Gobbler – Back up solutions for audio and video professionals.

Through a tweet I hear about Gobbler today. Gobbler is a cloud based file sharing and backup solution for media professionals like musicians, studios, and video editors. Sign up to the site was easy and right now they are offering a 25 GB free account while the web site is in beta testing.

After sign up and confirmation of your email address you must download an application that catalogs your files. I searches your hard drive for session created by your DAW (digital audio workstation.) It recognized files by all the popular recording softwares including Logic, Protools, Garage Band, Cubase, Sonar and more. For a full list of compatible files visit the Gobbler website. When Gobbler has finished searching your computer is shows a list of files you can select to back up. The sessions you choose to back up are then put in a queue or fancy waiting line to be uploaded to the cloud. Once the file is on the cloud the it can be sent to another person by link in an email. The session will also be updated and continuously backed up on the cloud from that point on. One of the best features about Gobbler is it does not do anything while your DAW is open and you are working. It leaves that precious CPU for you to use on your session and plug ins. When your session is closed and you are watching reruns of the Jersey Shore on Netflix Gobbler gets back to work.

Gobbler seems like the backup solution musicians and studio owners have been waiting for. Back up products like Apple’s built in Time Machine are good but the danger lies in the back up being on site. Cloud based back ups are more useful in the case of some catastrophe like theft, flood, or fire. In an event like that your main hard drive and back up drives are in the same place and they will most likely suffer the same fate. Cloud based storage moves you backed up information off site.

I’ll be trying Gobbler over the next few months to back up sessions for my clients. Give it a try while they are still overing free hard drive space. It might not last for

Turn Native Instruments Battery Into an EMU SP1200 or Akai MPC-60

Native Instruments Battery is a sampler specifically used for working with drums. While you can program other sounds into it like basses or keys, its strength is in being able to individually manipulate each sample or “cell”

Battery gives you controls to edit the pitch, volume, attack, sustain and release of each samples as well as many more. One option most people over look though is the “Vintage” button. Enabling this button give you classic sampler sound.

You can select from various ranging from S-1200 Filter off to MP-60. Try the the sample using the different filtering options in the menu and you will hear the dirty vintage inflections each adds to the sound.

The EMU-SP1200 made famous by producers like Pete Rock and DJ Premier was notorious for its 12 Bit sound.Take it one step further and click on the “effects” tab and enable the “lo-fi” effect. By adjusting the amount of “Bits” you can make your sample more gritty and dirty.

Now download the free Drum kit from DrumsAndsounds.com and start making beats. If you have questions or comments be sure to leave them below.

* Tenga cuidado con los altavoces. Profesional de los fusibles en línea con los estudios de uso de sus sistemas de altavoces para evitar sobrecargas y destruido. Todos los becareful no tener nada sentado en la parte superior de los altavoces, en especial su florero de cristal madres favorito. Caerá, se romperá. Lo que se dice en la lectura.

El primer paso para conseguir una mejor bajo en sus latidos se utiliza mejor los sonidos.Siempre es mejor empezar con un sonido que tiene lo que quiere desde el principio en lugar de “que la fijación en la mezcla. “Si tu tratando de agregar un sonido sub bass muy bajo entonces no busque más la onda senoidal. Una vez que haya marcado una onda senoidal en el sintetizador o sampler empezar a jugar a su línea de bajo. Trate de jugar el bajo en algunas áreas diferentes del teclado. Mientras lo hace escuchar el sonido y ver donde su sonido mejor. Se dará cuenta de que ciertas áreas del teclado tiene un sonido de bajo muy resonante y llena, mientras que otro sonido muy fino o en audible.Juega un poco hasta encontrar lo que mejor suena para su seguimiento. Bombos también suenan mejor tono arriba o hacia abajo a veces. Si su uso de una MPC puede asignar la muestra de bombo de 16 niveles diferentes de tono, los encargados de golpear el teclado puede utilizar el pitch bend y rueda de modulación para hacer lo mismo.

La siguiente forma fácil de crear su sonido grave es que los programas de capa o sonidos. Para ello el juego de su línea de bajo, una vez en su secuenciador. Después de que se registró copiar la parte de pista diferente y canal MIDI y asignar un sonido diferente. Usted puede hacer esto tantas veces como quieras o hasta que el sonido es lo suficientemente gruesa como para hacer estallar los altavoces. Cuando se utilizan diferentes combinaciones de sonidos buscar el contraste. Yo suelo utilizar dos sonidos de la línea de bajo y bombo. Un sonido es por lo general para el ataque o inicio del sonido. El otro sonido por lo general se llena la parte inferior del cuerpo o del sonido.Mediante la mezcla de una buena batería dura patada de rock con un viejo 808-tiro de la muestra se obtiene un sonido de batería que tiene un claro ataque y un fondo de asesino. Esto funciona con líneas de bajo de la misma manera. Trate de jugar una línea de bajo con un bajo slap bass o el sonido arrancado. Continuación, haga doble con un sonido de bajo sin trastes o el sonido de tipo sinusoidal como el órgano, o mi arma secreta del general midi “silbido” por una pocas octavas. Por lo menos los parches midi generales son buenas por lo menos un sonido.

Tuning es también un factor importante en la toma de las ventanas traseras de los rumores jeep. En el extremo inferior de su ritmo no hay lugar para el choque de bombos, bajos y submarinos.

Si usted nota baja o el tono principal es el hogar y E entonces usted quiere armar su sub bass o el tambor de 808 patadas a un mensaje también. Para encontrar el tono de su 808 se puede conectar a un afinador de guitarra. Ambas versiones de hardware y software de estos se puede encontrar por menos de $ 20 dólares en línea en su tienda de música. Si el uso de una batería acústica que suena patada que en realidad no es que bajo esta realidad no es tan importante, ya que no conviven en el mismo espacio que su maravilloso submarino.
Usted puede notar que después de recibir este sonido muy bajo de cadera baja va usted quiere usarlo sin parar en su ritmo. No lo hacen. Haga que su línea de bajo reglamentario de juego, cuando cada vez que quieras, pero sólo utilizan el bajo super acento ella. Para finalizar baja mucho todo el tiempo hará que todo sea muy difícil de escuchar. Las cosas tienen un impacto mucho más cuando se usan con moderación en una pista.

En este punto usted debe tener algunas líneas de bajo muy espeso y patadas. Si no es su última oportunidad para reforzar todo lo que está en la mezcla. Aunque el primer pensamiento de todo el mundo sería incrementar las frecuencias bajas, como 40 Hz a 200 Hz aproximadamente, no hay otra opción. Ecualización buena por lo general viene de cortar las frecuencias y aumentar ligeramente. Ya que no la va a necesitar las altas frecuencias en el bombo y las líneas de bajo de cortarlas. Trate de experimentar mediante la reducción de las frecuencias de 200 o 400 Hz hasta que algo suena bien.Tenga en cuenta que cada frecuencia de corte que altera el color o chareteristics del sonido.

Si su todavía tiene problemas para hacer los altavoces de su padre la casa de explotar su tiempo de conseguir algo de ayuda. No es un plug in para todo. La respuesta a sus oraciones se presentan en forma de Max Bass. Aunque no voy a entrar en detalles sobre cómo funciona voy a ofrecer algunos consejos. No más de hacerlo.

Un ingeniero me dijo una vez el secreto de su sonido de bajo que era un secreto chino antiguo. Hasta que descubra los misterios del zen y el arte de la parte baja probar algunas de las técnicas anteriores para conseguir sus latidos Bumpin

¿Preguntas? Comentarios, dejarlos a continuación.

These two video will walk you through how it works.

Part I

Part II

This is a quick snapshot of the mixer. Sorry I did not label it. You can still get a clear picture though. You are only hearing 3 drum parts. Kick Clap, and Hi Hat, but there are many different sounds layered together to make the track sound big.

* Please be careful with your speakers. Professional studios use fuses inline with their speaker systems to prevent them from overloading and being destroyed. All becareful not to have anything sitting on top on your speakers, especially your moms favorite crystal vase. It will fall, It will break. That’s said read on.

The first step to getting better bass in your beats is using better sounds. Its always better to start with a sound that has what you want right from the beginning instead of “ fixing it in the mix. “ If your just trying to add a really low sub bass sound look no further then the sine wave. After you’ve dialed up a sine wave in your synth or sampler begin playing your bass line . Try playing the bass line in a few different areas of the keyboard. While you do this listen to the sound and see where its sound the best. You’ll notice that certain areas of the keyboard have a very resonant and full bass sound while other sound very thin or in audible. Play around until you find what sounds best for your track. Kick drums also sound better pitched up or down sometimes. If you your using an MPC you can assign your kick drum sample to 16 different pitch levels, keyboard beat makers can use the pitch bend or modulation wheel to do the same thing.

The next easy way to build up your bass sound is to layer programs or sounds. To do this play your bass line once into your sequencer. After it is recorded copy the part to different track and midi channel and assign a different sound. You can do this as many times as you like or until the sound is thick enough to blow your speakers. When using different combinations of sounds look for contrast. I usually use two sounds for bass line and kick drums. One sound is usually for the attack or start of the sound. The other sound usually fills the bottom or body of the sound. By mixing a good hard rock kick drum with an old 808-kick sample you get a drum sound that has a clear attack and a killer bottom. This works with bass lines just the same. Try playing a bass line with a slap bass or plucked bass sound. Then double it with a fretless bass sound or sine type sound such as organ, or my secret weapon the general midi “whistle sound” down a few octaves. At least those general midi patches are good for at least one sound.

Tuning is also an important factor in making the back windows of the jeep buzz. At the bottom end of your beat there is no room for clashing kick drums, basses and subs.

If you main bass note or home tone is and E then you want to pitch your sub bass or 808 kick drum to an E also. To find out the pitch of your 808 you can plug it into a guitar tuner. Both hardware and software versions of these can be found for less then $20 dollars online at at your local music store. If your using an acoustic sounding kick drum that’s not really that low this really isn’t that important because it doesn’t coexist in the same space as your groovy sub.
You might notice that after you get this really hip low bass sound going you want to use it non stop in your beat. Don’t . Have your regular bass line playing when ever you want but only use the super bass to accent it. To much low end all the time will make everything very hard to hear. Things have much more impact when they are used sparingly in a track.

At this point you should have some pretty thick bass lines and kicks. If not your last chance to beef up everything is in the mix. Although everyone’s first thought would be to boost all the bass frequencies, such as 40hz to about 200hz , there is another option. Good equalization usally comes from cutting frequencies and slightly boosting. Since your not going to need the high frequencies in your kick drum and bass lines cut them. Try experimenting by cutting the frequencies about 200 or 400hz until something sounds good. Keep in mind that each frequency you cut alters the color or chareteristics of the sound.

If your still have problems making your dad’s house speakers explode its time to enlist some help. There is a plug in for everything. The answer to your prayers will come in the form of Max Bass. Although I won’t go into details about how it works I will offer some advice. Don’t over do it.

An engineer once told me the secret to his bass sound was an old Chinese secret. Until you uncover the mysteries of zen and the art of the low end try some of the techniques above to get your beats bumpin

Questions? Comments, Leave them below.

http://www.gearwire.com/kurtis-dave-huizenga-interview-part2.html

Music Industry Networking Secrets

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The music industry has been keeping a secret from you. No one will tell you. Not just because its a secret, but because it is simple. If you want to improve your networking in the music industry here is all you have to do.

Stop Talking About Music!

An A&R, producer, publisher–any one who can do anything for you in the business is much more likely to listen to your demo once they know you. We have all been there. Hungry–Trying to get our music out, trying to get people to listen.

You might want to sit down before you read this:

The cold reality is that no one wants to hear your music, especially some one you gave a CD to after a 10 second pitch.

Some one who you are friends with might not want to hear your music but at least they might listen.

“But my music is hot!”

Your music might be hot, It might not. The bottom line is that the music industry, and any other industry for that matter, is built on relationships and trust. The product comes after.

The other major concept most musicians cold calling a&rs and handing out CDs don’t understand is that you are trying to fulfill your life long dream of making it big, the A&R just wants to get home to his kids. At the end of the day he just wants to catch the Yankees game before he passes out and goes to work again tomorrow. Working in the music industry is a job just like any other job. You could be an artist, an a&r, an intern, an assistant in a recording studio, but it is still a job.

Finally if your at a networking event and happen to end up talking about music, don’t talk about your music. Talk about a hit on the chart the other person might like, or a project they are working on. Ask open ended questions and do your best to get their contact information in a friendly way.

3 Things To Talk About Instead Of Music

(These are also easy ice breakers)

1.Sports – people are fanatics about sports. They often will where clothes supporting their favorite teams.  The night before a major networking event watch 30 minutes of ESPN sports center and catch up on your local teams. Bottom line–people, especially guys, like talking about sports.

2.Food – every one loves to eat or cook. Some people are into home cooking, some health food. Food is a universal topic every one can relate to.  Eating food with some one also builds trust and comfort.   It’s not coincidence that the big dogs wine and dine their clients over meals and drinks.

3,Fashion – people are into sneakers, jewelry, women love hand bags, shoes. Where did you get those….. Try that line a few times to get a conversation started.

Now just in case your still not getting it lets look at a short real world example.

Example 1.

(This is hypothetical but you’ll get the idea)

At a music industry networking event a rapper, MC Trash, sees the A&R of the hottest new record label called Pimp My Music Inc. The A&R is sitting at the bar waiting for a drink. Excited that this could be his big break, he rushes over. Nervous and rudely he interrupts the A&R’s conversation. He pulls out a black plastic cased mix tape like he’s about to hold up a bank.

“You got to hear this man. This is the hot shit. Me and my boys got this group. You got to sign us. Take my CD. You got to hear this man. We are gonna be famous.” he says to the A&R.

The A&R gives a quick glance at the mix tape. The photoshoped cover reads:

Hosted by DJ No One Famous

The A&R looks at it for a second and throws it on the bar. “Aight man, thanks I’ll take a listen”

The A&R turns back around to the bar. He puts his arm around some wanna be model, and continues trying to get her phone number. The bar tender brings him a highball glass filled with ice and Hennessy. The A&R takes a sip and places the sweating cold glass on the CD.

The bar tender smiles and saves money on coasters.

The CD eventually makes its way to the trash at the end of the night.

Example 2.

At a music industry event MC Not Desperate sees the A&R of the hottest new record label out called Pimp My Music Inc. The A&R is sitting at the bar waiting for a drink. The rapper causally goes to the bar and orders a drink. He says to the A&R, “Are the drinks good or are they being cheap with the liqueur?”

“I tipped the bar tender good when i got here so he’s been taking care of me, but usually they make good drinks.”

While he’s talking, glancing at the television on the wall, MC Not Desperate noticed the Yankees just scored a run. MC Not Desperate and the A&R start talking about game.

The conversation goes on for a few minutes. Eventually MC Not Desperate asks the A&R if he works in the industry. The A&R starts talking about Pimp My Music Inc.

MC Desperate and his new friend the A&R buy each other a few drinks. The A&R thanks him for the drink and hands MC Desperate his business card.

A few days later MC Desperate sends a follow up email to the A&R just to say whats up.

They begin to build trust.

A week later MC Desperate bumps into the A&R again. This time at a music industry showcase. They talk a few minutes about last nights baseball game.

A month later the A&R and MC Desperate cross paths once more. This time MC Not Desperate asks how the A&R’s current projects are going.

“The R&B project I am working on is taking for ever. We just can’t seem to find the write song for a single”, the A&R says.

“I got something you should take a listen to.” says MC Not Desperate.

“Email it to me I’ll take a listen when i’m in the office tomorrow.” , the A&R says interested.

Quick Summary.

Networking is a a lot more effective when you are making friends in the process. Its also easier and you won’t be as nervous. People working in the music industry love music, that doesn’t mean that they want to talk about it all day.

Want to learn about working int he music industry? Leave your questions and comments below.

Must read books about networking.

Copyright Peter Weis 2010

www.DrumsAndSounds.com – Drum Sounds And Samples

www.PeterWeis.com – Composer and Producer

Contact: mail@gnxmusic.com or leave comment on the website.

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