This post was suggested/requested by the amazing artist Belly Full of Star, who was asking me to share a bit about how I incorporate the ROLI Seaboard into my music. The best way I can describe the Seaboard is to call it a rubberized keyboard that allows for maximum expression. Have you ever wished you could bend the keys like you do guitar strings? Slide up the keys in an unbroken manner? Vary the volume of a single key as you are playing it? Yes.... that's the Seaboard. I'm in love with this instrument.
I found out about this new fangled thing-a-ma-bob from various advertisements and posts from friends. Before this thing was truly commercially available, I signed myself up to receive one. I spent part of my bonus check on it! I wanted it that badly. So I ordered the ROLI Seaboard Grand Stage, which has 61 keys. There is also a limited edition 88 key version as well as a smaller Studio version. Then there is the Rise, which is meant to be utilized more like a MIDI controller. If you have limited space and maximum capability, I would check out the Rise.
The first thing I'm going to is is kind of shameless promotion... I'm going to direct you to some of my more popular songs featuring the Seaboard. Then I'm going to pull apart the Seaboard portion of those songs and let you listen to parts of them raw, explaining how I utilized the instrument. So let's jump in!
Example No. 1:
1. "We Shall Go the Way of Bees" features an unconventional percussion line provided by Roofhare (Kees De Groot, @groovehare on Twitter). The Seaboard comes in as a very buzzy string sound. I wanted to really test the different capabilities of the instrument and used the glissando ribbons (space below and above the raised keys). I took my finger and moved it quickly back and forth in a short motion on the ribbon while inching my way up the board. It was kind of like quickly smudging a line. I used a slight rocking motion of my hand to achieve this without breaking contact with the board. Of course you'll hear a few slides and some other bee-like droning, which is simply rocking a finger on the ribbon. On the high pitched, almost whistling slide down at the end, I trilled two fingers down the ribbon.
Example No. 2:
2. "Trade My Smile" used the Seaboard on the little background hook and other background noises. Leaning into an F and then rolling my hand as I hit F# with another finger, I was creating that bendy little thing in the verses. Throughout the bridge and chorus you can hear me starting light on chords and then really pushing into the board to increase the volume. If you start light and then dig, it responds accordingly with intuitive volume control!
Yes this was a shorter post this time around, but given the sound clips I felt that I should give you time to listen and consume. In a near future post we'll be hitting vocoders in a rather unconventional setting!
Please send me your suggestions for posts in the comments, via my website, or to my twitter account sarahschonert@sarahschonert.
Visit www.sarahschonertmusic.com to learn more about my music.
Source! ROLI
Monday, August 29, 2016
Saturday, August 20, 2016
An Eclectic Collection, Part 1 (Keyboards and Microphones)
My first post has been received quite well, so thank you to everyone who has read and/or shared! I love talking about music and production and am excited to continue with this new blog.
Alright... my keyboard! I am asked often, by other musicians as well as fans, about the grand piano sound in my recordings. Fans sometimes think it's my baby grand, but most of the time it is not. This is not surprising to producers and musicians who are using or at least aware of the advances in keyboards and virtual instruments, but I have floored a few people who were convinced that they were hearing "Gretchen." (I am the proud owner of a 100+ year old baby grand we affectionately call Gretchen, but she doesn't get into most of my recordings.) I don't like recording my piano because it doesn't stay in tune for very long, has a lot of extra noise in the hammers and pedal, and often requires at least 2 (preferably more) microphones to properly capture the sound.
Since I utilize other instruments as well as electronic elements, recording an acoustic piano doesn't serve me very well for final production. My musical signature and aesthetic really rely on the fact that I use a full-sized, weighted, digital piano with a pedal to bring in all aspects of my playing via a MIDI cable. Yes I'm still playing just as I would a real piano, but with the MIDI captured, I can choose among multiple pianos, vintage keyboards, synths, drums, etc while not having to physically own all of these different instruments. I can go so far as to create my own custom sounds to apply to my piano playing.
I own two digital pianos: one for my studio (an aging Williams Allegro) and one for gigging (a Casio Privia PX-160). Either would work beautifully for the studio, but trust me that if you are a pianist, you don't want to risk losing or dropping your studio keyboard. This is why I own two. I will say here that my Allegro has seen better days, and I would gladly replace it with a newer Allegro or even a second Privia in the future. They both keep up with my fingers, which is difficult for a non-weighted keyboard. That actually was a key factor in what to buy. They have to feel as real as possible to me and react like a well-maintained grand piano.
During some recent window-shopping and price-comparisons, I've noted that many keyboards have been going to MIDI over USB lately. My Allegro still requires me to break out my big orange MIDI cables, so I have an interface that supports MIDI-in and MIDI-out. Since I also record with microphones, a few years back I chose the Focusrite Scarlett 8i6. It has 2 pre-amps, MIDI-in and MIDI-out, and 2 line inputs. It also has outputs to the computer (USB), monitors, and headphones. I know I'm missing a few features here, but those are the ones I use most often. The pre-amps are decent.
Despite how much I like the Scarlett, if I'm going to be be perfectly honest, I should have gotten one with more mic pre-amps. I like to mic up amps and accordions as well as my voice, and occasionally I do record Gretchen for special projects. Usually I can get away with two microphones, but I would really like the option of using four or more for certain applications. When I do upgrade, I'll be sure to post my thought processes as well as what I ultimately end up with and why. At the time I bought this one though, I really didn't need more than two XLR inputs. I bring this up because I think it's important to consider your needs five years down the road. Will you want to try different recording techniques that require multiple mics? Will you need to pull instrument cables in? I would also caution that if you are looking to upgrade your computer soon to consider what the input will be from the interface and if the computers you are looking at will support it (Thunderbolt, Firewire, USB 2, USB 3). You'll also need to make sure it is compatible with your operating system. The interface is how you are bringing your signals in to your computer. Always read the tech specs and ask questions if you're unsure.
This leads to my microphones... I use microphones on my vocals for sure. When it comes to vocals, I, like many others, enjoy a large diaphragm condenser microphone. My go-to for the past two years has been the M-Audio Solaris, which is a versatile multipattern mic (switch among figure 8, cardioid, and omni). I love this mic because I think it is more true to my voice than other mics I've tried. It really does well when I go into my spoken passages or quieter singing, adding a touch of warmth while maintaining clarity. I do have to back away if I'm going to belt, but I find that I really can't go wrong with this microphone on my voice. The only complaint is that it's not very bright, but considering the clarity, that's okay as it keeps it from sounding too thin. I just play with my EQ a bit in the mix and it's perfect. It also seems to not grab every sound in the house as much as other microphones I've tried. I do use a acoustic surround that attaches to my mic stand which also helps reduce reflected noise.
 |
| The Blue Bluebird |
I also use the Blue Bluebird (pictured) on some applications, which is a gorgeous microphone to say the least. It's great on mid-ranges, and it also has good clarity. It has a vintage vibe in the styling, so I love to do photo shoots with it. This was my first half-way decent microphone, so it got a lot of recording use on my first album and a few subsequent singles. I think it responds a bit better to highs than my Solaris, but admittedly I have not tried a side-by-side comparison to confirm that suspicion. Overall I like the Solaris better for my style of vocals as of today. Some gear-reviewers have said the Bluebird is amazing on male voices, but I'll have to confirm that in person. (Maybe down the road my music buddies and I will do a mic "shoot-out" for you with sound clips.)
I've only scratched the surface of my microphone collection. For example, when it comes to capturing an amp or an accordion, I grab two microphones: a multi-purpose mic as described above described above as well as a ribbon mic (Avantone CR-14). I will go into that set-up in more detail another time as this post is already running long.
What I will say to anyone buying a microphone, be sure you understand if you need phantom power. Because I have the Scarlett interface, I already have two inputs with phantom power (with the pre-amps), but many people just starting out on recording vocals don't understand if they need this or not. I've had several discussions with people asking for help on how to buy microphones and this comes up over and over. Please read up on any microphone you are looking to buy to understand where it shines, the power needs, etc. Some mics are really versatile, but they all have their strong suits. I didn't list all of the microphones I own, but the Solaris and Bluebird use phantom power (48V). The CR-14 does not.
If there are any questions or even suggestions anyone has relating to this topic or the previous one, please send them to me by way of the comments and I'll address those as well. Other later posts will discuss different plugins, effects, tips, tricks, etc for electronic and other music recordings. Please send me your suggestions for posts in the comments, via my website, or to my twitter account sarahschonert@sarahschonert.
Visit www.sarahschonertmusic.com to learn more about my music.
Obsolete and old generation equipment: The Scarlett family is on generation 2 now, and I don't believe an 8i6 is available any longer. There are plenty of similar set-ups however, Focusrite has several interface lines to check out. Also, the Solaris is no longer in production. However, the Nova and the Sputnik are on my watch-list for microphones to try next from M-Audio.
Definitions for the Layperson:
DAW: "Digital Audio Workstation." When I use this term, I'm generally talking about the software in which you record and/or mix your tracks.
Digital piano vs Keyboard: A digital piano is, essentially, a keyboard that sounds and plays more like an acoustic piano, but not all keyboards are digital pianos. While definition can vary depending on who you talk to, my rule is this: If it is truly weighted like a piano and has most-to-all octaves, it's a digital piano. If it has semi-weighted or unweighted keys and is limited in range, it's not a digital piano. If you're a pianist, you'll know the difference immediately upon playing. If you aren't, it might not really be a factor for you in choosing a keyboard at all.
XLR: Type of electrical connector. This is typically what most of your modern microphones will use.
Phantom Power: DC electric power that gets used by a lot of condenser microphones. This power is transmitted via the mic cable.
MIDI: Stands for "Musical Interface Digital Interface." This is a standard for the protocol and tools that allows for communication of musical notation, pitch, velocity, and more. The best way to learn about this is to go read about it: https://en.wikipedia.org/wiki/MIDI
Saturday, August 13, 2016
Not Your Average Robot Voice...
Hey all!
Before I get started, yes, I started a new blog. In my "Music Philosophy from a Physics Major" blog (which you can visit here), I'll still be talking about music from both a Creator and a Fan perspective, where I've touched on everything from collaborating to how to better support your favorite artists, but in this new blog, I'll be talking specifically about some of my methods in electronic recording and mixing. I also will be mentioning some of the software and hardware that I personally am fond of using. I'll be happy to take requests for some different types of posts, and if I don't have experience in a certain area, I'll research the subject and find some guest-contributors.
I use a lot of both technical and musical terms. As I will try to do each post, for terms that I do not define within the main text, I'm including additional definitions at the end of this post. While I'm guessing that most of the people that would be reading this blog will be at least somewhat familiar with most of these terms, I recognize that everyone must start somewhere and I know I have some fans that are simply curious as to my methods. I want this blog to work well for the novice as well as more-seasoned music creators wanting to know more about a certain method or effect. We're all always learning. So let's get this blog rolling!
In a recent interview with Music-News, the interviewer asked me about what first drew me to the vocoder, noting of my usage that, "... it's a less brash, more tasteful use of the effect than most of us are used to in popular music." I honestly have to say, whether it was intended as such or not, this felt like a massive compliment to my work in applying vocoders within my songs. I am always searching for new and better ways to use the vocoder in my work. In the interview, I desperately wanted to dive into the nuances and different applications one could try with vocoding software, To keep my answer brief though, I only touched on how my usage differs as well as the specific song that got me diving into how to use vocal effects. (You can read the entire interview here if you're so inclined.) So now I am going to use my new blog and first post to outline what you really need to know to make use of vocoding software and apply it in some new and exciting ways.
While I won't get into how physical vocoders are built today or all of the technical bits of how vocoders work, I do think it's important to learn a couple of terms and some basics. The carrier is the sound that you're trying to control with the modulator, which is typically your vocal input. Vocoders work by breaking your modulator into usable bands of information that then shape the carrier. The more bands of frequencies that it's broken down into, the clearer the "singing" of your synthesizer. HOWEVER, too many bands can feel almost too grainy with certain synths. Not always desirable. Decent vocoding software will allow you for you to specify or choose the number of bands. (I personally use no more than sixty bands for a female voice with a relatively traditional synth sound.)
Also on software, you should find software that allows you to "mix" within the vocoder to a degree, changing how much the unvoiced speech sounds (plosives, sibilants) come through, the dry/wet ratio, etc. Software that is too simple can be too limiting in the finish and polish of the end-result or even just give you too few options, often resulting in a lot of robot voices or lack of clarity in the vocalization. Read reviews, find some free trials, and determine which plugin is best for you. I use Vocodex by Image-Line (the makers of FL Studio), which I highly recommend. There are free vocoder plugins out there, but most of them are very limited in features and don't generally allow for side-chained carriers. There are plenty of review sites out there too.
The beauty of vocoding software in the studio, versus a physical vocoder or keyboard with built in mic/vocoder (which I recommend for the stage), is that you can bring in pieces of or all of a separate vocal into your DAW and vocode with that as well as choose from among any virtual instruments you may own. You can also record your guitar, accordion, violin, etc and use that as a carrier. I rely on a vocoding software plugin for my recordings because it gives me maximum control over every choice and nuance.
One thing to keep in mind is that you don't have to use a vocal as a modulator unless you are going for "singing" instruments. On the song "Talking Over Apologies," I also used the vocoder to create a completely different instrument line than I could have achieved otherwise by modulating one instrument with another. I may delve into this in a later post and include some sound clips on how to make use of some really odd applications of the vocoder. However, since most people think of voice applications of vocoders, we will focus on that for this post.
So now let's choose a carrier. Generally, a nice, big, sweeping synth pad works well, and I suggest that if you're a beginner, you use one of these as you get comfortable with your software. It will give you a much more traditional vocoder effect. Grab a pad and record some chords to use as your carrier. This will remove some distractions in the carrier while you get used to playing with the settings within the plugin.
Because you generally want a clear vocalization, the carrier needs to be relatively "unbroken." When I speak of breaks, I mean pauses or rests, even relatively small, in speech or an instrument line. Any breaks in the carrier sound will result in breaks in the vocalization. Internalize that information. It's really important to choosing both the carrier and how it's played.
So let's fast forward to you understanding and feeling somewhat comfortable in your vocoding software. If the synth line should be relatively unbroken, does that mean only use long chords? Actually, no! Long chords are not required, even for vocoding speech and heavily syllabled singing. (Maybe this is not a revelation for you, but really understanding this was one of those aha moments for me.) You certainly can use chords, but ultimately what you need is a legato line of music. If you can get the carrier line to be flowing and relatively unbroken, whether by using a nice ambient drone, a wash, or even violins, you can make it "sing."
The reason why my vocoder application gets noticed is that I think about my vocoder line as an instrument within my mix. For my carrier, I often use my keyboard line with vst plug-ins. The flowing piano melodies mixed with chords and ornaments in my piano lines have an organic feel and allow the vocoder effect to settle into my songs. This isn't every application, but it is very much a part of my signature. Since I bring in a keyboard line via MIDI from a weighted keyboard, I can choose among vst plugin sounds and still retain the dynamics of a real piano.
And here is the flip side! If you are not going for speech or a lot of words, and only want to color your "ahs" and other held vocalizations, you can use even more diverse carriers. I have some very interesting virtual instruments with various delayed arps, echoes, etc and I love to control those synths with my voice. But generally those arps and echoes are not very clear until I get to a held vocal note. This becomes apparent in the "ahs" in my song "WaterWings."
In later posts, I'll further address some different applications of vocoders, such as bolstering a main vocal line, adding background vocals, coloring held notes, and using vocoders with just instruments as well as discuss ways to prep a vocal recording to use with the vocoder. If there are any questions or even suggestions anyone has relating to this topic, please send them to me by way of the comments and I'll address those as well. Other later posts will discuss different plugins, effects, tips, tricks, etc for electronic and other music recordings. Please send me your suggestions for posts in the comments, via my website, or to my twitter account sarahschonert@sarahschonert.
Visit www.sarahschonertmusic.com to learn more about my music.
Definitions for the Layperson:
Legato: a musical term that means the notes should be connected and flowing
Pad / Synth pad: A synth often used to provide ambiance, background chords, etc. They lend themselves to held notes and chords.
VST Plugin: VST stands for "Virtual Studio Technology" and plugins are software modules that work in various DAWs. These are often effects such as filters, EQs, compressors, reverbs, etc and synths / virtual instruments that you can play by way of MIDI controllers.
DAW: "Digital Audio Workstation." When I use this term, I'm generally talking about the software in which you record and/or mix your tracks.
Arp: Arpeggio triggered off of a single note (often by holding the note). These are varied and may come preprogrammed into a vst sound or can be added and customized within the plug-in.
Suggested resource for further learning: http://www.innovativesynthesis.com/introduction-to-vocoders/
Before I get started, yes, I started a new blog. In my "Music Philosophy from a Physics Major" blog (which you can visit here), I'll still be talking about music from both a Creator and a Fan perspective, where I've touched on everything from collaborating to how to better support your favorite artists, but in this new blog, I'll be talking specifically about some of my methods in electronic recording and mixing. I also will be mentioning some of the software and hardware that I personally am fond of using. I'll be happy to take requests for some different types of posts, and if I don't have experience in a certain area, I'll research the subject and find some guest-contributors.
I use a lot of both technical and musical terms. As I will try to do each post, for terms that I do not define within the main text, I'm including additional definitions at the end of this post. While I'm guessing that most of the people that would be reading this blog will be at least somewhat familiar with most of these terms, I recognize that everyone must start somewhere and I know I have some fans that are simply curious as to my methods. I want this blog to work well for the novice as well as more-seasoned music creators wanting to know more about a certain method or effect. We're all always learning. So let's get this blog rolling!
In a recent interview with Music-News, the interviewer asked me about what first drew me to the vocoder, noting of my usage that, "... it's a less brash, more tasteful use of the effect than most of us are used to in popular music." I honestly have to say, whether it was intended as such or not, this felt like a massive compliment to my work in applying vocoders within my songs. I am always searching for new and better ways to use the vocoder in my work. In the interview, I desperately wanted to dive into the nuances and different applications one could try with vocoding software, To keep my answer brief though, I only touched on how my usage differs as well as the specific song that got me diving into how to use vocal effects. (You can read the entire interview here if you're so inclined.) So now I am going to use my new blog and first post to outline what you really need to know to make use of vocoding software and apply it in some new and exciting ways.
While I won't get into how physical vocoders are built today or all of the technical bits of how vocoders work, I do think it's important to learn a couple of terms and some basics. The carrier is the sound that you're trying to control with the modulator, which is typically your vocal input. Vocoders work by breaking your modulator into usable bands of information that then shape the carrier. The more bands of frequencies that it's broken down into, the clearer the "singing" of your synthesizer. HOWEVER, too many bands can feel almost too grainy with certain synths. Not always desirable. Decent vocoding software will allow you for you to specify or choose the number of bands. (I personally use no more than sixty bands for a female voice with a relatively traditional synth sound.)
Also on software, you should find software that allows you to "mix" within the vocoder to a degree, changing how much the unvoiced speech sounds (plosives, sibilants) come through, the dry/wet ratio, etc. Software that is too simple can be too limiting in the finish and polish of the end-result or even just give you too few options, often resulting in a lot of robot voices or lack of clarity in the vocalization. Read reviews, find some free trials, and determine which plugin is best for you. I use Vocodex by Image-Line (the makers of FL Studio), which I highly recommend. There are free vocoder plugins out there, but most of them are very limited in features and don't generally allow for side-chained carriers. There are plenty of review sites out there too.
The beauty of vocoding software in the studio, versus a physical vocoder or keyboard with built in mic/vocoder (which I recommend for the stage), is that you can bring in pieces of or all of a separate vocal into your DAW and vocode with that as well as choose from among any virtual instruments you may own. You can also record your guitar, accordion, violin, etc and use that as a carrier. I rely on a vocoding software plugin for my recordings because it gives me maximum control over every choice and nuance.
One thing to keep in mind is that you don't have to use a vocal as a modulator unless you are going for "singing" instruments. On the song "Talking Over Apologies," I also used the vocoder to create a completely different instrument line than I could have achieved otherwise by modulating one instrument with another. I may delve into this in a later post and include some sound clips on how to make use of some really odd applications of the vocoder. However, since most people think of voice applications of vocoders, we will focus on that for this post.
So now let's choose a carrier. Generally, a nice, big, sweeping synth pad works well, and I suggest that if you're a beginner, you use one of these as you get comfortable with your software. It will give you a much more traditional vocoder effect. Grab a pad and record some chords to use as your carrier. This will remove some distractions in the carrier while you get used to playing with the settings within the plugin.
Because you generally want a clear vocalization, the carrier needs to be relatively "unbroken." When I speak of breaks, I mean pauses or rests, even relatively small, in speech or an instrument line. Any breaks in the carrier sound will result in breaks in the vocalization. Internalize that information. It's really important to choosing both the carrier and how it's played.
So let's fast forward to you understanding and feeling somewhat comfortable in your vocoding software. If the synth line should be relatively unbroken, does that mean only use long chords? Actually, no! Long chords are not required, even for vocoding speech and heavily syllabled singing. (Maybe this is not a revelation for you, but really understanding this was one of those aha moments for me.) You certainly can use chords, but ultimately what you need is a legato line of music. If you can get the carrier line to be flowing and relatively unbroken, whether by using a nice ambient drone, a wash, or even violins, you can make it "sing."
The reason why my vocoder application gets noticed is that I think about my vocoder line as an instrument within my mix. For my carrier, I often use my keyboard line with vst plug-ins. The flowing piano melodies mixed with chords and ornaments in my piano lines have an organic feel and allow the vocoder effect to settle into my songs. This isn't every application, but it is very much a part of my signature. Since I bring in a keyboard line via MIDI from a weighted keyboard, I can choose among vst plugin sounds and still retain the dynamics of a real piano.
And here is the flip side! If you are not going for speech or a lot of words, and only want to color your "ahs" and other held vocalizations, you can use even more diverse carriers. I have some very interesting virtual instruments with various delayed arps, echoes, etc and I love to control those synths with my voice. But generally those arps and echoes are not very clear until I get to a held vocal note. This becomes apparent in the "ahs" in my song "WaterWings."
In later posts, I'll further address some different applications of vocoders, such as bolstering a main vocal line, adding background vocals, coloring held notes, and using vocoders with just instruments as well as discuss ways to prep a vocal recording to use with the vocoder. If there are any questions or even suggestions anyone has relating to this topic, please send them to me by way of the comments and I'll address those as well. Other later posts will discuss different plugins, effects, tips, tricks, etc for electronic and other music recordings. Please send me your suggestions for posts in the comments, via my website, or to my twitter account sarahschonert@sarahschonert.
Visit www.sarahschonertmusic.com to learn more about my music.
Definitions for the Layperson:
Legato: a musical term that means the notes should be connected and flowing
Pad / Synth pad: A synth often used to provide ambiance, background chords, etc. They lend themselves to held notes and chords.
VST Plugin: VST stands for "Virtual Studio Technology" and plugins are software modules that work in various DAWs. These are often effects such as filters, EQs, compressors, reverbs, etc and synths / virtual instruments that you can play by way of MIDI controllers.
DAW: "Digital Audio Workstation." When I use this term, I'm generally talking about the software in which you record and/or mix your tracks.
Arp: Arpeggio triggered off of a single note (often by holding the note). These are varied and may come preprogrammed into a vst sound or can be added and customized within the plug-in.
Suggested resource for further learning: http://www.innovativesynthesis.com/introduction-to-vocoders/
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