Cubase 5 Tutorial

Cubase 5 - Vocal Editing and Pitch Correction

noreply@blogger.com (Music Production And Djing Lessons) — Sun, 08 Dec 2013 21:02:00 +0000

Cubase 5 comes with an amazing new tool set for perhaps the most important element in any song: the vocals.

Vocal Editing and Pitch Correction

Steinberg Cubase 7 Honest Review Plus Link To Upgrade

noreply@blogger.com (Music Production And Djing Lessons) — Wed, 24 Apr 2013 17:19:00 +0000

Here's an honest Cubase 7 review. I'll also give you a link to download the upgrade from 6.5 easily. Let's check out the new features on this mighty beast:

- All new Mix Console that produce the ultimate mixing experience
- Integrated channel strip modules for supercharging your tracks
- New Chord Track with intelligent composing assistance
- VariAudio 2.0 with harmonizer capabilities and multipart editing
- VST Connect SE for recording over the net
- And More...

If you own a legit copy of Cubase you have access to the Steinberg forum and something that I've realized is - a lot of people on the forum are switching back to version 6.5. WHY?

On this upgrade, they eliminated the saving of vmx files and don't provide any other method to save track settings. This means no transferring of track settings between songs. Cubase says they're aware of the problem and will work on it, but it doesn't appear that it will be any time soon.

So now the big question is, is it worth it to buy it? Yep more than the measly price they charge. This is a Beast. If you would love to download the upgrade =>CLICK HERE<= Hurry because this is for a limited time only and the price might go up without notice.

Making Old School Vocal effect

noreply@blogger.com (Music Production And Djing Lessons) — Wed, 20 Jun 2012 13:11:00 +0000

In this Cubase tutorial Danny J Lewis (Defected, Enzyme Black) shows you the old-school cutup vocal effect used a lot in the 90s house sound that is so popular in the clubs right now.

For more advanced Cubase tutorial videos head to our 8 week Cubase level 2 course http://bit.ly/Onine-School

Recording Studio Software History

noreply@blogger.com (Music Production And Djing Lessons) — Tue, 14 Dec 2010 21:46:00 +0000

When computers found their way into homes they were used for every possible and imaginable task. Audio recording was not an exception. First music software applications were promising but from today's perspective they were very modest. This was due to limitations of computers at that time. Now we have two main streams of personal computing: PC and MAC. Both are used in professional recording studios with plethora of complex software applications.

The 1980s was a very important decade for music production and recording. MIDI started to emerge, Yamaha introduced the DX7 synthesizer, some samplers like Akai S1000 were very poplar, and first music software applications were written for microcomputers popular at that time. Various software sequencers were written for Commodore C64, Sinclair ZX Spectrum and Apple II. A real breakthrough was Macintosh with graphical user interface. It had widows with icons and a mouse pointer. Mark of the Unicorn developed Performer, the first sequencer for Macintosh.

For the history of MIDI sequencers Atari ST was also important. Designed as a gaming computer with graphical user interface it featured also MIDI I/O and it was cheaper than Mac. Steinberg Cubase and Emagic Notator were first developed for Atari ST.

First PC software applications were Cakewalk MIDI sequencer and the SCORE music notation package. However, at that time PCs with first Windows were not so stable as these days and many musicians preferred Mac for which CODA's Finale software appeared at the end of 1980s. Cubase and Notator were also ported to Mac and PC platform.

In 1989 Digidesign introduced one of the first hard disk audio recording systems Sound Tools. It was a two-track recorder/editor used with Q-Sheet software. In 1990 the first MIDI and Audio sequencer was introduced. It was Opcode's Studio Vision and used Digidesign's Sound Tools hardware for audio. 4-channel Pro Tools appeared in 1992. There was also one not so popular microcomputer, the Acorn Archimedes with an interesting software called Sibelius. It was a score writing package which was also ported to Mac and PC. Later in the 90s Cubase VST (Steinberg ) and Logic Audio (Emagic) both implemented the notation features.

Computers became faster with more RAM and disk capacity so the next trend was multi-track recording. Steinberg worked on MIDI + Audio sequencers like Cubase VST (Virtual Studio Technology). Third-party developers welcomed the plug-in feature and a new market emerged. Emagic and Mark of the Unicorn also accepted the plug-in approach. In 1990s Pro Tools introduced 64-track system MIX with 16/24 bit audio at 44.1 or 48 kHz. At that time Cubase VST, Logic Audio and Pro Tools were all available on the PC platform.

In 1999 Steinberg introduced Nuendo. It offered 96 kHz recording and 5.1 surround audio. Pro Tools offered surround audio in 2002. At that time Pro Tools became a standard for professional recording studio software. Pro Tools 5.1 proved it's capability of recording MIDI sequences and audio tracks. It's user interface was simple and powerful for either recording, editing or mixing audio. At the same time Logic Audio was the most popular sequencer on the Mac platform. Digidesign introduced Pro Tools HD (sampling at 96/192 kHz) in 2002 when new operating system for Mac, OSX become available. Cubase SX and Logic Audio were also released for OSX. Pro Tools 6.0 for OSX become available in 2003.

Some ownership changes also occurred: Digidesign was acquired by Avid, Sony acquired Sonic Foundry, Emagic was acquired by Apple, Adobe acquired Syntrillium's Cool Edit Pro software and changed its name to Adobe Audition, and Steinberg was acquired by Pinnacle. Now every leading recording studio software runs on both popular platforms, PC and Mac. And stability is not an issue anymore.

One of the big players in professional audio recording is still Digidesign's Pro Tools. There are actually three flavors of Pro Tools, all of which share the same user interface and file format. The primary distinction is the hardware they complement. Pro Tools|HD runs on elite DSP-powered Pro Tools|HD hardware and is mainly used in professional environments, Pro Tools LE used in home studios works with a variety of Digidesign hardware including the Mbox 2 family and Pro Tools M-Powered delivers even more options via compatibility with dozens of M-Audio interfaces. Some audio engineers, producers and remixers use Pro Tools hardware with third-party software instead with the original Pro Tools software.

Computers and software in music recording and production are inevitable. We can hardly imagine working with analog tapes and mixers. Digital signal processing has raised audio technology to a new level. Personal computers have evolved to a level where everybody can afford a home recording studio. Cheap hard disks allow us to record unlimited number of tracks at arbitrary sample rate. Music recording has never been easier.

There are also some disadvantages with this new technology. You can easily compress music and make it louder destroying the original dynamic and life it originally had. CD clipping is also very popular. However, the advantages of using computers in recording studios are huge. You only need the right software and some skills.

More about computers and software used in recording studios can be found at Recording Studio Software website. Here you will find also descriptions and previews of books about recording studios and recording studio software comparison.

Why You Should Attend Music Production School

noreply@blogger.com (Music Production And Djing Lessons) — Mon, 29 Nov 2010 12:24:00 +0000

You should attend music production school if you are serious about creating your own brand of music, especially when you are looking for tips when it comes to electronic music production. There are many things that you can do with electronic music that will enable you to entertain others with your gift. Just like anything else that you do, you are best off to learn how to produce music

when you attend music production school. Even if you think that you have it all down pat now, you can learn more about how to produce electronic music as well as how to use it when you attend classes for this art form.

Electronic music production can bring you to many different types of fields. While most people consider this art form to be used mostly in dance clubs where a DJ spins records, electronic music production can also be used for film as well as video. There are many job opportunities for those who attend and graduate from music production school. You will learn the fundamentals of music production as well as the right way to create various types of electronic music production when you attend a good music production school.

Those who have a job or are already enrolled in a traditional school setting need not give up what they already have in order to learn about electronic music production. The art form can be learned through an online music production school where the student can learn from home. There is no better way to learn a different career line or art form without giving up a full time job or college than by studying online.

The music production school is not an expensive endeavor but teaches you a wealth of information when it comes to electronic music production. Regardless of whether you use the skills that you learn in music production school for professional reasons, such as to be a DJ, or if you just use it to entertain family and friends, you will be happy when you learn the art of electronic music production, even if you just use it for yourself.

If you like music, then this is one way to be in on the craze that continues to sweep the nation and is dominant in any clubs. You can learn to be a master of electronic music production if you go to music production school right online. This can be something that you simply do to learn another art form or something in which you feel as though you would like to pursue a career.

Electronic music production is not difficult, but it does require some knowledge of how the music is produced and what sounds good. You can learn about the various forms of tempo as well as the types of music that are played in the clubs when you attend an online music production school. This will prepare you for a career as a DJ or even in the music producing field.

This is a way for you to learn an art form that continues to be as popular today as it was ten years ago and shows no signs of going anywhere. If you want to learn all there is about electronic music production, then the best way to do so is to attend an online music production school from your own computer.

You can learn much about electronic music production , the hottest music in the clubs, when you go to an online music production school . To find out more, you can go to Point Blank Online. Here's the link to their main site http://bit.ly/hflbJV

Audio Effects & QuickTime Stretch

noreply@blogger.com (Music Production And Djing Lessons) — Wed, 17 Nov 2010 12:48:00 +0000

Halion Sonic - Flexphrase Overview

noreply@blogger.com (Music Production And Djing Lessons) — Thu, 11 Nov 2010 00:56:00 +0000

This video takes a look at one of the unique features of Steinberg's new Halion Sonic

buy here

Pitch Correction Tools

noreply@blogger.com (Music Production And Djing Lessons) — Sun, 07 Nov 2010 22:49:00 +0000

Renowned Cubase expert Greg Ondo demonstrates Cubase 5's powerful pitch correction and editing tools. Part one in a series of great Cubase tutorial vids presented by audioMIDI.com.

HOT CLUB BANGER

noreply@blogger.com (Music Production And Djing Lessons) — Mon, 25 Oct 2010 19:40:00 +0000

How To Start A Profitable Music Business

noreply@blogger.com (Music Production And Djing Lessons) — Sat, 23 Oct 2010 21:25:00 +0000

One of the greatest issues anyone starting a music business needs to consider is the process of managing, planning, recording, promoting and distributing products. But above all these, one of the most important aspects of the business should focus on how to make money.

What is surprising to me as a music business consultant is the wide spectrum of thinking that tends to permeate this industry. Some have an unrealistic, almost fantastical type of thinking that says "I will get signed and be a millionaire in 1 year", while the other extreme are those who do not even think of making money in the music business.

No matter which side of the fence you stand on, you need to make money in order for you to fulfill your ambitions as an artist or label owner. Unfortunately, studio time, promotion and distribution are not free.

So what do you need to consider if you want to make money in the music business.

1. Income & Expenditure - Profit & Losses:

The music industry is notorious for showing people how to spend their money but not how to make it. The news is awash (OK, there's been a few) with stories of major stars filing for bankruptcy. But how does that happen?

Let's take an example of the cost of promotion. From the start you need to realise that most promotion companies are in business to make money! So if you take your song to them for reviews in radio, blog or magazine, even though they know the track is going nowhere, they will still promote it!

The fact is it's not really their business to determine whether a product will sell or not, but with their wealth of experience they have a fair idea of what is commercially viable and should act responsibly. However, relatively few promotions companies will refuse to promote an average track/album.

Let's look at another example. If you took a poor quality album to the CD manufacturer and ordered 10,000 copies of it, you can guarantee that 9 out of 10 pressing plants will not refuse to manufacturer the CDs as long as you are paying for it.

So the real issue is that if you want to make money in the music business you costs must always be lower than your potential sales and you are the one responsible for determining how many sales could be generate from each release after you determine if your product is commercially viable before you put the wheels in motion. In other words; 'Think before you spend!'

There are many ways to make money with your music and build a lasting career in the music business but you need to have the business "Know How". Visit http://www.musicbusinesstools.com for a free Music Business Management course.

email boomy@sledgemedia.co.uk.

7 Tips For Submitting A Demo To A Record Label or Company

noreply@blogger.com (Music Production And Djing Lessons) — Thu, 21 Oct 2010 15:17:00 +0000

Today I want to share with you the essential 7 tips for submitting a demo to a record label or company. Always keep in mind that record labels receive a lot of demos every day, and they don’t have time to carefully go through each and every song, so yours has to be different. So the question you might be asking is “how do I become different from the rest”?

Then you need to check out these 7 tips for submitting a demo, these will help you make a good impression on your targeted record label or company.

Tip #1

Before you send your demo make it a point that your music sounds fresh, and most of all, it is ORIGINAL. Where or to whom should you send your demo? Do a lot of research before submitting your music, make sure that you and your music will be a good fit to the targeted label. Go to record companies that compliment your music.

Tip #2

How are you going to submit your demo? Are you going to send it using email, drop box, direct posting or through the A&R reps etc. Contact them to find more detailed info about how or where can you submit your demo.

Tip #3

Include a cover letter (or profile) that explains who you are, what do you want, what can you offer, how long have you been doing it and include what the person listening to your demo should do after they listen to it. Do not oversell yourself just state facts only and some impressive concrete experience. Also mention something you found on their website (or from the A&R reps) in your cover letter, they will like the fact that you did your research first before sending your music.

Tip #4

This may sound obvious but a lot of people miss it, include your contact info. When you are writing your contact information include your phone number, Skype or MSN I.D, these are more personal than an email. I’m not saying don’t include your email address.

Tip #5

Get a good looking design for your cover, even if you are sending it using an email include a good looking cover. This will help you look professional and separate you from the rest. Your music must sound the same or nearly the same as the material released by the label (in terms of sound quality). Paying for a mastering job will add value to your demo, the trick here is to use their in-house mastering engineer and include on your cover that it was mastered by maybe John from ‘X Records’. The quality will definitely do the trick.

Tip #6

You must only send three tracks not less or more and your strongest track must be the first one. Make the intro of your songs catchy and vibrant, don’t make them wait for the hook (put it in the intro), you can change the arrangement later. You only have 16 seconds to make a good impression. Choose great titles for your songs and the project, something that relates to the music you make. For instance, I know a group called Hood Natives they produce House Music, but in my opinion Hood Natives would be a good name for Hip-Hop, I’m not crushing anyone just trying to make my point clear.

Tip #7

By using tip 7 you will stand a better chance of getting signed, but only if your music is good :D. Arrange a meeting with the record label rather than just sending, uploading or emailing your music. This is far better because you will be making a memorable impression and whoever that will take your demo will make quality time to listen to your songs. A face to face professional presentation is far better than anything I have mentioned above.

Get the contacts of whomever that you sent your demo, so that you can contact them in the future. Record companies are very busy they have a lot to deal with like promotions, tours, recording etc. So give it time then make a follow up, even if they are impressed with your work they won’t call you same time. Take some time and call till you get a clear answer about your demo.

Note: If you are based in the U.S. check out the top right of this blog and Get an XBox 360, Nintendo Wii or PlayStation 3, FREE (United States Only) No BS, it is LEGIT!!!

Quick Midi Guide - Understanding MIDI

noreply@blogger.com (Music Production And Djing Lessons) — Wed, 29 Sep 2010 16:00:00 +0000

Check out the video below for a quick midi guide and start producing music with a human touch.

In a previous article I wrote the basic definition about MIDI (Musical Instrument Digital Interface) and how modern musicians can use it in their independent productions. This time I will write about the technical side of MIDI, including MIDI ports that are available, MIDI channels and how to use them, and the General MIDI Standard that allows a MIDI file to be read consistently over a variety of MIDI-capable instruments (hardware and software).

MIDI Ports

As in every other audio or music related technology, MIDI has an IN and OUT port. To explain the use of these two ports, lets use the example of a MIDI keyboard and a computer (in this case a MIDI to USB converter is necessary for the computer). The MIDI OUT port on the keyboard is connected to the MIDI IN port on the computer. This means that the keyboard sends MIDI data to be played back or recorded inside the computer. Vice versa, the MIDI IN port on the keyboard can be connected to the MIDI OUT port of the computer allowing the recorded MIDI data inside the computer to be sent back to the keyboard in order for the keyboard to play back the MIDI data (this means you can record yourself playing, edit the MIDI data in a music software, and then play it back on the keyboard and record the audio coming out the keyboard for a better edited performance).

Besides MIDI IN and OUT, there is a MIDI THRU port that is sometimes available on a MIDI instrument. MIDI THRU functions to pass on the MIDI data received at the MIDI IN port to another MIDI instrument or device. Take for example the keyboard receives MIDI data from the computer in it's MIDI IN port. If the keyboard has a MIDI THRU port, it can continue the data it receives from the computer to another MIDI instrument's MIDI IN port. This is useful to chain several MIDI instruments receiving data from a single MIDI OUT port from the computer (for example, to play multiple string parts using different string sounds on different keyboards).

In more recent technology, keyboards can be connected to computers via straight USB connection without needing a USB to MIDI converter. The downside is that it limits your ability to chain multiple MIDI instruments together.

MIDI Channels

There are 16 MIDI Channels for every 1 MIDI Port. That means any one MIDI Port can send and receive 16 channels of MIDI data. Each MIDI channel contains all the MIDI information regarding a particular track. For example, if Track 1 is Acoustic Piano, then MIDI Channel 1 will contain the note pitch, note length, sustain, and other performance data to be played back by a sound source. The sounds played back are determined by the Bank and Patch number inside the MIDI Channel. For example, using the General MIDI Standard, Acoustic Piano is always Patch #1 and Acoustic Guitar (Nylon) is always #25. There are 128 Patches overall.

Having 16 MIDI channels per port allows you to compose a song using 16 different parts. For example you can use Channel 1 for the melody Part using a saxophone sound (Patch #65 Soprano Sax), create the comp part using a piano (Patch #5 Electric Piano 1), and compose the rhythm part using bass (Patch #34 Electric Bass finger) and drums (using MIDI Channel 10, a channel that is reserved especially to play percussion sounds regardless of the patch number you program in). If you need more channels, then you need more MIDI ports!

General MIDI (or GM) Standard

The GM Standard is the standard used in order to be able to play back MIDI files consistently between different MIDI devices. I mentioned above about Patch numbers and MIDI Channels. These Patch numbers contain the type of sound to be played back (#1 for Acoustic Piano). In order for another device to understand that MIDI Channel 1 is MIDI data for a piano sound, it applies the GM Standard and confirms that Patch #1 is a piano sound (it will then call up it's own version of the piano sound, sometimes this can be better sounding or it can be simpler sounding depending on the internal sound synthesizer that is used to play back the MIDI data). Most keyboards and software when saving MIDI data saves it under the GM Standard. I hope this article can be of use for you to further your understanding of modern digital music technology. To your music success.

Endy Daniyanto is a singer-songwriter from Jakarta, Indonesia. Listen to my music with my friends here: http://www.reverbnation.com/bluesummer
Or visit my personal blog where I talk about living a passionate life: http://endydaniyanto.net

Cubase 5 Tutorial - Making A House Beat Using Groove Agent One

noreply@blogger.com (Music Production And Djing Lessons) — Wed, 29 Sep 2010 09:15:00 +0000

Cubase 5 Tutorial Watch the video below and learn how to make a house beat using Groove Agent One.

Cubase 5 Tutorial - Making A House Beat Using Groove Agent One

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How To Make A Beat With Cubase 5 LoopMash

noreply@blogger.com (Music Production And Djing Lessons) — Mon, 27 Sep 2010 11:52:00 +0000

Cubase 5 LoopMash is an innovative tool which recognizes the structure, tempo and the groove of loops automatically and adjusts them to another master loop you have assigned. Watch this great video and learn how to make a beat with LoopMash and Groove Agent One.

How To Make A Beat With Cubase 5 LoopMash