21 bands and 50hrs of work in 3 days later and what a trip it’s been! Amazing honor to have been working as a monitor technician for all the amazing bands playing. Bands like Dare, Stage Dolls, Boulevard and Kee Marcello all acted like true professionals and the whole festival was pure magic all the way to the end.
Kortfilm producerad och inspelad av mig med egenskapat ljud. Allt ljud gjordes enligt “Foley”-principen, där man använder olika föremål för att återskapa ljuden som hörs i filmen. Syntharna gjordes i Massive.
A lot has happened in 2017. I’ve started studying to become an acoustic engineer which has been a lot of fun. A long with a technician job it’s been hard to keep the blog and page updated.
Been deep into microphones and what small adjustments do to certain frequencies and volumes. Below is an example of a full rotation of an AT2020 microphone.
Straight into the microphone
180 degree rotation
Before recording in any room it’s a good idea to measure the natural reverb of the room. Been using a Linux program called Room EQ WIZARD and a measuring microphone from Behringer to get some solid reverb times from certain rooms.
Reverb times of a balloon being popped inside a church
Had the honor to be the sound technician for well-known swedish rapper Mwuana. A lot of fun, and one of my first rap gigs. Hardest part was to stay in the yellow and to really make the lyrics come through. It’s easy to get the sound right at soundcheck but when the place starts to fill up, a lot of frequences get absorbed by the audience. Things might sound OK somewhere in the crowd but at the back it’s a totally different sound.
Soundcheck, one male singer and one DJ straight into the mixer
250 people, hard to keep the levels and had to adjust a lot during show
Moved into a new studio place and just started to measure up the room acoustics. Starting out simple with just measured out 4 on each walls to reduce standing waves and flutter echo.
Vill du bli snabbare, säkrare och bättre som gitarrist?
Vill du komma in på spetsutbildning men känner att du saknar musikteorin och kunskapen som behövs?
Ny termin och nya lektioner! Jag har jobbat som gitarrlärare i över 5 år och har hjälp ett flertal elever komma in på sina program och att nå sina mål. Tillsammans lägger vi upp en plan för att just du ska lyckas!
Är du intresserad? Hör av dig till firstname.lastname@example.org!
I will be posting segments of my bachelor thesis “Out of Touch – The Framework That Is Supposedly Killing Music”. The whole essay can be found at: Link to essay
The main discussion points in the thesis are authenticity, Auto-tune and the obsession with perfection in today’s music.
Analyzing pitch: Example 1 Bob Dylan
The first example is an isolated vocal track from Bob Dylan. Looking at the curve in figure 2.5 and how it fluctuates, it can be assumed that it is either a natural curve or a skillfully manipulated vibrato, added on in post process effects. In an obvious case like this, the conclusion is easy to draw and you have many different ways of establishing the authenticity of the performance.
Looking at the pitch, it is clear that it is never in perfect pitch or exactly on a specific note. On the normal, comfortable notes it is slightly above, and on the higher notes it is slightly below. This is completely normal and it also tells us that the pitch has most likely not been tampered with.
The vibrato varies from every note, which means the performer is most likely using a natural non-digitalized vibrato. It sways from the center, no matter if slightly off pitch or on pitch. In an Auto-tune scenario it would only sway from the “on-pitch”-position. The vibrato is not fixed and has a different altitude and fluctuation throughout the analyzed section.
There are no signs of anything digitalized throughout the analyzed section when listening to the track. In extreme cases it is possible to hear immediately if Auto-tune has been used.
As seen in figure 2.6 the vibrato and the fluctuations are completely removed by the pitch correction. The old curve can still be seen behind the new curve as comparison. The sound is, after the correction, completely digitalized and “sterile” but it is still possible to hear that it is Dylan. His voice is recognizable through the correction and the artifacts that make Dylan “Dylan” are still present even though the pitch is now completely on the note.
Everest, F. Alton & Pohlmann, Ken C. (2009). Master handbook of acoustics. 5. ed. New York: McGraw-Hill
Takesue, Sumy (2014). Music fundamentals: a balanced approach. Second edition. London: Taylor & Francis Ltd
Ternhag, Gunnar (2009). Vad är det jag hör: analys av musikinspelningar. Göteborg: Ejeby