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by Rip Rowan The seminal article blasting the modern mastering industry for singlehandly destroying a generation of great music.
the Spirit of Radio?
by Bill Park A scathing indictment of the megalithic entertainment conglomerate Clear Channel and its devastating effect on music and the people who make it.
Debra Soule
by Rip Rowan Building a mix from the ground up with Debra Soule's "Everlasting".
by Bill Park A comprehensive explanation of the wholesale changes in the radio industry stemming from the 1996 Telecom Act. | | | | | | | |
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Lionel Dumond
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The time has finally arrived.
Your latest and greatest work is almost done. You started with what you feel is a damn fine song. You carefully planned the arrangement. You've captured some killer tracks.
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Ted Perlman
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Hello readers. This month I'd like to concentrate on the songwriting aspect of the music business, as I've come to know it.
Over the past 8 years I have had as clients some of the biggest-selling songwriters in the music business.
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Jim Roseberry
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A couple of months ago, I detailed Samplitude 2496 (from SEK'D). Since this DAW software supports 24Bit recording at Sample Rates up to 96kHz, and all major DAW software is soon to follow... it makes sense to also review the hardware side of a 24Bit 96kHz system.
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Lionel Dumond
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I just love microphones.
I am constantly scouring the classies, garage sales, web sites, and music stores for deals and steals -- the vintage, the obscure, and the just plain weird. I have a smattering of just about everything, from the common workhorses to the all-time classics to the super-el-cheapo pieces of junk.
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Rip Rowan
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Mastering.
The word is a meaningless black cloud to many musicians and amateur engineers. And, sad to say, some pros.
I used to wonder what the hell the mastering engineer even did.
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Jose-Maria Catena
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Introduction
Understanding basic DSP (Digital Signal Processing) theory is really helpful to get the most of digital audio recording and processing. This series of articles is directed toward musicians and sound engineers, so, the issues will be covered mostly in a practical way, and the necessary theory will be explained as good backgrounder or just to understand the practical consequences, not to be a deep or complete reference for DSP math.
The series will begin with the more basic issues, assuming that the reader doesn't know DSP theory at all, allowing anybody to follow and understand the explanations.
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Joel Braverman
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Cosmic Message...
Many years ago, I had a job working at IBM, a good two hours away from where I live. Because of the distance, I stayed near the job site during the week, and drove home on weekends, which meant I was not playing an instrument anywhere near as often as I was used to.
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Lionel Dumond
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Welcome to the long-awaited third (and final) installment of All Things Being EQ-ual, a series of articles on equalization that started back in April 1998. This final article, a titanic, tussling tête á tête of software EQ programs for the PC, was supposed to appear in the June issue.
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Ted Perlman
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I'd like to devote my column this month to a subject that seems to be a mystery to most musicians, producers, engineers, and songwriters - Background Vocals. Let's start with a simple definition: "Background Vocals" are those that are not the lead or main vocal.
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Jay Kahrs
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I had a few people write to me and ask how I recorded my vocals. I record my vocals several different ways depending on the vocalist, style of music and my mood. But there are some basic things you can do to help improve the way your vocals sound.
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Ted Perlman
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Part 1. Introduction
Once upon a time there was a big and hugely successful computer builder named Dell. One of the reasons for this success was the customer relations department, which had a reputation far and wide as the best in the business.
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Neal Margolis
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Here I am trying to explain Rip Rowan's survey of the Prorec readership.
And he's asking about my profession, that is, my area of expertise, and whether I'm an amateur or expert. And I'm thinking, "Profession? What can this mean today, where digital audio tools are ever-more-accessible, where more people can have more control over the entire process of musical design- performance- engineering- production- distribution."
It's All Me, Now!
So, I'm wondering, does this profession concept make any sense at all any longer? I consider myself:
- an amateur musician
- an amateur audio engineer/producer
- an amateur computer engineer / system integrator
- an amateur graphic designer
- a professional multimedia designer (I get paid)
My excitement about digitized audio design / recording / production tools starts with the fact that I don't need to relate to other "professions" to get the job done.
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