Continuing with our series of live instrument tutorials from Riverside Studios, this tutorial from Henne Müller is focused around recording kick drums. The technique is a bit different than traditional kick recording, and Henne shows off how to capture a few unique angles for use in your productions. Watch the full thing inside.
Recording Kick Drums
Choose the right instrument – different kicks work better depending on what type of sound you want to capture.
For this style of recording, use a Shure Beta 52 inside the kick ($189 on Amazon) or an ElectroVoice RE20 if you prefer a cleaner sound ($449 on Amazon)
Try different angles of recording the kick – if there’s no hole in the kick, point it towards the bottom middle of the rear skin. Recording different angles means you have more options!
Use a subkick microphone – essentially a speaker turned around in front of the kick drum – to record the lower frequencies.
Also consider adding a room microphone, Henne uses a Thomann t.bone RB-500 ribbon microphone – about $100. Do a few different angles here as well to capture what the kick sounds like in the room.
Having these options recorded when going into the studio and making a track means you have a lot of options to build a unique kick. As Henne enumerates in the video, you won’t like every angle you record kick drums from, so move the mic around and listen to it to find out what works best.
Modular Synths + Tobi Neumann: How To Make An Analog Kick Drum
Tobi Neuman share his techniques for creating an analog kick sound out of just five modules. Watch and learn – this video is a great introduction for producers just getting their first taste of modular synths.
In the video, Tobi uses five different modules to get his kick working:
The app makes the most of the iPad Pro’s increased screen size.
Apple’s freshly released iPad Pro has one of its first bespoke DJ apps thanks to the latest version of Algoriddim’s djay.
While djay Pro works on older models of iPad, it’s also optimised for the iPad Pro’s increased size. While many features were previously hidden behind menus, djay Pro uses the larger screen size to make more functions easily accessible.
Other improvement for iPad Pro owners include shortcuts for the Pro’s smart keyboard, integration of iOS 9’s multitasking features, full HD video capture and other improvements.
The app also includes some handy new functions compatible will all models, including AirPlay integration so you can beam the app to your TV, iPad camera functionality and iCloud integration, which syncs your cue points and grid edits across all iOS and Mac versions of Djay.
You can find djay Pro at the App Store, where it currently costs £14.99/$19.99.
In this video, Dubspot Instructor Adriano Clemente introduces us to Live Video Tools, his new Max For Live video manipulation device for creating captivating visuals with Ableton Live.
Developed by Adriano Clemente and Thomas Martinez, Live Video Tools is a creative suite for live music performers looking to create sound responsive visuals. With simplicity in mind, the interface has an intuitive design making it easy to generate captivating visuals that dynamically reacts to your sounds. In only a few short steps, you can quickly import videos, stills, and animated GIFs to perform and manipulate alongside your Ableton Live set. Live Video Tools comes loaded with fully mappable effect controls for manipulating feedback, RGB levels, strobe, saturation, hue, inversion, kaleidoscope, and other modulation parameters to generate interesting effects. For example, you could map a filter frequency control to Live Video Tools Saturation control to create expressive filter sweeps. You can also automate modulation destinations using LFO controls so you can focus more on your live performance.
Learn more about Live Video Tools and purchase a copy HERE.
For the past 3-4 days, my phone hasn’t stopped ringing from artists and local labels asking why YouTube is going to be removing their music. For those that haven’t already heard, YouTube (owned by Google) is planning on launching its own subscription music service soon. It has been in negotiations with the 3 major record labels and the independent labels to set a rate for their music used in the new service. The details of these deals has been kept very quiet, but apparently the Big 3 have already signed on, as have most of the independents. Only a small percentage of indies are holding out for better rates.
The big swirl of confusion started a few days ago when the Financial Times website posted a story quoting YouTube exec Robert Kyncl, stating music could start being removed in a couple of days. This sent “the internets” into a frenzy, and is what began my phone ringing.
Now, here’s the problem…there is a HUGE misunderstanding of what most artists and labels consider themselves, and what the Industry considers them. In every day lingo, either you’re a Major label or act (signed with either Universal, Sony, or Warner) or you’re an Indie. This works for most conversations. BUT, in business, there’s really a third option. The Local. And chances are YOU fit this category.
No one, especially artists, like to consider themselves local, and for good reason. It has garnished a very negative, unprofessional, and unskilled connotation to it over the years. However, in this case it actually is a GOOD thing!
We all know what a “Major” label is. But what exactly is an “Indie”? Well, on it’s face, it’s anyone who isn’t a Major. But there’s an unspoken truth here. In the entertainment industry, when we talk about “Indies”, we really mean either an independent company with ties to a Major somewhere down the pipeline, or an independent company that grosses a LOT of money on it’s own (we’re talking near and above the millions per year mark here). So, as many of the recent articles stated, Indie artists like Adele, would be forceably removed from YouTube. But let’s look at her independent status for a second. She is signed to XL Recordings, a British indie label. They are distrubuted thru the Beggars Group, a larger, but still independent record label in England. They in turn are distributed in the US by Alternative Distribution Alliance, the “independent” distribution wing of Warner Music Group.
The case is true almost all across the board when we speak of Indie labels or artists. Somewhere, somehow, there’s one of the Big 3 connected. Then there’s everyone else,aka the Local. Locals may have a decent YouTube view count of a few thousand per video. They may sell out performace venues of 500 people or so on regular basis. Maybe they even sold 5,000 to 10,000 units on their own. All of which are REALLY huge acomplishments. But compared to the millions of views the Indies and Majors get, the tens of thousands that buy tickets to their live shows, and the tens to hundreds of thousands of records sold, there’s no comparison. Which is why you probably haven’t gotten a call, or email, or anything from YouTube in regards to their new music service deal yet. They’re just not that into you. Again, a very GOOD thing in this case. That means your videos are probably safe. YouTube is not checking your video ID tags to see if you’re uploading music to their free site. They’re not worried about how you’ll compete and/or affect their paid music subscriptions. They’re not thinking about you at all right now. Or at least…not yet!
Of course, depending on how succsessful this paid service ends up being, or how succssesful you end up being, things could change. Move from Local status to Indie/Major, and you’ll feel the effects. But for today, keep making those groundbreaking music videos, keep building those views, and keep working your music because YouTube probably isn’t touching your account anytime soon.
UPDATE (since I began typing):
It turns out there is one area where you may feel the sting. It is likely if you are an artist or label who monetizes your videos, that may change. YouTube and Google still haven’t made any clear statements about anything, but in order to switch over the new paid system, you may recieve a notice to either join the new paid service, or lose monetization rights. Your video will remain up, and most Local artist/labels don’t make money or even have it turned on, but if you do, that may change. There’s an interesting line of thought on this on StJamesBlog worth reading.
Nate Talbot is an entertainment consultant with almost 20 years in the music, television, and theatre industries. He is also the author of “The Absolute Guide” series of books, which teaches crucial concepts like music publishing and intellectual property to readers in 30 minutes or less, and hosts a website, KnowTheBiz.com, which gives free information on entertainment related topics.
While everyone was busy getting drunk and/or worrying about Y2K, legendary DJ Carl Cox was flying between time zones to ring in the Millennium twice at two separate gigs. If only he’d had Mixify Clubcast, which would’ve allowed him to play both gigs from the comfort of his Frankston home.
As Betabeat reports, Clubcast is a new platform founded by EDM live-streaming service Mixify, which allows venues to stream an HD video feed of a DJ’s performance directly into their premises. Clubcast uses a two-way video system, so that not only can punters view the DJ, but the DJ can also watch their audience to gauge their reactions to the music and change their set accordingly.
“Clubcast is the next frontier in live events for the music industry — for fans, artists and venues,” said Mixify founder David Moricca. “With Clubcast’s technology, we are not only breaking geographic barriers, but also creating a way for artists to reach new markets and for venues to maximise their offerings to party goers, while adding new streams of revenue to their businesses.”
And it’s not just EDM fans who are excited at the prospect of watching Avicii perform from his hotel room, Clubcast has already attracted investments totalling $1.8 million from Australia’s CMB Capital,Tim McGee and Richard Mergler of Ministry of Sound Australia, DJ Tommy Trash, and others.
Raising your arms in anticipation of a bass that could in fact be dropping half way around the world will take some getting used to for some dance music fans, but if that infamous video of Steve Aoki,Laidback Luke, and Sander van Doorn is anything to go by, a stereo could just as well suffice.
Watch: Mixify Clubcast – A New Live Event Experience
Optikal Dubs Records presents “One of a Kind” music video directed by Edicson Nieto and with the participation of New York duo Blanquito Man (King Changó, Gold record, 50,000 units sold) and Candice Cannabis alongside Venezuelan producer ZoundColector. Filmed in New York (USA) and Caracas (Venezuela) One of a Kind” shows philosophy crossing continents and cultures. As the video unfolds you can see idiosyncrasy, culture and the features of both capitals such as New York and Caracas. Production shooting in Caracas, Venezuela was in charge of José Parra, while filming in New York was made by Andrew Blanco and Candice Owens. Carlos Bravo and Andrew Blanco takes care of the Photography Direction, both in Caracas and New York respectively.
“One Of A Kind” merges the electronic with the organic, with rushing breaks underpinning some neat melodies and positive feel. There are ﬂashes of the old skool in the beats, and the invigorating vocals from Blanquito and Candice work brilliantly. The single “One of a Kind” was released past May 5, you can get it here.
Executive Producer & Director: Edicson Nieto.
Production: José Parra, Carlos Bravo, Andrew Blanco, Candice Owens.
Photography Direction: Carlos Bravo (CCS), Andrew Blanco (NYC).
Camera: Carlos Bravo, Johan Canelo, Andrew Blanco, Candice Owens.