BrianBoyleMusic
The Producer's Forum
Drums, Grooves, and Quantization
12 months ago
Every once in awhile I find myself at a bit of an in pass where I can’t seem to get ideas flowing. A sort of musical writer’s block so to speak. Generally when this happens is when I take the time to learn something new.
Today I am focusing on drumming. By nature I am a keyboard player but I’ve been writing electronic drums since I was 16. Unfortunately however drum machines will never replace the humanized sound of a live drummer. It can be next to impossible to get the desired groove when you are limited to quantized 16th notes, so I’ve decided to take a new approach to recording MIDI drums.
Quantization can be a fantastic asset to any new producer, however for those of you who use quantization on a regular basis, you know how static and robotic it can make a recording sound and feel. With that being said, I decided to learn a little more about drumming and grooves.
My first step in the learning process was to acquire some information about drums and different types of drum patterns. For this I downloaded a book to my Kindle entitled: 260 Drum Machine Patterns
This book contains the most popular drum patterns in modern music and is conveniently separated by genre. Each style of drumming (jazz, rock, etc…) also has a section for breaks so that you can also learn traditional fills.
Once I found the information I needed, I turned to my AKAI MPD drum machine and began learning each of the patterns as if I were a live drummer.
Learning to drum in this way gives your MIDI drumming a more realistic edge and humanized feel. As you quantize the recording however, the realistic edge and humanized feel will dramatically decrease. If you aren’t a great keyboard or MPC drummer I recommend partial quantization. Somewhere between 25 – 50% will clean up your MIDI drumming but still leave those humanized spaces between your drum sounds.
Remember that a drum beat does not need to be perfectly in time to sound “good.” In fact I would argue that is just the opposite. Embrace the imperfections and let your ears be your guide.
Video Tutorial: Recording Vocals
13 months ago
Hey Everybody!
Back again with another ProTools Tutorial. This time we are going to be talking about recording vocals.
Vocals are generally the focal point of any mix. Commonly they are panned dead center and they sit at the forefront of the mix, often rivaling lead instruments in apparent volume. In this video we will be exploring the two different ways that I approach recording vocals.
1. Direct to track: Recording vocals directly to a Mono audio track is the first and most common way that recording engineers get a singer’s voice into ProTools. The benefit of recording this way is that you get the raw performance. All of the frequencies are present, the audio is uncompressed and you have a dynamic performance that you can reshape and mould to fit into your mix.
With this technique, EQ and Compression are added later in the process and can be found as plugins that are inserted directly onto each track. The downside? Say for example you have a session where you have 15 different audio tracks. That also means 15 different EQ’s and 15 different compressors eating up a tremendous amount of CPU power and slowing your session down! Have no fear there is a solution.
2. Through a Mono Auxiliary Input: When recording through an Aux Input the audio goes through the Auxiliary track and is then bussed to an audio track where it is recorded. By putting an EQ and Compressor on the Aux track the audio is being sent into the Aux > through the EQ > Compressed > bussed to the Audio track > & Recorded.
Recording this way prevents you from copying your EQ & Compression settings to 15 different tracks because it processes the audio and prints vocals that are already EQ’d and Compressed onto a new audio track.
If you have any comments or questions please feel free to comment below and as always remember to trust your ears and have fun.
- Brian
Importing Audio / Instrumentals into ProTools
03 months ago
Hey Everybody,
Back again with a new ProTools tutorial. This time we will be discussing how to Import Audio into a session. There are three ways that I generally like to do this.
1. File > Import > Audio to track
2. Workspace
3. Finder
File > Import > Audio to track is the most common and your best bet when importing large audio files such as instrumentals or mix stems {Command + Shift + I}. By default it slides the audio to the start of the session and puts it onto its own track.
The workspace is another way I like to import audio into ProTools {option + ;}. Once you locate the audio that you are looking for within the workspace simply click the sound to preview, and then drag it on to the edit window to create a new audio track. This is most useful when pulling in smaller samples such as .wav drum samples, riffs, etc…
The last option I use is the Finder. The one drawback of using the workspace is that you cannot preview drum sounds while the session is playing back. When this is the case and I would like to hear how a kick would sound within the rest of my mix before dragging it in, I can locate my drum samples in the finder, hit the spacebar, and listen to the kick while the session is playing back.
If you find my videos or blog helpful please subscribe and follow me on twitter @BrianBoyleMusic
Happy Recording!
-Brian
Kick Drum Design
14 months ago
Getting the Kick Drum to sit right in a mix can be difficult. Bass frequencies add up quickly, but a good EQ on both your bass track and Kick drum can take your mixes to the next level.
Like myself, most producers these days are self-taught. Relying heavily on feeling and instinct, it can be difficult to know some of the more advanced mixing techniques when we had nobody to show us the way.
Never fear! Any information you need can be found on the internet. My friends over @winksound tipped me off to this fantastic diagram on Kick Drum frequencies.
The diagram features many of the adjectives that could be used to describe a kick’s unique sound, however the benefit comes from learning where these adjectives live within the frequency spectrum.
Say for example you are mixing a record, but you think your kick drum has too much attack. No worries! Insert an EQ and cut frequencies between 2K & 5K to reduce the severity of the Kick’s attack.
While EQ can sometimes be a viable solution to a mixing problem, it is also important not to forget that sometimes you might need a new sound altogether. Many hit producers incorporate more than one Kick drum into a song and blending them together.
With that being said there is no “right” solution to mixing a Kick drum. Every song is completely different so no single mixing solution will work for EVERY problem. Remember to always trust your ears and have fun.
-Brian
Holiday Drum Giveaway
05 months ago
Tis the season for giving! Happy Holidays to everybody from BrianBoyleMusic. I’ve decided to celebrate the holidays this year by giving away FREE drums the week before Christmas and it is finally here.
Through the years I’ve collected many different drum sounds (more than I know what to do with sometimes) and I would like to share them with all of my fellow producers out there.
Giveaways include:
1. Roland TR-808 Kit
2. Timbaland Kit
3. Swizz Beatz Kit
4. Kanye West Kit
5. Jay-Z Kit
6. Crunk Claps
7. Outkast Kit
To download the FREE Giveaways, head over to my Twitter page @BrianBoyleMusic and check out my most recent tweets. Simply click the link and they will begin to download.
I hope that everybody has a safe, happy, and healthy Holiday Season.
-Brian
ProTools Tutorial: Automation Modes
010 months ago
Hey everybody!
In this video I go over some of the different automation modes in ProTools! What is automation?! I’m glad you asked! Basically it is recording the movement of ANY parameter (such as volume, panning, or a plug-in setting) so that the computer can remember, and perform that movement durning playback.
This video details the three different automation modes. Write, Latch, and Touch. Each of them are used for different reasons and are explained in full detail in the video above.
Thanks in advance to all for watching and if you find my videos helpful please support BrianBoyleMusic and subscribe!
Best,
Brian
J. Nick On the Rise
01 year ago
“Sex On The Weekend” written by J. Nick
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The very first time I heard J. Nick’s songs I was hooked. His hard-hitting synths, catchy lyrics, and outstanding drums were only a few of the things that made his tracks so dynamic. I knew right then and there that it was only a matter of time before his stellar songs started receiving the attention they deserved.
Nearly six months has passed since I first heard J. Nick’s music, and a lot has changed for this up and coming artist. I was fortunate enough to get to sit down with J. Nick himself for a one on one interview and ask him a few questions…
BrianBoyleMusic: How have things changed for you in the last few months?
J. Nick: Just a few months ago nobody in the music industry knew who J. Nick was… Now the name is slowly starting to spread around to people who are well established and I’ve been getting nothing but positive feedback on our music which feels great. I also have way more music finished than what I had just a couple months ago. I’m definitely working way harder to finish projects and I’m getting more and more opportunities to work with different artists.
BrianBoyleMusic: That’s great! Working with other artists is a great way to get exposure… What notable artists have you worked with?
J. Nick: I’ve worked with Philly Freeway, Chris Webby, Tone Trump, Hedonis Da Amazon, Peedi Crakk, Barrington Levy, and the list goes on…
BrianBoyleMusic: Your songs are all so catchy, but they are all so different. How do you keep your records soundin’ so fresh?
J. Nick: Good question. I don’t really even know. I kind of just start out making a beat and then it usually takes me somewhere. I like a lot of heavy synths and hard drums and I usually find a way to make it work. There really isn’t a method to my madness. A lot of times I’ll come up with a hook or a melody while I’m taking a shower and I have to hop out to record it on my phone.
BrianBoyleMusic: Haha! Inspiration can strike anywhere… even in the shower! If you could work with one Philly artist right now who would it be?
J. Nick: I actually haven’t worked with Meek (Millz) on anything. I could see that being an interesting sound and I’d like to work with him on something eventually. We work right down the hall from each other so why not. And if that one doesn’t work out… Will Smith.
BrianBoyleMusic: As a producer, what is the one piece of equipment you couldn’t live without.
J. Nick: MY DRUM SAMPLES. It would be a sad day if I lost them.
BrianBoyleMusic: What can we expect next from J. Nick and Mike Jerz?
You can expect a lot. We’ve both been working hard to get things movin. Watch out for Highly Educated Music because it is coming to a town near you! Follow me on twitter @itsjnick and Mike Jerz @mikejerz.
We’re still dying to hear the next release from J. Nick and Mike Jerz, but in the meantime check out their work with @Phillyfreezer! I know I am going to be scooping up my copy of Diamond In The Ruff, you better get yours!
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UPDATE!!! NEW J. NICK AND PHILLY FREEWAY COLLABORATION!!! CHECK IT OUT AND CAST YOUR VOTE HERE!
ProTools Tutorial: Edit Tools Overview
31 year ago
Hey everybody!
In this video we have a brief overview of your most basic editing tools in ProTools. They are your…
• Trim
• Selector
• Grabber
• Scrubber
• Pencil
* Smart Tool
Any comments suggestions or advice for future videos is much appreciated! Thanks and enjoy!
-Brian
Side Chain Compression Explained
11 year ago
Side chain compression is an advanced mixing technique that is sometimes described as pumping, ducking, or breathing. This technique can be heard in Daft Punk’s “One More Time,” around the 0:31 mark when the horns duck under the mix every time the kick drum hits.
[audio http://brianboylemusic.files.wordpress.com/2011/05/01-one-more-time.mp3]
What Does Side chain compression Do?
Side chain compression essentially takes one sound (your control signal) and uses it to affect a different sound. Often you’ll find side chaining used on compressors, gates, limiters, and expanders. In our case we’ll be using a side chain technique with a compressor
How does a side chain compressor work?
Take a look at the session below. The third track is the synth pad after side chain compression has been applied. You’ll notice that the synth gets quiet every time the kick drum hits. Basically you will be using your “control track” to control the volume of a different audio track. In order to get the desired pumping or ducking sound, the side chain will lower the volume of your affected track when your control signal gets loud.
How do I use side chain compression in my own mix?
What you’ll need:
• A compressor plug in
• Two audio tracks
1. A control signal
2. An affected signal
I suggest using something percussive or rhythmic for your control, and something melodic for your affected signal. In my case I used an 808 kick drum as my control signal and a synth pad as my affected signal.
Step 1: Set the output of your control signal to a bus. In the example, I’ve set my 808 Kick’s output to bus 3.
Note: Because you’ve set the output of your control to a bus you won’t hear your control signal anymore. In other words, once my 808 Kick’s output is set to bus 3, I won’t hear the kick drum in the mix anymore.
Step 2: Add a compressor / expander/ gate to your affected signal. In my session I’ve added a compressor to my synth pad.
Now you’ve added a compressor to the track that you want to compress, but you still aren’t using side chain compression. Until you change the key input on your compressor to match the output of your control signal, the compressor will act as it normally does.
Step 3: Set the key chain input on your compressor to the same Bus as the output of the control signal. In this example I’ve set my key chain input on my compressor to match the output of my 808 Kick drum (Bus 3).
Step 4: Once you’ve got your control and compressor key input set to the same bus, the only thing left to do is click the key in the side chain section of your plug in dialogue box.
With a little tweaking of your compressor parameters you should now be able to achieve the same pumping or ducking sound that you hear in many popular songs!
For a video tutorial of how to apply side chain compression check out WinkSound’s instructional video!
[youtube=http://www.youtube.com/watch?v=WY14bjCAX-M]
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By TwitterButtons.com
Akai + Avid = Your Portable Studio Solution
21 year ago
Years ago, the idea of taking your ProTools setup outside the studio and recording on location would have been a nightmare, but when Avid released ProTools 9, they announced that it would no longer require native hardware (such as the MBox, or DIGI 002) to run the software.
In short this means no more lugging around your hardware to record outside your studio! Avid has cut the metaphorical ball and chain that has always tethered the ProTools software to the hardware. Now you are FREE! Free to record, edit, and arrange on the go. But nobody makes recording as portable or as easy as Akai Professional.
Since 1984 Akai Professional has been an industry leader in the selling of electronic instruments. For over 25 years Akai has delivered the highest quality recording equipment to musicians around the world providing them with the tools to take their songwriting to the next level.
From synthesizers to effects many hit producers in the Hip-Hop community have turned to Akai, most notably for MPC Drum Machine. Known for its high quality on board sounds, and velocity sensitive pads, it makes beat building not only intuitive but also incredibly easy.
Introducing the Akai’s newest product, the MPK Mini. Featuring:
• Ultra-portable software MIDI controller
• Powered through USB; no AC adaptor required!
• 25-note, velocity-sensitive mini keyboard
• Eight backlit, velocity-sensitive MPC-style pads (2 banks, 16 total)
• Eight assignable Q-Link knobs to adjust virtually any parameter
• Built-in Arpeggiator with adjustable resolution, range and patterns
• Tap-Tempo button to quickly adjust pace of the Arpeggiator
• Dedicated Octave Up, Octave Down and Sustain buttons
The fact that the MPK Mini is so portable makes it a perfect match for ProTools 9. With the added ability to open ProTools 9 at anytime, and the convenience of the MPK Mini’s portable design you are now free to create music in any environment.
Trigger drum samples with the popular MPC style pads, and control ProTools powerful virtual instruments with the 25-note velocity sensitive keyboard. The MPK Mini’s simplistic and beautiful design is the perfect solution for producers seeking out a quality MIDI controller for making beats on-the-go!
Never let inspiration pass you by. With Akai’s MPK Mini and ProTools 9, you now have a professional studio… to go.
[youtube=http://www.youtube.com/watch?v=EOYp_KzrK-Q]
