Today is Thursday.
In exactly one week, we will be bombarding Miss Libertine's Bandroom with 8 super duper acoustic acts...This month we'll be featuring 5 brand new acts!
Harriet McKnight
Rush In Attack
Preston Perche
Mechanical Pterodactyl
Melissa Toh
They will be joining our good friend, Charles J Tan! As well as Ai Hui and the always tasty You 'n' UR Music.
There's pop, rock, folk and some Aussie hip-hop, there's something for everyone and it's going to be awesome!
Don't forget the yummy $5 pizzas and $10 jugs AND our very own Limelight cocktail!
See you next Thursday!
Thursday, August 13, 2009
Wednesday, August 12, 2009
Less Is More
Photo taken from www.guitarfixation.com
I think often we get carried away with lots of gear that we forget the focus, which is whether all the gear is actually adding a positive value to your sound and tone. More overdrive pedals does not always mean you have a better overdriven guitar tone. Of course, if they are used wisely, they can contribute to an awesome tone. Having a large pedal board also means you may need to do tap dancing during your set and sometimes you may just hit the wrong pedal at the wrong time during your set or song and it could be diabolical.
I've always liked the idea of having many guitar effects pedals, analogue or digital, the more the merrier but over the years, I've learnt how to scale things down, make things simple and yet have good tone. It makes it easier to lug gear around and it makes it faster to set up which means more time to rock & roll!
At the end of the day, I find that you can make the best of what you have, even tough it is less. Don't get me wrong though, if you have plenty of gear, it is great, as long as it gets you the results you want, that's all that matters. I think my goldfish memory just can't handle remembering what pedal to stomp on at which time in the song. So I'll stick to simple.
Tuesday, August 11, 2009
Clara Rhoden
Here are Clara Rhoden's videos!
Join Clara for her gig this Friday at 8pm!
"Keep It Real"
"Turtle"
Go Clara!
Join Clara for her gig this Friday at 8pm!
"Keep It Real"
"Turtle"
Go Clara!
Baby Steps
I think that like many novice musos, I began the journey with much the wrong idea. I thought: “This will be easy! I’ll write a bunch of songs, get a bunch of guys together, rock out at some shows, record an album, and become famous!”
Alas, it was not so. After starting my band (Nobody) over 2 years ago now, I’ve only really gotten as far as “get a bunch of guys together” …and even that part wasn’t easy! ‘Nobody’ is now officially on its third drummer since inception. The first one got married and re-prioritised his commitments, and the second sessioned with us and decided our practice regime was too strenuous. It took over 18 months to find the right drummer, with the right gear, right feel, and most importantly – the right level of commitment. I can only count myself fortunate enough to have started with the right people on guitar and bass.
It is only many months later that we are near ready to play proper and worthy live sets. The amount of work put into the ‘sound’ of our band cannot be enumerated, and neither is it anywhere near completion. However, every now and then you reach a milestone from which you find encouragement, and are able to propel forward.
Just recently ‘Nobody’ completed its first ever recording. It is a demo recorded as a ‘Live to 2’ track ie. one complete take of a live performance in a studio for which the output of the mixer is captured. Whilst this may seem trivial for the more veteran musician, for myself at least it was a small moment of pride. The amazement we shared at hearing ourselves recorded live (and sounding pretty good, if I may say so) has created in us a hunger for more.
If you are interested, you can check out our first ever recording @
myspace.com/nobodyliveshere
If you are a noob musician like me, look out for these moments and hang on to them to drive you forward. They are only baby steps, but they remind us that we are headed in the right direction…!
- Nigel Nobody
Special thanks to Top Notch Audio for the great work!
Alas, it was not so. After starting my band (Nobody) over 2 years ago now, I’ve only really gotten as far as “get a bunch of guys together” …and even that part wasn’t easy! ‘Nobody’ is now officially on its third drummer since inception. The first one got married and re-prioritised his commitments, and the second sessioned with us and decided our practice regime was too strenuous. It took over 18 months to find the right drummer, with the right gear, right feel, and most importantly – the right level of commitment. I can only count myself fortunate enough to have started with the right people on guitar and bass.
It is only many months later that we are near ready to play proper and worthy live sets. The amount of work put into the ‘sound’ of our band cannot be enumerated, and neither is it anywhere near completion. However, every now and then you reach a milestone from which you find encouragement, and are able to propel forward.
Just recently ‘Nobody’ completed its first ever recording. It is a demo recorded as a ‘Live to 2’ track ie. one complete take of a live performance in a studio for which the output of the mixer is captured. Whilst this may seem trivial for the more veteran musician, for myself at least it was a small moment of pride. The amazement we shared at hearing ourselves recorded live (and sounding pretty good, if I may say so) has created in us a hunger for more.
If you are interested, you can check out our first ever recording @
myspace.com/nobodyliveshere
If you are a noob musician like me, look out for these moments and hang on to them to drive you forward. They are only baby steps, but they remind us that we are headed in the right direction…!
- Nigel Nobody
Special thanks to Top Notch Audio for the great work!
Sunday, August 9, 2009
Week 14 Recap
Tim from Cranbourne Music is almost like a regular on our show. What would we do without him?
And a big thanks to Clara Rhoden for coming in to the studio!
Four Walls - Josh Sperring
Shooting Star - Broken Scar
Hymn For The Romantic - Scene At The Movies
That Song - Daphne Khoo
Soldier - Tyla Bertolli
Almost Sunday - Charles J Tan
Low - Jo Dawson
X - Tim McMillan
The Limelight's coming up next week guys!! woot!
And a big thanks to Clara Rhoden for coming in to the studio!
Four Walls - Josh Sperring
Shooting Star - Broken Scar
Hymn For The Romantic - Scene At The Movies
That Song - Daphne Khoo
Soldier - Tyla Bertolli
Almost Sunday - Charles J Tan
Low - Jo Dawson
X - Tim McMillan
The Limelight's coming up next week guys!! woot!
Thursday, August 6, 2009
Andrew Shepherd
Here is Andrew Shepherd with his awesome song, "These Strings of Mine" I love it!
Check out Andrew's band, Jakk's Azimuth
Check out Andrew's band, Jakk's Azimuth
Wednesday, August 5, 2009
Your Best Friend
Correction to Lionel's recent post. At a live gig, the sound engineer is your best friend, don't treat him like the enemy. The choice is in your hands because the sound guy can either be your best friend (and make you sound really good) or worst enemy (and would probably mute you) if you do not tread carefully. There is no competition. Sound guys and bands are meant to work together and not to have a go at each other. Respect goes on a two way street.
What can you do to help the sound guy, help you get a great sound?
1. Make sure your instruments are set up well, serviced, tuned up and in optimum condition.
2. Set up your backline quickly so that the sound guy can mic up all your drums, amps and vocals.
The backline consist of all amplifiers, drums, stands and other accessories your band needs.
3. Supply the sound guy a stage plot and an input list in advance. It is even more crucial especially if you have special requirements, like DI for ipod/sampler/keyboard or if you need converters etc.
The stage plot is where your instruments, backline and your band members will be positioned on stage.
The input list is a list of instruments that your band plays.
4. It doesn't hurt to introduce yourself to the sound guy and get to know his name. Everyone loves to be called by his name and not "hey, sound guy!!!".
The difference between a line check and a sound check
A line check is where the engineer will quickly get the drummer to hit each drum, the guitarists and bassist to play a few notes and the singer to say a word or two to make sure there is a signal in each line. It has to happen very quickly. While you launch into the first song, the engineer tweaks as you go.
A sound check is similar to the line check, except that there is slightly more time for the sound guy to EQ and set up other intricate details like effects, compression etc. The process of a sound check usually goes like this:
Kick, Snare, Tom 1, Tom 2, Floor Tom, Hi Hats, Cymbals (if there are overheads). after all the individual drums are done, the sound guy will usually then say this, "time", which means, play a beat while rolling the toms and cymbals to get the overall drum sound.
Next would be Bass Guitar, Guitar 1, Guitar 2, Keys/Sampler/Ipod and lastly, vocals.
Important: A sound check is not a rehearsal for your band, it's for the engineer. Once the individual instruments are done, you play half of the quietest song in your set and half of the loudest song in your set. Next up, ROCK N ROLL!
What can you do to help the sound guy, help you get a great sound?
1. Make sure your instruments are set up well, serviced, tuned up and in optimum condition.
2. Set up your backline quickly so that the sound guy can mic up all your drums, amps and vocals.
The backline consist of all amplifiers, drums, stands and other accessories your band needs.
3. Supply the sound guy a stage plot and an input list in advance. It is even more crucial especially if you have special requirements, like DI for ipod/sampler/keyboard or if you need converters etc.
The stage plot is where your instruments, backline and your band members will be positioned on stage.
The input list is a list of instruments that your band plays.
4. It doesn't hurt to introduce yourself to the sound guy and get to know his name. Everyone loves to be called by his name and not "hey, sound guy!!!".
The difference between a line check and a sound check
It is your duty to find out from the organiser/venue/mixing engineer whether you get a line check or a sound check at the gig.
A line check is where the engineer will quickly get the drummer to hit each drum, the guitarists and bassist to play a few notes and the singer to say a word or two to make sure there is a signal in each line. It has to happen very quickly. While you launch into the first song, the engineer tweaks as you go.
A sound check is similar to the line check, except that there is slightly more time for the sound guy to EQ and set up other intricate details like effects, compression etc. The process of a sound check usually goes like this:
Kick, Snare, Tom 1, Tom 2, Floor Tom, Hi Hats, Cymbals (if there are overheads). after all the individual drums are done, the sound guy will usually then say this, "time", which means, play a beat while rolling the toms and cymbals to get the overall drum sound.
Next would be Bass Guitar, Guitar 1, Guitar 2, Keys/Sampler/Ipod and lastly, vocals.
Important: A sound check is not a rehearsal for your band, it's for the engineer. Once the individual instruments are done, you play half of the quietest song in your set and half of the loudest song in your set. Next up, ROCK N ROLL!
In Closing
It's great to have heaps of confidence and all but when it comes to working with the sound guy, please leave your ego at the door, thank you very much.
It's great to have heaps of confidence and all but when it comes to working with the sound guy, please leave your ego at the door, thank you very much.
Tuesday, August 4, 2009
Chance Favours The Prepared Mind
Over 10 years ago, my Year 9 Geography teacher (Mr Sutter) proclaimed at the beginning of class:
“Chance favours the prepared mind”
It is one of those lessons in life that has stuck with me, and I have learned similar axioms along the long road since then:
“Expect the best, prepare for the worse”
…and so on, so on. Why am I psycho-babbling? Well, mostly because I like too. However, there is a greater purpose to this post! One of the great benefits of running shows like The Limelight and Sunday Sessions is the challenge of tackling an immensely steep learning curve and of watching other new and experienced bands do so as well.
In this case, I’m going to share some of my learning from personal experience, and also from observing much more veteran musos, on how you can get the best possible result from a live performance.
(1) Practice is King!
No matter how good you think you are, you aren’t good enough. There is also going to be another band that will blow your te$ticles away. So, you need to practice. More. I mean MORE.
(2) If it can go wrong, it will!
Without intending to be a doomsayer, this really is true. I have seen everything from broken strings, bad leads, straps snapping on stage, to shorted amps and busted drum skins. It is best to have a plan for when they do happen and keep your set moving.
(3) Bring more ammo than you need!
…and I do mean everything. Always carry spare batteries for your devices, and maybe even a variable transformer for DC power if needed. A set of spare strings, strap locks and an extra strap, way too many sticks, feedback busters, and extra cables are all a must.
(4) The sound guy is your FRIEND!
I have seen many bands crack it at the sound guy. Often, it is because they do not appreciate the nature of the beast that is live sound. However, if you are friends with the mixing engineer and you trust them, they will take care of you to the best of their ability given whatever gear is available at the venue. Worse case, bring your own to be sure! Leave the ego at home.
We’re all chasing the perfect live set. The more prepared you are, the closer you will get to it. Don’t just rock up thinking your name is Bono, and expect it to happen…
- Nigel Nobody
“Chance favours the prepared mind”
It is one of those lessons in life that has stuck with me, and I have learned similar axioms along the long road since then:
“Expect the best, prepare for the worse”
…and so on, so on. Why am I psycho-babbling? Well, mostly because I like too. However, there is a greater purpose to this post! One of the great benefits of running shows like The Limelight and Sunday Sessions is the challenge of tackling an immensely steep learning curve and of watching other new and experienced bands do so as well.
In this case, I’m going to share some of my learning from personal experience, and also from observing much more veteran musos, on how you can get the best possible result from a live performance.
(1) Practice is King!
No matter how good you think you are, you aren’t good enough. There is also going to be another band that will blow your te$ticles away. So, you need to practice. More. I mean MORE.
(2) If it can go wrong, it will!
Without intending to be a doomsayer, this really is true. I have seen everything from broken strings, bad leads, straps snapping on stage, to shorted amps and busted drum skins. It is best to have a plan for when they do happen and keep your set moving.
(3) Bring more ammo than you need!
…and I do mean everything. Always carry spare batteries for your devices, and maybe even a variable transformer for DC power if needed. A set of spare strings, strap locks and an extra strap, way too many sticks, feedback busters, and extra cables are all a must.
(4) The sound guy is your FRIEND!
I have seen many bands crack it at the sound guy. Often, it is because they do not appreciate the nature of the beast that is live sound. However, if you are friends with the mixing engineer and you trust them, they will take care of you to the best of their ability given whatever gear is available at the venue. Worse case, bring your own to be sure! Leave the ego at home.
We’re all chasing the perfect live set. The more prepared you are, the closer you will get to it. Don’t just rock up thinking your name is Bono, and expect it to happen…
- Nigel Nobody
Monday, August 3, 2009
Week 14 Recap
Hello world!
Thanks for tuning in again! This week we introduced a track from one of our newest and awesomest Limelight performers, "Loved Like This" by Tyla Bertolli!
And a big thanks to Andrew Shepherd who came in for an interview and who also helped out doing the sound at Sunday Sessions yesterday, (more on that to come!)
Sunset Maze - Tim McMillan
Desperate - Dee Khoo
Until I Fall - Broken Scar
A Song For Breaking The Barrier - Kieran Christopherson
Right Here, Right Now - Asami
Loved Like This - Tyla Bertolli
Sunlight - Hannah Elisabeth
Godspeed - Scene At The Movies
Hope you had a lovely weekend and chin up for the rest of the week :D
Thanks for tuning in again! This week we introduced a track from one of our newest and awesomest Limelight performers, "Loved Like This" by Tyla Bertolli!
And a big thanks to Andrew Shepherd who came in for an interview and who also helped out doing the sound at Sunday Sessions yesterday, (more on that to come!)
Sunset Maze - Tim McMillan
Desperate - Dee Khoo
Until I Fall - Broken Scar
A Song For Breaking The Barrier - Kieran Christopherson
Right Here, Right Now - Asami
Loved Like This - Tyla Bertolli
Sunlight - Hannah Elisabeth
Godspeed - Scene At The Movies
Hope you had a lovely weekend and chin up for the rest of the week :D
Friday, July 31, 2009
Two more sleeps to go!
Sunday Sessions is going to be super. You should come! There's something for everyone :)
For those of you who may be sick of our warm and homely acoustic shows (is it even possible...) there will be FULL BANDS playing in the back room, making loud noises and flicking their hair! I personally am really excited about seeing Andrew Lim and his band for the first time!
And for those of you who are a bit precious...there'll be soft and gentle acoustic music wafting through the front bar all afternoon; perfect entertainment to sip your Limelight cocktail to ;)
Wow! Doors open at Miss Libertine at 3pm and there are 12 acts in total! Do your research and come along!!
Tim McMillan
Broken Scar
Samantha Lombardi
Andrew Lim
Nobody
Jo Dawson
Next Dimension
Cazi Gale
William Band
Caleen Chua
The Trolley Tragedy
Andrei Jerez
Take a peek at our Facebook Event for more details!
For those of you who may be sick of our warm and homely acoustic shows (is it even possible...) there will be FULL BANDS playing in the back room, making loud noises and flicking their hair! I personally am really excited about seeing Andrew Lim and his band for the first time!
And for those of you who are a bit precious...there'll be soft and gentle acoustic music wafting through the front bar all afternoon; perfect entertainment to sip your Limelight cocktail to ;)
Wow! Doors open at Miss Libertine at 3pm and there are 12 acts in total! Do your research and come along!!
Tim McMillan
Broken Scar
Samantha Lombardi
Andrew Lim
Nobody
Jo Dawson
Next Dimension
Cazi Gale
William Band
Caleen Chua
The Trolley Tragedy
Andrei Jerez
Take a peek at our Facebook Event for more details!
The GLAKs
One day, on the assumption that Lionel, Kevin, Asami and I decide to collaborate musically and form a rock band, we would be The Glaks. That, or Nobody Broke Asami's Scar.
Lionel would be the drummer. Being able to learn (a new instrument) quickly and good with numbers (thus beats), that seems to be the most appropriate role for him.
Kevin would be the lead guitarist. Because he's already so awesome as he is now.
Asami would be the bassist. Just so she would have something to do with her hands.
Giulia, with her lack of musical ability, will have to make do with playing the random instruments like the triangle, the cow bell or just be the monkey playing the cymbals. (side note: I do such a good monkey face that it is evidence of Darwin's evolution theory)
All 3 of the musicians would obviously do vocals, while I might do the occasional "ooh" or "aah", if i feel like it. Maybe, just maybe, you might see The Glaks performing at a Limelight one day.
Lionel would be the drummer. Being able to learn (a new instrument) quickly and good with numbers (thus beats), that seems to be the most appropriate role for him.
Kevin would be the lead guitarist. Because he's already so awesome as he is now.
Asami would be the bassist. Just so she would have something to do with her hands.
Giulia, with her lack of musical ability, will have to make do with playing the random instruments like the triangle, the cow bell or just be the monkey playing the cymbals. (side note: I do such a good monkey face that it is evidence of Darwin's evolution theory)
All 3 of the musicians would obviously do vocals, while I might do the occasional "ooh" or "aah", if i feel like it. Maybe, just maybe, you might see The Glaks performing at a Limelight one day.
Wednesday, July 29, 2009
The Second Album Syndrome
In everything we do, in every decision that we make and in every route we choose to take, there are always pros and cons. As an independent musician, one of the pros is the freedom to express yourself and make the music you want to make, when you want to make it without any external pressure from the label. However, that is also a big con because you don't get guidance and development from the label.
Having the freedom to produce your music is good but not having that external pressure can be bad too because you might tend to slack off and go off course.
Here's something to think about. Before a band gets signed, they would have taken three years (or all their lives) to find their sound, write a bunch of songs and chose ten of their best ones to be on their debut. Once they get signed, their debut gets released. Once the debut is out, the band goes on tour to support the album. Once that is done, they would need to follow up with a second album. With the frenzy of getting signed, recording and releasing the debut, hitting the road on tour and handling masses of fans, the band usually feels the pressure to produce the second album. The only time the band gets to write new material is pretty much of the road. Some people work best on the road while other's don't.
Notice how bands always worry whether their second album will top their debut? How do you expect to top something you took three years to write in a much shorter and unrealistic time frame? The bigger the band gets, the bigger the expectation by the fans gets, I reckon, which adds to the extra pressure to produce something awesome as a second album/release.
Having the freedom to produce your music is good but not having that external pressure can be bad too because you might tend to slack off and go off course.
Here's something to think about. Before a band gets signed, they would have taken three years (or all their lives) to find their sound, write a bunch of songs and chose ten of their best ones to be on their debut. Once they get signed, their debut gets released. Once the debut is out, the band goes on tour to support the album. Once that is done, they would need to follow up with a second album. With the frenzy of getting signed, recording and releasing the debut, hitting the road on tour and handling masses of fans, the band usually feels the pressure to produce the second album. The only time the band gets to write new material is pretty much of the road. Some people work best on the road while other's don't.
Notice how bands always worry whether their second album will top their debut? How do you expect to top something you took three years to write in a much shorter and unrealistic time frame? The bigger the band gets, the bigger the expectation by the fans gets, I reckon, which adds to the extra pressure to produce something awesome as a second album/release.
Tuesday, July 28, 2009
Life Is Too Short
It is quite well known that I do not consider myself to be a musician. Quite honestly, I have no idea what note I am playing when I press on a guitar string, and there are only a few chords I play to which I actually know the name. All I really can do moderately well is sing, and I enjoy expression through song writing and appreciate the outlet it provides me.
So, this begs the question:
“Lionel, how on earth can you be in a band / promoting gigs & music?!”
The answer is actually quite simple: surround yourself when people who have the skills you do not, and learn from them as quickly as possible. It is so simple, in fact, that most people probably overlook it.
As a simple example, when I started song writing I began with the chord structure, lyrics and melody. I knew I couldn’t play the guitar to save my life. And so, I approached a great guitarist to play with me… and thus began the journey of my band.
Simple! I didn't know how to run a magazine either, but I did that for twenty months of my life. The same has applied to learning about live sound, promoting events, finding gigs for my band, etc etc.
Most people are likely to abandon an endeavour that is “too hard” or will wait until they have acquired all the necessary skills to begin. Not me. I believe that life is too short and that I will simply have to learn as I go.
Yes, sometimes you make mistakes, but you learn from them so do not be afraid of them. If you have conviction, you will see it through. You can only hope that others come along for the ride!
It dawned on me that we are now over half way through 2009.
What have you done with your life this year?
- Nigel Nobody
So, this begs the question:
“Lionel, how on earth can you be in a band / promoting gigs & music?!”
The answer is actually quite simple: surround yourself when people who have the skills you do not, and learn from them as quickly as possible. It is so simple, in fact, that most people probably overlook it.
As a simple example, when I started song writing I began with the chord structure, lyrics and melody. I knew I couldn’t play the guitar to save my life. And so, I approached a great guitarist to play with me… and thus began the journey of my band.
Simple! I didn't know how to run a magazine either, but I did that for twenty months of my life. The same has applied to learning about live sound, promoting events, finding gigs for my band, etc etc.
Most people are likely to abandon an endeavour that is “too hard” or will wait until they have acquired all the necessary skills to begin. Not me. I believe that life is too short and that I will simply have to learn as I go.
Yes, sometimes you make mistakes, but you learn from them so do not be afraid of them. If you have conviction, you will see it through. You can only hope that others come along for the ride!
It dawned on me that we are now over half way through 2009.
What have you done with your life this year?
- Nigel Nobody
Monday, July 27, 2009
Next Dimension
This is Brandon (Bill), Xavier and Luke from Next Dimension in the SYN studio with us. Asami and I are not very good mannequins.
And here are the vid's of their awesome songs :)
"Shine"
"8th of June"
Sunday, July 26, 2009
Week 13 Recap
We love putting together and presenting the show every week, but we really need to know you're out there listening to us! From next week, you can text in to SYN, and we'll receive your messages while we're on air! And we will read out the wittiest, awesomest messages ok!!
Save this in your phone, the number is: 0427 767 767
Don't Wanna - Jo Dawson
Don't Wonder Why - Josh Sperring
Right Here, Right Now - Asami
The Flower - Andrew Shepherd
Hymn For The Romantic - Scene At The Movies
Shine - Andrew Lim
The Cage - Clara Rhoden
On The Edge - The Vulpine
A big thanks to the Bill, Luke and Xavier from Next Dimension for coming in to the show! Watch out for their videos coming up in the next few days, and also catch them LIVE at SUNDAY SESSIONS exactly one week from today!
Save this in your phone, the number is: 0427 767 767
Don't Wanna - Jo Dawson
Don't Wonder Why - Josh Sperring
Right Here, Right Now - Asami
The Flower - Andrew Shepherd
Hymn For The Romantic - Scene At The Movies
Shine - Andrew Lim
The Cage - Clara Rhoden
On The Edge - The Vulpine
A big thanks to the Bill, Luke and Xavier from Next Dimension for coming in to the show! Watch out for their videos coming up in the next few days, and also catch them LIVE at SUNDAY SESSIONS exactly one week from today!
Saturday, July 25, 2009
Friday, July 24, 2009
Behind the scenes at The Limelight
Last night, The Limelight [JUL09] was a great success! Once again we were blown away by all of the performers, and the crowd cheered loudly and ... *yawn* .... and ... *scrolling down now* ... and ... ok ok, enough PR talk! Let me tell you what REALLY happens at The Limelight. hehehe
I guess I'll list things in order of occurrence.
Number 1. First we must be highly caffeinated/energy drink-ed, hydrated and fed.
They're some seriously small glasses of water! And here's a badly taken photo of Kevin and Jern chit chatting over a pizza. A delicious $5 pizza that is!
Number 2. Man hair must be discussed/compared and analyzed. New to the long hair obsession is Charles J Tan. Lionel is not impressed yet, give it a few more months Charles!
Number 3. We take "I'm a celebrity" photos
Number 4. We engage in conversation
Lionel: "ASAMI!! WHERE'S THE NEXT ACT?!"
Asami: *runs off to find the next act*
Lionel: "ASAMI!! WHAT'S HAPPENING AT THE DOOR?!"
Asami: *runs off to see what's happening at the door*
Lionel: "ASAMI!! GET ME A GINGER BEER!"
Asami: *runs...
haha no that's pushing it. Lionel is not scary at all! I promise!
Number 5. At the end of the night, we express our unwavering love for each other.
And that concludes our evening. We go home, and we count the days until the next Limelight.
I guess I'll list things in order of occurrence.
Number 1. First we must be highly caffeinated/energy drink-ed, hydrated and fed.
They're some seriously small glasses of water! And here's a badly taken photo of Kevin and Jern chit chatting over a pizza. A delicious $5 pizza that is!
Number 2. Man hair must be discussed/compared and analyzed. New to the long hair obsession is Charles J Tan. Lionel is not impressed yet, give it a few more months Charles!
Number 3. We take "I'm a celebrity" photos
Number 4. We engage in conversation
Lionel: "ASAMI!! WHERE'S THE NEXT ACT?!"
Asami: *runs off to find the next act*
Lionel: "ASAMI!! WHAT'S HAPPENING AT THE DOOR?!"
Asami: *runs off to see what's happening at the door*
Lionel: "ASAMI!! GET ME A GINGER BEER!"
Asami: *runs...
haha no that's pushing it. Lionel is not scary at all! I promise!
Number 5. At the end of the night, we express our unwavering love for each other.
And that concludes our evening. We go home, and we count the days until the next Limelight.
Wednesday, July 22, 2009
The Reference Track
What is a reference track?
It's your favourite song, a song that you know so well that you can recognise the slightest change in it. It can be a song that you have heard a million times from childhood or a song that you're really into now. There could be several reference tracks that you use for different purposes too and it you don't have to limit it to just one.
What do you do with a reference track?
There are several different ways to use the reference tracks depending on which perspective you're looking at it from, either as an audio engineer or musician.
The reference track from the engineer's perspective
Recording and mixing engineers use reference tracks to achieve a certain tone that is very specific to what the artiste wants or a general direction as to how the album they are working on should sound like. For example, an artiste can say, "I want my guitar tone to sound exactly like John Mayer's Fender Strat" or "I want my album to have an American pop rock kind of sound, similar to the feel of the latest David Cook album".
Live engineers however would use it to tune a PA System. Because they know how the reference track "should" sound like, they can tune the PA till the song sounds the way it ought to sound. Usually, a song that covers the whole frequency spectrum will do the trick. However, if you're tuning a room for a jazz gig, use a jazz song that you know best and likewise for other genres.
The reference track from the musician's perspective
They give you an idea of what you want so you can communicate that to the engineer. Communication is crucial in a recording and mixing process. The better you get your ideas across, the better the results will turn out. This will help you shape your tone too during the writing process and during the demo recording process. Sound is such a dynamic thing that it might sound good to you today when you record the track and when you listen to it tomorrow, it may sound terrible. Why does that happen? Because there isn't a track that the recording was referenced to, during the actual recording process. For example, the guitar tone from the amp sounds nice and warm during recording but when you review it the next day, it sounds too harsh. This happens because you would have spent hours in the studio and your ears would have gotten used to the harshness of the higher frequencies. Your ears are probably fatigued too. So the best way is to have a reference track, that you can directly compare the tone too and ask yourself questions like, "is it too harsh?" or "is it bright enough?"
I will share my current list of reference tracks in the next post perhaps as this is getting a bit too long already. Please share your thoughts. Let's make a forum out of this.
It's your favourite song, a song that you know so well that you can recognise the slightest change in it. It can be a song that you have heard a million times from childhood or a song that you're really into now. There could be several reference tracks that you use for different purposes too and it you don't have to limit it to just one.
What do you do with a reference track?
There are several different ways to use the reference tracks depending on which perspective you're looking at it from, either as an audio engineer or musician.
The reference track from the engineer's perspective
Recording and mixing engineers use reference tracks to achieve a certain tone that is very specific to what the artiste wants or a general direction as to how the album they are working on should sound like. For example, an artiste can say, "I want my guitar tone to sound exactly like John Mayer's Fender Strat" or "I want my album to have an American pop rock kind of sound, similar to the feel of the latest David Cook album".
Live engineers however would use it to tune a PA System. Because they know how the reference track "should" sound like, they can tune the PA till the song sounds the way it ought to sound. Usually, a song that covers the whole frequency spectrum will do the trick. However, if you're tuning a room for a jazz gig, use a jazz song that you know best and likewise for other genres.
The reference track from the musician's perspective
They give you an idea of what you want so you can communicate that to the engineer. Communication is crucial in a recording and mixing process. The better you get your ideas across, the better the results will turn out. This will help you shape your tone too during the writing process and during the demo recording process. Sound is such a dynamic thing that it might sound good to you today when you record the track and when you listen to it tomorrow, it may sound terrible. Why does that happen? Because there isn't a track that the recording was referenced to, during the actual recording process. For example, the guitar tone from the amp sounds nice and warm during recording but when you review it the next day, it sounds too harsh. This happens because you would have spent hours in the studio and your ears would have gotten used to the harshness of the higher frequencies. Your ears are probably fatigued too. So the best way is to have a reference track, that you can directly compare the tone too and ask yourself questions like, "is it too harsh?" or "is it bright enough?"
I will share my current list of reference tracks in the next post perhaps as this is getting a bit too long already. Please share your thoughts. Let's make a forum out of this.
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