The Evolution of Logic Pro X

Since I began my journey in Audio, The First DAW i got familiar with was ProTools HD 11. While this is known as one of the best Audio Workstations for recording, I came across many people that were only comfortable with Logic Pro X. Seeing many of my friends work on this DAW, I wanted to learn more about what this software had to offer. This DAW has been running steady for about 21 years. Logic Pro X was launched on July 16th almost 4 years after Logic Pro 9. At one point of time this DAW was a boxed product and only became available to download about two years ago ! All loyal users of Logic Pro were both amazed and puzzled to see the new generation of this DAW, but were apprehensive of whether this interface would be use-friendly. This new generation DAW was designed and influenced by Garage Band, previous Logic Pro and Final Cut Pro, unlike the rumours that claimed it would just be a Pro Garage Band.

Apple's ownership over this DAW not only enhanced the interface by adding additional menu's like Record, Mix and View but added various advanced tool modes that include Tempo, Marker and Event Options. These also come with an array of functions that include mixing in surround, Scoring, MIDI, Surround Mixing and advanced editing options. In Terms of Making Tracks, Logic Pro X , now allowed users to select multiple tracks at one time. This can also be done by using a handy shortcut, just like how you would normally do to select something on the Finder. Command and Click can be used to select various tracks while the same with shift can be used to select the tracks in between. Another interesting addition to the Logic Pro X is the Virtual Drummer. This Virtual Drummer will enable you to provide drums for your session by alloying specific parameters. This Virtual Drummer is includes the very own work of top professionals drummers in the industry and many recording engineers. One of the key Producers, Mixers that played a major role in this feature of Virtual Drummer is Bob Clearmountain.

Virtual Drummer in Logic Pro X

References:

Wherry, M. (2013, September 1). Apple Logic Pro X: Apply Production Software for MAC OS. Sound On Sound

The Latency Dilemma

Among many beginners in the Field of Audio, Latency has always been a lingering concern. Latency, also commonly referred to, as Monitoring Delay can be simply understood as the Lag of Audio that occurs between Audio/MIDI going into your system and the Audio coming out of it. For example, when you connect your Guitar, Microphone, and Keyboard etc. in your Computer. It goes through various stages. These multiple stages make it inevitable for Audio to delay them, just like a Car trying to get from Point A to B with traffic signals in between. The Cumulative fallout of this process, often results in the phenomenon experiencing audio to be ‘slightly Behind’ what you intended to hear.

Latency in a Nutshell

Since we’ve identified what the problem is, I wanted to know more about whether there was a way to work around it. Whether I was satisfied with the answers or not, I learnt more about how the problem occurs. While working with any Digital recording system, there will always be a Analogue-Digital or Digital-Analogue converter. By default these hardware’s produce a delay within what they carry since the Process of Converting it is time-consuming. This works by trying to duplicate the Audio into a digital representation, i.e. Analogue to Digital, while the Reverse includes converting Binary Digits into Flowing Voltage, or analogue signal. Usually, A-D and D-A converters do cause delay, but the extent of it is very minimal. The Delay produced by these converters is around 5 Milliseconds and generally goes unnoticed. Many Digital Multi-track Mixers produce very less delay, all-coming from its D-A converter. However, the consequences of Delay should not be taken lightly. If musicians were to hear themselves through a PA system instead of Headphones, there would be tons of spills into their microphones. If the same were being played via a Digital Mixer or recorder it would result in Comb Filtering between the spill and the sound from the direct source.

Latency from a Microphone to Headphones

Latency can also be mess while working with software synths. Since the Audio Produced is merely by the computer it is impossible to make any tweaks with the help of an analogue mixer. The only logical way to work around this would be to reduce your buffer size in an attempt to decrease the delay between pressed key on the keyboard and the output coming off the synth. To work better with lesser buffer sizes, it would also be handy to experiment with various setting on your DAW and soft synth. An easy demonstration of this would be enabling you’re a sample-based synth to load samples into the RAM instead of streaming them directly from the hard disk to provide for less glitch Audio. While there is no fixed solution to Solve the Latency Dilemma are many Ways to Work around or Try to avoid its dire consequences, So work with what you got and make the most of it!

References:

Inglis, S. (2007, June 1). Living with Latency. Soundonsound.

Dealing with Copy Rights LO18

A Copyright is a legal Protection of One’s own work. In the Field of Music this implies, having sole ownership of the produced Art, along with its Literary and artistic Content. A Copyright commences, immediately after one has Produced, Recorded or documented their piece of Music. Copyrights can also acclaimed on a page of Music Notations (PRS, 2015)

Holding a Copyright enables you to have control of almost any action taken towards your work of art. This means, that one can you have all rights to copy, publish, lend or publish that work in any format at any place. This also grants permission for the owner to perform or choose who performs his/her art in public places. A Major advantage of owning a copyright to your production is the ability to market and communicate it with the people. That is, via broadcasting companies, Television channels and Radio Shows.

In Terms of Music, There are two types of Copyrights that a Musical piece can be subjected to. The First Variable is its composition while its second variable is the recording. In Terms of Musical Composition, The Copyrights are based on the Creative effort of the Composer. This includes the Melody of the piece and the It’s Music Sheet. If the Song has lyrics, Credits are given to the Lyricist by Having Rights over the lyrical content of the track. The Second Variable is the Musical Recording of the track. In this process, The Recording/Sound Engineer in-charge makes subtle changes to the Music/Mix with his own style and creativity. This Copy Right is made to protect the Works of the Sound Engineer and is infringed on as the Tangible Medium of what the Composer has produced. The Recording Copy-right is in no way the same as a Musical Composition Copy-right and neither can it be used as a substitute for it. The Recording Copyright also provides for the ownership of distributing the piece of work (DiMA, 2015)

As for Any work I have done in my University, I do not own any Rights on the Productions. Since All my Productions have been Re-mixing Already Existing Content I would not be Legible to have any Composition Rights or Recording Rights over it. For those of you unaware there is also a section of Content Available that is listed as the Creative Common where the Owner does not own any Copy Right over the Piece of work and allows us to freely experiment with that particular piece of art.

References

DiMA. (2015). Copy Rights in Music.

Retrieved from 

http://www.digmedia.org/issues-and-policy/copyright-and-royalties/139-copyright-in-music

PRS. (2015). About Copy Rights.

Retrieved from http://www.prsformusic.com/aboutus/ourorganisation/aboutcopyright/pages/default.aspx

Bibliography

http://www.digmedia.org/issues-and-policy/copyright-and-royalties/139-copyright-in-music

http://www.prsformusic.com/aboutus/ourorganisation/aboutcopyright/pages/default.aspx

Classic Rock and the Classic Blues LO5

In this Blog Post, I will attempt to compare two Genre's of Music in terms of their Technical Aspects. The Two Genres I will be Discussing are Classic Rock and the Blues. For those of you are not aware of their exact style, I will introduce you to them, Give you a brief history of their origin and list out some of my favourite tracks!

To Begin with is my favourite genre, Classic Rock.In this generation many of us have forgotten it's essence. From Guns and Roses to ACDC and Aerosmith to Led Zeppelin, Classic Rock never fails to inspire me beyond words. The Time period of Classic Rock roughly began from the 1960's to the 1990's. Playing at an average of 120-170 beats per minute, The Classic Rock Genre is characterised by its Solid Guitar Sections Glazed with bursts of Distortions. The Vocals are generally Raw and Raspy that brings out the Rebel spirit that signifies every Classic Rock Enthusiast. It often contains an Intro Guitar Riff Sections Followed by a Outré Guitar Solo, Many of them played from various Pentatonic Scales and derived from arpeggios to create intricate yet blissful solo's. The Rhythm is often played with power chords that are compressed laced with Drum Rolls in Which the High-hats are Crisp and Sharp. The Bass guitar is Subtle while many of the Guitar Effects are Washed with Delay, Sustain, Flangers and sometimes even the Wah. Every Classic Rock Band has their own Style, in terms of Progressions and Lyric Structute and many Classic Rock Bands can play from High Up-beat to Funk to Mellow Tunes. For Example, from Gun's and Roses Welcome to the Jungle to They Single "Patience" is a Ride from High Distortion and up-beat Tempo to a Soothing Acoustic Mix.

A collage of Some Classic Rock bands that Made History

Now, I will tell you guys about a Blues song that holds very Dear to Me. This Single is by a man, popularly known as the King of Blues, B.B. King. This song will cover all I have to say about the Genre, The Blues. This Classic Blues song goes by the Name of Lucille and runs at a Time Signature of 4/4. The clean Guitar lead is the main focus on the Song alongside which the Artist Narrates the history of himself with the love for his guitar, Lucille. This Tone of the guitar is Fairly bright, and includes a mellow saxophone lead. It also comprises of a fuzzy snare and subtle single high-hat hits. Most of the elements of the song including the Vocals, saxophone and lead guitar are run through a a Reverb Track. When the Organ and the Piano play, the Piano is played at a higher Octave. In Term of panning the Vocals, Guitars are centred while the Bass is panned Hard Right. The Blues is also known for its popular strumming pattern and Guitar Leads that comprise of bends, hammer ons also based on pentatonic scales.

The King of Blues, B.B. King

Bibliography

http://www.playlistresearch.com/article/classicrock.htm
http://www.stereogum.com/1690881/what-is-classic-rock/news/
http://www.rockmusictimeline.com/1950s.html