With the task of producing music and the limitless possibilities at your finger tips, or the mission of producing artwork with equally limitless possibilities and a blank canvas in front of you, it can sometimes be difficult to come up with an idea. This usually leads on to creating freely with no expectations as to the final result.
So, we're teaming up, to fuel ideas and ignite inspiration from one form to another.
MickyMoo (AKA MooArt) and Shotty 4HF !! ~from a music track title to an image, or an image sparking the entire content of a track. Or even a mutually agreed track title paving the way for the concept of both!
This has already started, with previously unreleased tracks like Fizzy Lemon, Blood Supply and 'Butt Hot Greasy Slut' o_O
Now with tried and tested artwork for the album "Enter 2012" and the recently released EP from this year "Popcorn Gun", this is the way forward!
The difference is we're purposely doubling up on the creation, only rarely and with exception will one surface without the other over the next year! Ultimately, not only will the artwork accompany the download of the track from stores such as Amazon and Itunes, but high quality prints will be available too!! All of these images and the many more to come are perfect for wall hanging in any chilled out environment! Or studios! Or to add to a flyer or record sleeve collection! Album and artist info has been purposely kept to a minimum so that the artwork remains with its full effect.
All of the artwork coming from MickyMoo is the result of much time spent, some amazing ideas and far fetched inspiration! They're not to be missed! Entertaining with the level of detail and pleasing to the mind! ~ Therefore, the music linked with it has to be the same! And back again! MickyMoo also specialises in wood carving and chainsaw art! As well as craft and other contemporary media! Check out examples and works from MickyMoo by searching 'MickyMoo1' on google image! Or follow links from here:
http://mickymooart.blogspot.co.uk/
All of the tracks coming from myself and 4HF Records spawn from a serious amount of hours, spent on not just the arrangement, but also the mix of sound, detailing of frequencies, carefully selected samples and home made bass sounds. Years spent producing on various platforms and with different tools, from the Amiga computer and "Master Sound" to midi sequencing on the Roland MC 303, and now working with a mixture of some of the latest up to date DAWS (Digital Audio Workstations) on high spec PCs and audio interfaces. Music productions are currently largely thanks to manufacturers from the likes of RME, KRK, M-Audio, Studio Projects, Behringer, Camel Audio, Native Instruments, Nomad, STILL!! Roland, and so many more!!
There's way too much possibility with the future of electronic music, and this is where the 'Double Act' will come in handy - Doubling up on the ideas with twice the inspiration.
So get on it! Support the venture and keep a look out!
Other tracks will still be released from 4HF Records and collaboration with other artists is still ongoing, as too are other works of art from MickyMoo and MooArt.
The first of this series to be Released from the Shotty 4HF and MooArt joint effort is "FISH REPORT" - This is out now!!
Easily searchable! Artist name and track title will bring up print sales on EBay.
Or try these links:
http://www.amazon.co.uk/Fish-Report/dp/B00F03CC80/ref=sr_shvl_album_3?ie=UTF8&qid=1378752683&sr=301-3
https://itunes.apple.com/us/album/fish-report-single/id699360705
http://www.ebay.co.uk/itm/MooArt-Fish-Report-single-artwork-for-Shotty-4HF-/261282479765?pt=UK_art_prints_GL&hash=item3cd5a63e95
Artwork can be printed on anything, from A4 and A3 laminated to canvas! - T-Shirts and other items can be ordered on demand.
Any printing or special orders can be arranged personally by emailing ShottyMoos@Yahoo.com
Much more to follow!
Nice 1
Shotty
4HF
Hello & Welcome!
Monday 9 September 2013
Thursday 5 September 2013
Studio tip - 09-13 (Transients)
Transients:
Meaning ~ The passing of something that doesn't last for a very long time.
I will be straight up in saying that this is something I have been messing around with for years and gone to great efforts to engineer; Yet it's only recently over the last year or more that I have learnt exactly what it is, what effect it has and how to achieve results. It was one of the many situations over the years of producing when I knew what sounded right, but didn't understand exactly what it was.
As in all these tips, I can't claim that this is the correct, or even the best way of doing things, I am only sharing what I know has worked for me!If anyone has any comments or additions to what I'm saying, email them to me 4HF@GMX.COM.
Transients are present across any production. A kick drum can have a spike of sound at the start and a tail of low sub frequencies, the spike at the start of the sound which hits into the 1khz, is a transient.
Transients can be over engineered to enhance, create effect or assist in the volume of certain parts of a mix.
Example - A sub bass line in some Liquid DnB, should land with a thud, even if the note is long, the tune should drop with a bang, so it makes the speakers work, and so it sounds big, rather than just a tone of smooth air coming from the sub with a reasonably short attack.
Ways I've done this in the past:
Layer a kick at the start of each sub note, filtered up to 150hz - 300hz, see what sounds nice (depends on the key of the track), if you're using midi, link to VSTIs together so they're both triggered by the same midi notes, have one as your sub and the other as a Kick. Better still, pitch shift your kick across the octave, so that it follows the same pitch as your sub bass line. In some DAW sample editors you can bring up info on a sample detailing frequency, pitch etc. Which is handy for matching the key of the kick to the bass line.
Construction kits aren't good for much, but collect them in your sample library anyway! Some "good" construction kit sample packs may have a kick in a folder with bass lines listed by the key, for example, if a kick drum is in a construction kit folder with a load of bass lines in the key of G, it's a good indicator that the kick will work with your bass line if it is in the same key.
Another way of creating a transient to the bass line, if your making the bass line yourself (through a VSTI such as massive), is to automate the pitch of each oscillator up quite high, 48 semitones, 4 octaves, but automate it with either an LFO, or an envelope, so that it glides down from 48 to -24 but in 10ths of a second. This creates a pop or thud (if set right) at the beginning of a what could be a long bass/sub note.
- It doesn't have to be a kick at the start of a bass note, any crunch, hit or stab could do the same.
Transients in snares. Firstly use envelope VSTs, turn up the attack and compress it to the same volume. Envelope first, compressor after it in the chain.
Make a snare your self, but think about how a snare drum works, a stick hits it hard, makes a bang, the drum skin vibrates, and the snares rattle, one after the other in the space of a couple of seconds.
Get a high pitched tap sound, or crack sound. Then get a long sound, or a deep snare, but envelope it yourself so it has a long attack and next to no sound at the beginning, then another longer sound with a longer attack, so you create TAP/TONE/TAIL in the space of 2 seconds. - Working with sounds this way puts you in complete control of the transients. Turn up the TAP sound in the snare which will give it more presence and a better transient without the mid depths of the snare being any louder (which leads on to more overall volume of the mix).
Overall, work with dynamics, envelopes, compressors etc, and don't overlook or ignore the attack rate.
Make a dirty filthy bass sound, but smash the first second of the sound with something short, and on a higher frequency and give any long dirty filtered sound more impact.
Transients, the monitoring of and desired placement, does proceed into the realms of mastering, recording to digital, recording to analogue, exporting, converting, monitor speakers. Some speakers / cheap monitors will lose or lessen transients, some plug-ins used to normalise a track or whole compilation when (when burning a CD) can lessen transients. Exporting a track to an MP3 can also have an undesired effect on transients in a track due to the algorithms of the software being used. Recording stupidly aggressive transients into a piece of analogue outboard gear can have some decent effects pleasing to the ear, where as recording the same transients into digital will have a different effect and result in nothing more than some horrible digital clipping.
In other words, if you notice that you're losing punch, or umph, in any track that your making / recording, try changing the way you do things, it may not be down to what you've put together or the sounds and effects you're using
Try chaining software together, example - Reason to Logic.. So you're first mixer has a low out put, while you're output mixer has a louder compressed output and used for the recording or exporting of the mix.
Hope the above might help anyone.
Producing all the time... At the same time learning all the time, and dare say that I haven't finished learning about this.
I think I'm fair to say, if you're still in your early days of producing - Don't worry too much about it, and just do what sounds right. You will probably end up creating 'sick' transients through any of the various methods without knowing which one it was. And there's nothing wrong with that.
Analogy - A baby can push a triangle through a triangle shaped hole, and then keep doing it because they know that it fits and that it's the right thing to do! But it's only through the years do they learn that, it has 3 sides, all sides are equal, the angle of all three corners add up to 180 degrees etc.
Shotty 4HF
SIDECHAIN RECALL
Meaning ~ The passing of something that doesn't last for a very long time.
I will be straight up in saying that this is something I have been messing around with for years and gone to great efforts to engineer; Yet it's only recently over the last year or more that I have learnt exactly what it is, what effect it has and how to achieve results. It was one of the many situations over the years of producing when I knew what sounded right, but didn't understand exactly what it was.
As in all these tips, I can't claim that this is the correct, or even the best way of doing things, I am only sharing what I know has worked for me!If anyone has any comments or additions to what I'm saying, email them to me 4HF@GMX.COM.
Transients are present across any production. A kick drum can have a spike of sound at the start and a tail of low sub frequencies, the spike at the start of the sound which hits into the 1khz, is a transient.
Transients can be over engineered to enhance, create effect or assist in the volume of certain parts of a mix.
Example - A sub bass line in some Liquid DnB, should land with a thud, even if the note is long, the tune should drop with a bang, so it makes the speakers work, and so it sounds big, rather than just a tone of smooth air coming from the sub with a reasonably short attack.
Ways I've done this in the past:
Layer a kick at the start of each sub note, filtered up to 150hz - 300hz, see what sounds nice (depends on the key of the track), if you're using midi, link to VSTIs together so they're both triggered by the same midi notes, have one as your sub and the other as a Kick. Better still, pitch shift your kick across the octave, so that it follows the same pitch as your sub bass line. In some DAW sample editors you can bring up info on a sample detailing frequency, pitch etc. Which is handy for matching the key of the kick to the bass line.
Construction kits aren't good for much, but collect them in your sample library anyway! Some "good" construction kit sample packs may have a kick in a folder with bass lines listed by the key, for example, if a kick drum is in a construction kit folder with a load of bass lines in the key of G, it's a good indicator that the kick will work with your bass line if it is in the same key.
Another way of creating a transient to the bass line, if your making the bass line yourself (through a VSTI such as massive), is to automate the pitch of each oscillator up quite high, 48 semitones, 4 octaves, but automate it with either an LFO, or an envelope, so that it glides down from 48 to -24 but in 10ths of a second. This creates a pop or thud (if set right) at the beginning of a what could be a long bass/sub note.
- It doesn't have to be a kick at the start of a bass note, any crunch, hit or stab could do the same.
Transients in snares. Firstly use envelope VSTs, turn up the attack and compress it to the same volume. Envelope first, compressor after it in the chain.
Make a snare your self, but think about how a snare drum works, a stick hits it hard, makes a bang, the drum skin vibrates, and the snares rattle, one after the other in the space of a couple of seconds.
Get a high pitched tap sound, or crack sound. Then get a long sound, or a deep snare, but envelope it yourself so it has a long attack and next to no sound at the beginning, then another longer sound with a longer attack, so you create TAP/TONE/TAIL in the space of 2 seconds. - Working with sounds this way puts you in complete control of the transients. Turn up the TAP sound in the snare which will give it more presence and a better transient without the mid depths of the snare being any louder (which leads on to more overall volume of the mix).
Overall, work with dynamics, envelopes, compressors etc, and don't overlook or ignore the attack rate.
Make a dirty filthy bass sound, but smash the first second of the sound with something short, and on a higher frequency and give any long dirty filtered sound more impact.
Transients, the monitoring of and desired placement, does proceed into the realms of mastering, recording to digital, recording to analogue, exporting, converting, monitor speakers. Some speakers / cheap monitors will lose or lessen transients, some plug-ins used to normalise a track or whole compilation when (when burning a CD) can lessen transients. Exporting a track to an MP3 can also have an undesired effect on transients in a track due to the algorithms of the software being used. Recording stupidly aggressive transients into a piece of analogue outboard gear can have some decent effects pleasing to the ear, where as recording the same transients into digital will have a different effect and result in nothing more than some horrible digital clipping.
In other words, if you notice that you're losing punch, or umph, in any track that your making / recording, try changing the way you do things, it may not be down to what you've put together or the sounds and effects you're using
Try chaining software together, example - Reason to Logic.. So you're first mixer has a low out put, while you're output mixer has a louder compressed output and used for the recording or exporting of the mix.
Hope the above might help anyone.
Producing all the time... At the same time learning all the time, and dare say that I haven't finished learning about this.
I think I'm fair to say, if you're still in your early days of producing - Don't worry too much about it, and just do what sounds right. You will probably end up creating 'sick' transients through any of the various methods without knowing which one it was. And there's nothing wrong with that.
Analogy - A baby can push a triangle through a triangle shaped hole, and then keep doing it because they know that it fits and that it's the right thing to do! But it's only through the years do they learn that, it has 3 sides, all sides are equal, the angle of all three corners add up to 180 degrees etc.
Shotty 4HF
SIDECHAIN RECALL
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