXS24 at their disposal, Steinberg offers their Halion sampler, and other competitors dot the electronic landscape. However, none have nearly as broad or deep a community of developers as Kontakt can boast. This advantage translates into both more options for the consumer to choose from when looking for new sounds, and more resources for those learning how to create content.


KONTAKT VS. YOUR HARD DRIVE

Kontakt with effects rack
    Kontakt 5 comes with 43GB of instruments. Even in this day and age, that can be a big chunk of real estate on your drive. If your computer is current, you likely scoff at such trivial amounts. But if your machine is a couple years old that space may not be as easy to come by. Are those instruments worthwhile to have? If you are a beginner just starting out in producing sampled music: absolutely! The Kontakt library covers all bases, and if you purchase Kontakt 5 as part of one of the Komplete bundles, you’ll have even more sounds at your disposal. Orchestra, choir, world instruments, rock bands, synths, and more are all represented in the sprawling library. The instruments all have many parameters you can tweak and are of uniformly good sound quality. If you’ve been working with sampled instruments for a while, you probably have better examples of much or all of what K5 provides. None of what it offers could be considered ‘best in class,’ which can make it a frustrating decision trying to figure out if it is worth having 43GB of dead space on your drive. You may find a few useful patches interspersed throughout the library, an esoteric bit of this or that which your arsenal lacks. In my case, I rarely find myself reaching for anything in the Kontakt library, but I’ve also nearly bankrupted myself buying sample libraries.

Thursday, November 26, 2015

SaxLab - a vst that makes you a brass specialist

  The original SaxLab was a software instrument that, with a bit of work on the user's part, was capable of producing not just decent saxophone sounds (of the soprano, alto, tenor, bass and baritone variety), but also a pretty good approximation of a flute.  In truth, it's never really been bettered, but that hasn't stopped LinPlug from attempting to deliver some improvements in this update. For the most part, SaxLab 2 sticks to its predecessor's successful blueprint, but adds a number of features that are designed to lend a breath of fresh air to your projects.
This is a sample-based plug-in, and sounds – which are monophonic – are produced using three layers: Main deals with the pitch, Keys emulates the sound of the saxophone's metal keys being played, and Air covers breath and airflow sounds. You can balance the levels of these layers in SaxLab 2's interface.
Next up is the Body section, which contains a filter that modulates the sound using an envelope, an LFO and real-time MIDI controllers. There's also a Deviation setting, which ensure that every note sounds subtly different – as they would if they were being played by a real saxophonist.
SaxLab Plugin

    Then there are chorus and reverb processors, a tuning section and an easy-to-use MIDI Learn system. At first glance, little seems to have changed on the SaxLab interface, but investigate a bit more thoroughly and version 2's improvements reveal themselves. In the Envelope section, the Velocity to Envelope control has been replaced by an Enhance control (this adjusts the attack transients of notes), while the Volume, Keys and Air controls are now routed in parallel.
The Performance section, meanwhile, has been totally redesigned, and offers many more control sources and destinations to increase realism. The Growl effect is a welcome addition, while the LFO boasts a new waveshape and a better attack characteristic. In the Deviation section, there's a dedicated control for the Air parameter, while there's an improved Reverb algorithm in the Effects menu. Finally, the microtuning system now supports TUN files, and LinPlug has included its preset management system. SaxLab 2 doesn't look or feel like a massive update, but then it didn't really need to be. The improvements in this version aren't exactly eye-catching, but should please both new and existing users. The supplied presets sound pretty good out of the box – it's possible to get some really beefy growl in the lower registers, while soft, sweet top-end tones are also easy to produce – and if you spend some time getting to know the more advanced features of the software, the results get even better. While we can't really recommend using this plug-in for solo performances, it's a winner when employed as part of a mix. It's also refreshing to find a 'real instrument' emulation that doesn't require you to install a huge amount of sample files before you can use it. SaxLab 2 is undoubtedly a specialised product – casual fans of the instrument will enjoy using the presets in their ROMpler of choice – but if you need to use saxophone sounds regularly, it remains an excellent buy.

MIDI Controller - 101 guide for a beginner

 MIDI keyboard controllers are becoming more and more popular today, seeing that technology continues to improve and musicians everywhere are slowly beginning the migration process of switching to a digital setup. I know people who still abide by analog equipment for mixing and mastering, but still use their MIDI controller frequently for various functions in their studio. We’re huge fans of keyboards and although we still love vintage synths and what not, you just can’t beat the cost-effectiveness and overall usefulness of a keyboard that is custom depending on which virtual instrument you’re using, creating an endless amount of possibilities for sounds and effects. Let’s review the top 10 best MIDI keyboard controllers available today — both for those who want the best of the best or are on a budget and want the most affordable.


How to choose your MIDI keyboard controller

First thing’s first: you need to take a few valuable questions into consideration when you’re choosing your MIDI keyboard controller. Here are some important questions to ask yourself before taking a look at what’s out there:

What is your budget? This is the most important question to ask. There are numerous choices for any price range, from under $100 to $500 or more.
How many keys would you like your controller to be? There are numerous options, such as: mini-compact 25, 32, 37, 49 (the most popular), 61, or even 88 (the highest — the equivalent to a real piano).
What type of key-make would you like? Whether it’s synth-action, semi-weighted, full-weighted or equipped with aftertouch, it all comes down to preference.
Is portability important to you? If so, you need to keep the overall size into consideration.
Do you want your controller to have MIDI pads? A lot of keyboards coming out nowadays include drum pads, typically within the 8-16 count range with 3-4 possible banks.
Are any other functions desired? Such as knobs, faders, buttons, arpeggiators, mod and pitch bend wheels, or various other performance controls.
Does the software bundle included with the keyboards matter to you? Some come with hefty programs and VST’s while others do not.
Is there a brand preference? Akai, Alesis, Arturia, Novation and Korg are quite popular, but there are also some lesser known brands who make high-quality MIDI controllers.

Wednesday, November 25, 2015

AVID ProTools

AVID PROTOOLS

"if you have protools and you're thinking of just saving for a digi 002/3 or some other digi interface. Just get the protools 10" 
Protools 10 & 11 with the Avid-Interface

Sound: Well, you can't really characterise the sound of the DAW, its all based on the D/A conversion from the interface. However, with an iLok PT9 can operate as a stand alone edit/mix/master DAW and the sound coming out of my monitors directly from my computer's audio out is pretty good, I'd still like to trust the conversion from my interface rather than from whatever driver PT uses between it and the computer's audio out, I'm using a Macbook Pro's 1/8th" headphone out as the line into my monitors for this example. Typically my interface is an Echo Audio fire 8 into my monitors and there is certainly a higher level of clarity when the interface handles the conversion. This Product COMPLETELY helps me to achieve the sound I'm looking for. I've been using ProTools since 7.2/ 7.4 HD and LE. My home studio (LE) is really hooked up with PT9, backwards compatible with all of these versions of PT and it works with everything flawlessly, edits, mixing, mastering. I love it. still getting used to multitrack Beat detective but its great great great! one of the questions is how does it sound Live versus a recording. Its a DAW. But with a digi002/003 console you actually could just make all aux tracks and use the ins from the digi and route audio to other aux's that have reverbs and compression and parallel processing. 
So long as your comp can handle that...you could actually do some great live mixing with ProTools 9 and an interface with line ins/outs and a multichannel power amp. I've used PT9 in two different rooms with monitors (same echo audio interface, different sets of monitors) and with some sony headphones and just the laptop speakers, works well across all platforms. my only tip to make this product to sound better is more of a complaint with the Echo company, PT10 only recognises the outputs of my interface as valid outputs, which makes sense. but my audio fire won't route the signal out through the headphone jack so monitoring overdubs of some solo guitar stuff or what have you has become a tedious task. I've had to route signals to my other outputs of the audio fire to a mixer and then sub mix that stereo signal to an aux for headphones...which actually wound up being a good way to get multiple headphones to do tracking live. Again all of this is mostly due to the feature of the Echo not having the Headphone out being recognised as an "output" in PT.

Feature: ProTools is the best. Thats why its called Professional Tools...its the best 

Ease of Use: Its protools. Mix window- Mixer! edit window-(if you will) Tape deck, for edits 

Quality: PROTOOLS! thats all there is to it. Value: Worth it. 

Manufacturer Support: Never needed it. there was a hang up with getting the ilok authorization. Don't use Chrome ilok's website doesn't support it just us Safari or IE 

The Wow Factor: always have to stay on the up and up with technology these days....especially with music production... if you're a musician, learning the language of protools helps when you get into a real studio, if you're and engineer than this is a must have. 

Overall: Its Professional Tools...or Nofessional Tools

Sunday, November 8, 2015

My Favourite Audio Sites

Freebies:

http://hiphopmakers.com/ --- VST & Royalty Free Music

Monday, October 19, 2015

Zoom H5 - Tough & Durable

ZOOM H5 - Tough & Durable


The benefits to this H5 are:
Very small form factor. Hand held in the palm of your hand. 

Much better sound floor than the H4N.

Needs only two AA batteries. Unfortunately doesn't accept the new high capacity batteries

Modular mics that are pretty damn good

Gain control without zippers 

Real 4 channel XLR recorder/mixer with the optional plug in module

modular shotgun is actually pretty good!

Sound quality overall is pretty good! Definitely better than the 4N

If you need a recorder for both video shoots, and live concert situations, this is probably the best thing going without carrying a bunch of mics and a unit like the Tascam DR-60 or the Marantz PMD 661. A really good all around recorder. For the one recorder I'll carry when I need to do the job, it will be the H5.


For live recordings where I'm close to home, I'll bring the Marantz with it's better pre amps. For overall use on video shoots, I'll bring the H5n. For travel, it's a no brainer, the H5n. For live field recordings, I'll plug the Marantz into the board, and leave it be, attach the H5 to the video camera and do a dual recording with -12dB into the recorder, and then send it out to the camera. Will cover all bases that way. If, while shooting a concert, I get a chance to do an interview, will plug in a lav to the H5, and continue to spool out audio to the Marantz off the board while taping the interview on the H5. This will give me full coverage. Then when playing music with folks, can just set the H5 on a table top tripod and run it. Sort of a swiss army knife without tying up my cell phone recorder. 
Both the Marantz and the H5 are excellent performers with a slight edge to the Marantz on sound quality. If you want the best quality, then go with the Marantz or a better quality Tascam, like the 680 or just go buy a SD. They are the best quality sound and build. But for those of us in small outfits with a lack of audio engineering in the field, a H5 will not be a bad buy. 
The Tascam DR-60 is good, but you have to bring a mic, as it doesn't have one on the first generation units. But for what it does it does it well.


Basic operation is straightforward – you turn it on, select which inputs you want to record, set the level and press record, all of which is done using the front panel controls. The level meters start working as soon as you select the inputs and the protected volume controls make it easy to set the levels and get going. The screen is compact but uncluttered with all the information you need readily available, such as available recording time, battery status, file name, level meters (from -48dB to 0) and the chosen recording format (which defaults to 16-bit, 44.1kHz wav files). They’ve done away with the multi-track record mode and the effects unit, which, when used together, made the H4N a powerful multi-track recorder with various amp models and effects. My initial reaction is that this is a pity, but on reflection it’s sensible as very few people utilised this functionality.

You have a choice of two common file formats – MP3 and Wav. Wav files can be 16 or 24-bit with sampling rates of 44.1, 48 or 96kHz, although 96kHz is only available in stereo recording mode, as are MP3 files (which allow bit rates from 48k to 320kbps). Wav files are automatically time stamped and are thus Broadcast Wave Format (BWF) compliant. The H5 utilises SD and SDHC cards for storage and supports anything up to 32 gigabytes. The included 2GB card can store about 14 hours of stereo MP3s at 320kbps, three hours of stereo 16-bit/44.1kHz or an hour of stereo 24-bit/96kHz Wavs.

The pre-record function, when enabled, is continuously recording such that it can capture the two seconds before you press the record button, as well as an auto record function that can be set to record when the volume exceeds a user-defined level (and stop when it drops below a set level). 

And then there’s the potentially life-saving Backup-Record feature, which automatically records a duplicate set of stereo tracks that are 12dB lower than the original pair – although this only works when recording stereo Wav files at 44.1 or 48kHz. 

In operation the recordings are clean and clear. The default X/Y microphone capsule includes rugged rubber shock mounts, which help isolate handling noise and the X/Y configuration enables the capturing of a detailed stereo image while ensuring centre sources are clear and well defined; it can also handle sound levels up to 140dB SPL. 

The line inputs use the same high-quality preamp as the H6, and support professional line level input (i.e. +4dBu), which is an improvement on the H4N, whose balanced input was configured for -10dBV operation, which often meant you had to pad the output from professional gear (such as mixing desks) so as to not overload the inputs.

So overall it’s a very capable and straightforward portable recorder, equally comfortable perched on a mixing desk, in the palm of your hand or sitting on top of a DSLR camera (via the optional hot shoe mount adapter). The interchangeable capsules provide new levels of versatility and flexibility and the lengthy battery life make the H5 a very worthy successor to the much-loved H4N and a powerful handheld recorder in it’s own right.

- Roger Walker
19 Oct 2015

Monday, October 12, 2015

Dolby Atmos: the cool new kid in town

DOLBY ATMOS: the cool new kid in town


    Dolby Atoms is the new addition to the AV world. Experiencing the surround sound from this amazing setup is something magical to a layman. The whole new addition to the .1 (point one) concept which made this stand out from the others were the pair of speakers mounted on the ceiling or the upward firing speaker units(optional). But for a audio professional this opens up a whole new platform, by moving sound in a three dimensional form instead of just panning them around the front and rear speakers. It is achieved by a object-based processing. This allows engineers to explore and deliver the best theatrical experience ever. Dolby Atmos is definitely a useful tool to a content creator.
Pioneer Elite Series (Upward firing speakers)

Breaking it down

Dolby Atmos Setup:
    Dolby Atmos is basically enabled by the new Atmos-equipped receivers that decode the content and delivers it to the speakers connected. This allows us to customise our setup from 5.1.2 to the current max 24.1.10 (Yep, that's 24 speakers, a subwoofer and 10 ceiling speakers.) 

Atmos speaker setup in 5.1 and 24.1

    Now, that’s a crazy setup which will cost a lot. Pioneer and Onkyo are offering such fairly priced, affordable Home Theatre in a Box (HTiB) as Atmos systems or as add-ons for your existing Home theatre setup.

Check out available systems:


Mixing in Dolby Atmos:

The basic approach in creating a Atmos mix are,
1. Mixing the existing stems
2. Premixing in Atmos
3. a Hybrid (combination of existing stems and the original source element)

    Mostly existing 5.1 source material is used for this approach. These stems usually consist of dialogue, music and FX (a huge clip list of Bg’s, sound design and foley).
Here the most important decision is making the choice, differentiating the elements for a traditional channel-based pattern, from the elements which are being highlighted by turning them into audio objects.
    According to several reports found online. Professionals prefer to do the premix in Atmos to have control of every element. But not every production has the luxury of doing the premix and the final mix on a Atmos stage. The premix is done in smaller rooms and edit suites with some plugins that help you to use the Atmos tools without the rendering and mastering unit hardware. The current VST supports unto 16 audio outputs used to mix in a Atmos configuration using 9.1 / 7.1 / 5.1 setup.
Finally when the mix is opened in a Atmos atmosphere, the mix reviles itself. Professionals prefer this workflow as the most effective and efficient way of working through the mix.

    Many State-of-the-Art Sound technology companies have made these plugins. AURO-3D is on top of the list. 
AURO-3D (Plugin Interface)
Check out AURO Technologies: http://www.auro-3d.com



   Even though I call this technology, the cool new kid in town. I would conclude by saying Dolby Atmos should evolve more; to offer the same experience to a home theatre audience, when considering the theatrical experience. I personally enjoy surround sound and was quite content with two excellent stereo speakers and a sub. Now I have a 5.1 and after doing all this research on Dolby Atmos, I’m seriously considering on getting a Atmos AV receiver and adding some speakers on the ceiling to get that rich surround sound effect.

- Roger Walker
Oct 12, 2015

Wednesday, October 7, 2015

headphones KILL

|headphones|KILL !!!

Since the invention of the Sony Walkman in the early 1980s, personal stereos have been ubiquitous. Being able to listen to your favorite music pretty much anywhere without bothering others accomplishes everything from passing the time while traveling to fueling workouts to discouraging chatty strangers. It’s the ultimate tune-out in a sometimes overly crowded world.

Young people, in particular, have an affinity for headphones and earbuds. The problem is, they also have an affinity for blasting their music, movies, or video games, and often don’t understand the long-term damage they could be doing to their hearing.

The National Institute of Health reports that 28 million Americans suffer from significant hearing loss–10 million of which were caused by noise exposure. Here’s what you need to know to keep your and your kids’ hearing intact:

Risk Factors for Hearing Loss
There’s no question that exposure to high decibels can cause hearing loss. High energy sound waves will over-stimulate and, eventually, kill the hair cells in the inner ear, with high-frequency cells usually being the first to go. Even if the cells aren’t completely killed, damage to them causes diminished hearing and tinnitus, which is that ringing you hear after a loud concert. Tinnitus can be permanent and debilitating.

Earbuds that nestle the speakers directly in your ears are the most dangerous, according to audiologists, because the unfiltered sound is closer to the delicate structures of the inner ear and can cause more damage, and faster, than equally loud ambient noise.

The Distraction Problem
Even if you have your music turned down, headphones or earbuds create a very real problem with distraction. Most runners wear them, which means they can’t hear ambient noise like cars or, frighteningly, attackers coming up behind them. It’s even more dangerous for cyclists to listen to music while riding, since they’re on the actual road with traffic. Even pedestrians who wear earbuds are at greater risk of an accident, not only because they can’t hear what’s going on around them, but also because music causes people to tune out their surroundings. It’s fine when you’re sitting on an airplane or a bus. But when you’re out and about, especially in the city, you need to be more alert than personal stereos allow.

Working Out with Headphones
Did you know that when you’re exercising, your hearing is even more susceptible to damage because the blood is flowing to your muscles, lungs, and heart and away from your ears? In addition, when you are working out in a loud environment, such as a gym or area with a lot of traffic, research shows you are likely to turn up the volume to drown out the ambient noise. This, combined with greater sensitivity of the ears is a recipe for hearing loss.
There’s one more thing to consider when working out with earbuds or headphones: scientists tell us that we’re more likely to be injured because music distracts from what’s going on in our bodies while we exercise. Sure, that’s one of the benefits—you can bear the discomfort of running a little better with Rihanna pumping through your head—but the music can also make you miss or ignore pain that could be a sign of real injury. In addition, music makes it hard to regulate how hard you’re working, unless your playlist is specifically designed for the optimum pace of each part of your workout, which makes it easy to overextend and burn out early.

Kids and Teens
Kids and teens in particular are in danger of noise-related hearing loss. Not only does music play a huge part in the lives of most teens, but they also tend to listen longer and louder than adults. According to a report in the Journal of the American Medical Association, hearing loss among teens had risen to nearly 20 percent of kids age 12 to 19 by 2006 (compared to 14.9 percent from 1988 to 1994). Experts warn that–even when it occurs in childhood–hearing loss is not reversible, and is more likely to progress with age.


Unfortunately, hearing loss in teenagers can affect more than just whether they hear you calling them for dinner. Compromised hearing has been shown to have a detrimental effect on both academic performance and social development. Researchers have also found that boys are more likely than girls to suffer hearing loss. If you have kids, consider investing in a device that locks the volume control at a healthy level to protect them.

- Roger Walker
Oct 07, 2015

Tuesday, May 19, 2015

Love me like you do

[Intro] 
C  G  Am7
F  G  Am7  

[Verse 1]
           C                
You're the light, you're the night
           Em7           
You're the color of my blood
           Am7
You're the cure, you're the pain
                                    F
You're the only thing I wanna touch
      G                            Am7
Never knew that it could mean so much, so much

           C          
You're the fear, I don't care
            Em7             
'Cause I've never been so high
       Am7
Follow me to the dark
                                    F
Let me take you past our satellites
         G                              Am7
You can see the world you brought to life, to life

[Chorus]
    C                       Em7
So love me like you do, l-l-love me like you do
Am7                      F  
Love me like you do, l-l-love me like you do
Dm                         Am
Touch me like you do, t-t-touch me like you do
Gsus4                G           
......What are you waiting for?

[Verse 2]
       C         
Fading in, fading out
       Em7   
On the edge of paradise
      Am7   
Every inch of your skin 
                                 F
is a holy grail I've got to find
     G                          Am7
Only you can set my heart on fire, on fire

           C                    Em7
Yeah, I'll let you set the pace
       Am7                
'Cause I'm not thinking straight
   F                     G                        Am7
My head spinning around I can't see clear no more
(Gradually mute the Em7) 
What are you waiting for?

[Chorus (x2)]
 C                       Em7
Love me like you do, l-l-love me like you do (like you do)
Am7                      F  
Love me like you do, l-l-love me like you do
Dm                         Am
Touch me like you do, t-t-touch me like you do
Gsus4                G           
......What are you waiting for?

 C                       Em7
Love me like you do, l-l-love me like you do (like you do)
Am7                      F  
Love me like you do, l-l-love me like you do
Dm                         Am
Touch me like you do, t-t-touch me like you do
Gsus4                G           
......What are you waiting for?

[Interlude]
C  G  Am7

[Bridge]
           C                    Em7
Yeah, I'll let you set the pace
       Am7                
'Cause I'm not thinking straight
   F                       G                        Am7
My head's spinning around I can't see clear no more
(Gradually mute the Em7) 
What are you waiting for?

[Chorus (x2)]
 C                       Em7
Love me like you do, l-l-love me like you do (like you do)
Am7                      F  
Love me like you do, l-l-love me like you do
Dm                         Am
Touch me like you do, t-t-touch me like you do
Gsus4                G           
......What are you waiting for?

 C                       Em7
Love me like you do, l-l-love me like you do (like you do)
Am7                      F  
Love me like you do, l-l-love me like you do
Dm                         Am
Touch me like you do, t-t-touch me like you do
Gsus4                G           
......What are you waiting for?

[Outro]
C  Em7  Am7  Fadd9

Saturday, May 16, 2015

Tum Se Hi - Jab we Met

 C     G   F
Na hai yeh pana
F     G    C
Na khona he hai
C       G       F
Tera na hona, jaan
F       G      C
Kuyn hona he hai
G             F      
Tum Se Hi din hota hai
G             F
Surmayi shaam aati hai
         C
Tum Se Hi Tum Se Hi
   G             F
Har ghadi saans aati hai
    G          F
Zindagi kehlati hai
        C
Tum Se Hi Tum Se Hi

 C   G    F
Na hai yeh pana
 F      G   C
Na khona hi hai
 C     G      F
Tera na hona, jaane
 F       G    C
Kuyn hona hi hai 


          C            
Aankho mein aankhe teri
         Em
Bahoo mein Bahe teri
     F               G        
Mera na mujh mein kuch raha
   F
Hua kya
         C               
Bathon mein bathein teri
        Em
Rathe saogathe meri
       F       G    
Kuyn tera sab yeh ho gaya
   F
Hua kya
 G                  F
Mein kahin bhi jaata hun
    G               F
Tum Se Hi mil jatha hun
        C
Tum Se Hi Tum Se Hi
   G               F
Shor mein khamoshi hai
      G       F
Thodi si behoshi hai
        C
Tum Se Hi Tum Se Hi


        C
Aadha sa vaada kabhi
        Em
Aadhe se zyada kabhi
        F        G
Jee chahe karlu is tarah
   F
Wafa ka
        C
Chode na chute kabhi
        Em
Tode na toote kabhi
        F          G
Jo daaga tum se jud gaya
   F
Wafa ka
 G                 F
Mein tera sarmaya hun
 G                 F
Jo bhi mein ban paya hun
        C
Tum Se Hi Tum Se Hi
 G           F
Raaste mil jate hai
    G           F
Manzile mil jati hai
        C
Tum Se Hi Tum Se Hi
 C    G    F
Na hai yeh pana
 F   G     C  
Na khona he hai
 C    G       F
Tera na hona, jaane
F     G      F
Kuyn hona he hai

Friday, May 15, 2015

Main Tenu Samjhawaki - Humpti Sharma

Intro: D

D
Nai jeena tere baju
D
Nai jeena tere baju

D               A         D
    Main tenu samjhawan ki
                 A         D              
    Na tere baju lagda jee
            A         D
    Main tenu samjhawan ki
                 A         D              
    Na tere baju lagda jee
                 Bm       A  
    Tu ki jaanay pyaar mera 
                 G       A
    Main karaan intezar tera 
                   Bm     A
    Tu dil tuhi oo jaan meri


D               A         D
    Main tenu samjhawan ki
                 A         D              
    Na tere baju lagda jee
                 Bm       A  
    Tu ki jaanay pyaar mera 
                 G       A
    Main karaan intezar tera 
                   Bm     D
    Tu dil tuhi oo jaan meri


D               A         D
    Main tenu samjhawan ki
                 A         D      D        
    Na tere baju lagda jee

Bm...A...G...A...D


D                Bm         G             D
    Mere dil wich reh kay mere dil da hal na jaanay
D            Bm             G             D
    Tere baju kalyaan bay kay ronday nain numaanay
           Bm    A
    Jeena mera...haye
          G         A
    Marna mera naal teray c
           Bm     A
    Kar aietbar mera
                   G    A
    Main karan intezar tera
                    Bm   D       
    Tu dil tuhi oo jan meri


               A         D
    Main tenu samjhawan ki
                 A         D              
    Na tere baju lagda jee


D...Bm...D...G...A
Vay changa nai o kita....

D...Bm...A...G...D
Vay bara pachtaiyan....

Bm...A...G...A...Bm...D
 
D                    Bm 
    Sunjiyaan sunjiyaan dil di galiyaan
G                    D
    Sunjiyaan meriyan baawan
D              Bm
    Aaja teriyan khushbuan noo
G                   D
    Labdiyaa meriyaan saanvaa
          Bm    A                 G          A
    Tere binaa..hayaiiii...kivaay karaan door udaasi
            Bm     A
    Dil beqaraar mera
                    G    A 
    Main karaan intezar tera
                    Bm    D
    Tu dil tuhi oo jaan meri


D               A         D
    Main tenu samjhawan ki
                 A         D              
    Na tere baju lagda jee
                 Bm       A  
    Tu ki jaanay pyaar mera 
                 G       A
    Main karaan intezar tera 
                   Bm     A
    Tu dil tuhi oo jaan meri