Lansrock Nigeria, No 9 Ajiboye Street Ikeja, Ikeja (2026)

Name: Lansrock Nigeria
Address: No 9 Ajiboye Street Ikeja, Ikeja, NG
Telephone: 09060008150

08/06/2020

BE INSPIRED TO ASPIRE

10 Reasons to Consider Attending Audio Engineering School

In today’s day – an age of the internet and digital experiences – there is something to be said about the value of human interaction. There is nothing like hands on experience at a real audio engineering school, sharing time with people who have the same passion and desire to learn new skills.

There is no denying you can Google or search YouTube for anything you want to learn – from how to connect a cable, to using Pro tools and more.

However, students who have become experts in the audio engineering field will say if you can make the investment in school, you should, and that going to an audio engineering school was a very valuable experience. Even freelance recording and mix engineer professionals with their own sites say it was “invaluable experience” to go to audio engineering schools.

Here are the top ten reasons audio engineering professionals says going to audio engineering school was the best decision they ever made.

Top Ten Reasons to Go to Audio Engineering School:

Hands On Experience
Discipline
Networking
Earning a diploma / industry certifications
Proven Case Studies
Reverse Engineering
To say you have
Affiliations
Job Assistance
Diversification

Let us break down these reasons a bit more for you to fully understand the value of going into an audio engineering program in a school atmosphere in person.

1. Hands on Experience

Getting hands on experience in a school environment is priceless. We have a variety of top of the line equipment, and teachers who know the ins and outs of all the gear and are there to guide you through it. If you have any questions as you learn about audio engineering, we provide support customised to your experience with our school. Having a standardised set of gear allows us to create a comprehensive curriculum that brings students from the basics, through troubleshooting to a true understanding of the equipment, not just memorisation of pressing buttons.

2. Discipline

Going to a physical school helps you build discipline within the field of study, whether it’s music engineering, live sound, physics or any field of study, and also gives you great life skills. You will learn how to meet deadlines, interact with a variety of people from different backgrounds, work within certain time frames, start and finish projects from beginning to end, learn the importance of being on time, and learn how to follow directions. Being surrounded by like-minded people will improve your habits and develop the discipline and drive to make you successful!

3. Networking

At school you will build relationships. You will build relationships with your peers, teachers, and staff. Also, we have numerous experts from various parts of the audio industry that visit our school, and you never know how one relationship built when you are learning at school can turn into an opportunity later in life.

4. Earning a diploma / industry certifications

There is something to be said of people that earn a degree or a certificate of completion from any program. Going to school and going back to the “discipline” reason earning a degree gives you something you can always fall back on and earns you more respect with career opportunities.

The opportunity to earn other industry certifications not only teaches you another set of skills, but it helps expand your technical prowess, adds to your resume, builds confidence and proves that you are much more qualified to accomplish a task than someone who taught themselves how to use the same software with a couple 5 minute YouTube videos.

5. Proven Case Studies

Schools can provide testimonials and graduate stories to show you career paths and how students that actually learned from the same programs achieved their career goals using the knowledge and hands on experience they gained from school. Even if you tried to learn a program like live sound online via a YouTube video, you still wouldn’t learn how that is applied in the real world.

By being exposed to the entire SMI program, you may even be turned on to different career paths than what you originally may have thought you were interested in. Maybe you didn’t realise how lucrative audio consultant would have been until you sat through a few classes on it!

6. Reverse Engineering

The best way to learn anything is to reverse engineer it from top to bottom. The most successful audio engineers have learned their craft through experiences, both in class and on the job. If you skip the step of going to a audio engineering school, you could be missing out on a lot of information that can help you be the best in the business. Our classes focus on true understanding of WHY you press buttons or move a fader, not just the memorisation of what buttons or faders to press.

Understanding the “whys” of audio engineering is one of the most important aspects that is truly hard to convey without having practical, real world demonstrations that you will find in our labs and lecture classes.

7. To Say That You Have

Funny enough, it’s really hard for anyone to speak about something if they never experienced it themselves. You can earn respect from many industry employers and individuals in the industry by having a formal education in audio engineering.

Many people wish they would have been able to go to school, because it would have saved them countless lessons in trial and error. Going to school is a truly life changing experience as well, not just the education that you earn, but changing your lifestyle, your habits and practices, meeting new people, exploring new areas. There is really no replacement for the knowledge acquisition and experience of going to a school.

8. Affiliations

Going to an accredited school like ours, where we have a number of successful “graduates” that are now with big brands and well respected music artists and companies, let’s you draft that affiliation from our audio engineering school. This can work both ways – you can use our affiliations to help further your career by association, and you can help represent us in a good light by going out and achieving your dreams. This is a symbiotic relationship – making you successful is what makes us successful.

We also have affiliations with companies that are hiring, which leads us into our next reason you should consider going to school to learn music engineering – Job assistance.

9. Job Assistance

When attending a school or college like ours for a specific trade, we have many people on staff that can help you with an audio engineering internship or job placement after you complete our program. With the internship program we offer, each student gets real world job experience working in the audio industry. This allows you to continue practicing your skills that you learned in classes in a real job environment, and continue to build your skills and relationships.

These kinds of valuable connections aren’t going to be available to you if you are teaching yourself audio engineering on the internet!

10. Diversification

When you go to audio engineering school like ours we provide a full array of audio engineering applications, from becoming a recording engineer, to game audio design, live sound, movies, consultancy and more.

We go into how audio engineering effects and improves concerts, live radio, sound effects, PA system at airports and more! Many people don’t know how many different fields audio engineering can be applied to.

Maybe you had no idea that your audio reconstruction skills could be used by a forensics team to solve a murder mystery! High end car companies also hire audio engineers to tune the engine sounds of their cars, and well as the internal acoustics and stereo systems to provide the best driving experience to car owners.

By going through the SMI program, you will be involved in every aspect of audio engineering, even ones that maybe you had no idea about!

If you enjoyed this post and you want to improve your skills and knowledge of audio engineering. Learn more about SMI Audio Engineering Diploma Certificates course by clicking the link below

https://www.facebook.com/549000631794599/posts/3281684815192820/

https://www.facebook.com/549000631794599/posts/3336028019758499/

SMI: TRAINING THE CALLED; EQUIPPING THE TRAINED.

AUDIO ENGINEERING AT ITS BEST!!

02/06/2020

SMI: INSPIRING CREATIVE MINDS FOR A PERFECTED CREATIVITY

Sound Reinforcement Or Reproduction: It is All About The Intent

You are the key to what the audience ultimately hears. So what do you want them to hear?

One of my first jobs in the pro audio business was to lay cables, do audio equipment interconnections and be a general “tech” at the College film school, audio department.

It was a good experience for a number of reasons, foremost of which was that guru Sarah Ellerby was one of the main teachers at the film school, and she was often around the department. I had taken a class from her and knew who she is.

One day at the school, she was hanging around a bit and I decided to ask her about her thoughts on tube vs. solid state amplifiers, figuring that:

A) She knew a lot about the subject, and She would have some interesting insights for a budding engineer like myself. Her answer surprised me but gave me something to chew on for many years after that.

She said “what you have to think about is the difference between ‘reproduction’ and ‘production’ in terms of what the two different designs accomplish.”

In terms of live sound, I think this same concept is very important to consider. It is fairly common to debate the issue of “reinforcement vs. amplification” and this is close to what I’m getting at.

So that these concepts can be more thoroughly examined, I would propose naming three different categories: reproduction, reinforcement, and production.

Reinforcement: The Most Basic Approach

Generally, most music begins with acoustic instruments of one form or another. Even the electric guitar is usually paired with an amplifier which is a very important component of the sound. And thus, the first goal of sound reinforcement is just that: to reinforce the existing acoustic sound so that:

A) a larger audience can hear the music – i.e. the sound is capable of filling a larger space, or that certain instruments can be brought up to the level of other instruments on the stage.

This second category is quite common when mixing drums, percussion or electric instruments with acoustic sources such as horns or strings. Of course most often, reinforcement is a combination of these two things:

some amplification of quieter sources to balance the louder ones, and an overall boost to fill a larger space and project to a larger audience.

An additional thing to consider here is that not all audio frequencies propagate equally. Low frequency sounds generate standing waves and are difficult to absorb, while high frequencies are absorbed easily. Often, along with doing internal balancing between instruments, it is necessary to add or subtract certain frequencies from specific sounds so that the resulting impression is one of “natural-ness”.

For instance, you may want to add overhead mics to the drums just to bring out the upper harmonics from the cymbals and hi-hat, even though the drums are plenty loud on their own. In order for this to work, of course you may want to cut everything in the overhead mics below about 400 Hz…

Reproduction or Production?

This is where things get interesting. For certain types of music, reproduction is the goal of reinforcement. In other words, the FOH engineer is attempting to re-create the original event on a larger scale or in a different venue.

Exactly what he or she is trying to re-create is an interesting question in itself. If the original event is purely acoustic music such as from an orchestra, an opera singer, chorus, or big band jazz group, then usually the goal is to do what was described in the paragraph on reinforcement. This includes some internal balancing with the addition of greater volume for a larger space. In other words, the original intent of the music is preserved.

A very different situation, but still reproduction in my opinion is when the original event is a recording. In many cases, a touring act wants to present a live sound event that is similar to the recording in many ways. The same vocal effects, drum sounds, basic mix, etc. are all part of this approach. Often times, FOH engineers listen carefully to the recordings in order to glean these specifics so that there is a good starting point.

Where the live sound becomes production, in my opinion, is when the engineer makes choices that take the overall effect in a different direction than either the original acoustic event or the reference recording. The reasons for this approach are many, and include trying to achieve an effect, perhaps the original would be considered “dated” or just the fact that the artist wants to present something unique to the audience. Often this is accompanied with new arrangements or “extended” versions of songs. It may also coincide with other production effects such as lighting or pyro.

It’s All About Intent

To me, it all comes down to making decisions about how you will approach your craft of live sound, and it should be different depending on the various types of music and different audiences. If you are trying to create the illusion of Uncle LAK Adeniran on stage for King Sunny Ade, well, I’d advise reproduction so that the audience hears what they expect to hear. But for different audiences and different acts, it’s really up to the artist and up to you how to best approach this question.

And it goes beyond mere mixing – it extends into the speaker system design, what effects you might want to bring, and your selection and placement of microphones. Think holistically and realise that you are the key to what the audience ultimately hears. So what do you want them to hear?

Thanks Guys and always remember to keep the creativity perfected.

If you enjoyed this post and you want to improve your skills and knowledge of audio engineering. Learn more about SMI Audio Engineering Diploma Certificates course by clicking the link below

https://www.facebook.com/549000631794599/posts/3281684815192820/
https://www.facebook.com/549000631794599/posts/3336028019758499/

SMI: TRAINING THE CALLED ; EQUIPPING THE TRAINED.

30/05/2020

SMI GUIDE TO PROFESSIONAL AUDIO ENGINEERING PRACTICES SERIES

10 IMPORTANT FACTS ABOUT ACOUSTICS FOR MICROPHONE USAGE

If you want to get the best out of your microphones, it is a good idea to have some knowledge of acoustics. This article takes you through 10 of the most important terms and facts.

1. Reverberation

The time it takes the sound to die after the sound source has stopped. “A dry room” has a short reverberation time and “a wet room” has a long reverberation time. Depending on the use of a room an optimal reverberation time exist. A control room is typical below 0.4 sec. A concert hall for symphonic music typically around 2.2 sec. The way the sound decays in a room is very significant for acoustical recording. Reverberation can affect the recording in both good and bad ways. The reverberation time is important. Reverberation time is the time it takes the sound to 'die out' after the sound source has stopped – in technical terms: the time it takes the sound to decay by 60 dB. RT60.

2. Sound insulation

The sound reduction from one room to another. Good insulation is obtained by using heavy materials and by avoiding/minimising building parts in each room to have rigid connections. Sound insulation is the property that keeps the sound from moving from one room to another. The only way to obtain efficient sound insulation is in principal by having airtight rooms with heavy walls and floor/ceiling. If the insulation to a neighbouring room has to be very efficient, there should be no fixed connection between the two rooms. Typically, this means that each room is built as a separate box isolated from the common foundation.

3. Absorption

In acoustics a property of a material. Absorbing material converts sound energy. The absorption of a given material varies with frequency. Some materials have a high absorption at high frequencies, other at low frequencies or perhaps at medium frequencies. We use sound absorbing materials when we want to control the acoustics, i.e., the reverberation time. We just have to be aware of the fact that different materials absorb at various parts of the frequency range. Technically we have absorption coefficients between 0.00 (no absorption, like a hard concrete surface; all sound is reflected) and 1.00 (like an open window; the sound leaves and never comes back). In general, porous absorbers (foam, cloth, mineral wool, polyester fibre, etc.) absorb frequencies in the high range and are very efficient at that with absorption coefficients above 0.7. If, however, the porous absorbers are placed at a distance (25 to 30 cm) from a hard surface (wall or ceiling) they will provide absorption down to 100 Hz.

4. Reflections

Hard and thus not absorbing, surfaces reflect sound. Reflections are the reason for reverberation. In large rooms, the reflections may provide sound distribution and the perception of spaciousness. Strong single reflections can, however, result in colouration of the sound. Single reflections are bad. If the microphone picks up the direct sound along with one single reflection, this will cause comb filtering, which yields peaks and cancelations throughout the frequency range. Therefore, single reflections must always be avoided.

In the control room, vertical reflections (off the desktop or the ceiling) normally cause coloration in the comb filter style. However, horizontal reflections often are less audible. Still, single strong reflections should be avoided. In the recording studio or the concert hall, multiple reflections are part of the diffuse sound field that makes the sound enveloping and enables the whole instrument to be heard. Reverberation can be regarded as an infinite number of reflections.

5. Diffusion/scattering

The spread of reflected sound. Absorption or diffusion can remove reflections. However, in contrast to absorption, diffusion keeps the sound energy in the room. Diffusion or scattering is obtained by the use of diffusers or simply by the different equipment and furniture in the room. When the sound hits the surface, it is reflected in different directions. The physical elements must have a size related to the wavelength of the sound that has to be diffused. This is why bass diffusers are seldom seen. To remove reflections that disturb a stereo image, the diffuser should be effective in the frequency range above, say, 600 to 800 Hz.
It should be noted that efficient diffusers also show some sound absorption. The absorption coefficient can be in the range of 0.2 in the diffusers’ active frequency range.

6. Standing waves

Waves that fit into the room dimensions can affect the distribution of the sound. All rooms have standing waves. In the free space, the sound travels freely in all directions. In a room, when the sound hits the boundaries, it is reflected back into the room. Eventually, the sound can travel back and forth between the same two parallel faces, between corners, etc. The physical wavelength of the low frequencies is comparable to the dimensions of the room, especially the smaller rooms.

An interesting – but seldom very pleasant – phenomenon is what we call standing waves. When a given wavelength fits into the room dimensions, it results in large variations of sound pressure depending on where you listen (or record) in the room. At the boundary of the room, the sound pressure has a maximum – strongest in the corners. In other positions in the room, the same frequency may appear 20 to 30 dB softer.

Imagine a loudspeaker standing close to a wall. This sound source (the loudspeaker) generates a sound. The sound radiates away from the speaker hits the opposite wall and returns to the sound source. If it arrives at the exact time when the loudspeaker is generating the next period of that given frequency, the old and the new wave are in phase. Both waves travel along to the opposite wall. Here they are reflected, return to the speaker and meet the third period, etc.
The wavelength of the lowest frequency of a standing wave between two parallel walls equals twice the distance.

7. Room size

The room size influences the sound of your recording. Larger rooms also have higher reverberation time. Too small rooms like speak-boxes may sound too boxy. The size of a room has an influence on many acoustic parameters. Larger room volume generally means longer reverberation time. However, when establishing control rooms and studios, be sure to have enough space to begin with, especially the room height is important. When designing the sound insulation, adding the ideal absorbing materials, placing the gear, etc, you may end up with too little space for your activities.

The dimensions of the room determine the frequency of the standing waves. The distance to the reflecting surfaces always leaves an acoustic footprint. A small room will always sound like a small room unless you use close miking.
Rooms for rehearsals must have a size that leave a possibility for a reasonable layout.

If you are dealing with rooms for the concert, for theatre plays, etc, consider the audience as a part of the absorption of the room. If the volume is too small, the reverberation time will depend too much on the size of the audience.

How to get the room size right
It is better to start with a room that is too big than with a room that is too small.
Rooms with low ceilings are not preferred for recording and monitoring.
Consider the number of people that has to be in the room (studio, control room, rehearsal room, the venue for music, etc) and make sure space is sufficient.

8. Background noise

The unwanted noise from installations, outdoor traffic, etc. In good rooms for audio, this noise should be kept as low as possible. The background noise in the studio can be a problem as it can make recordings muddy. If compression is added to the signal, it may become even worse. The noise can be fans and computer hard drives, it can be HVAC noise, it can come from neighbouring rooms or it can be traffic noise. In a broadcast from news studios, the noise often stems from the editorial office.

In the design of different room types, there are certain practices regarding noise from installations: NR-15 / NC-15 (SPL approximately SPL20 dB(A)) or NR20 / NC-20 (SPL approximately 25 dB(A)) depending on what the room is used for.

9. Mechanical vibrations

Mechanical vibrations may eventually end up as sound in the microphone. This is why it is recommended to apply mechanical damping of microphones. Mechanical vibrations in building parts result in audible sound. If a microphone stand is placed on a vibration floor, it may generate sound in the microphone. Also rattling of loose mechanical parts in a room will result in problems.

10. Headphones
Important tool in many forms of audio production. The sound level should never be so high that the microphone catches it. Headphones are practical in many ways. They can separate you from the sound sources around you. However, take care that the level they reproduce is not too high (a calibrated headphone level should be preferred). Be sure, in the studio, there is no leak from the headphone to the microphone. If the headphone is used for personal monitoring or fold-back, the headphone signal must be in phase with the microphone signal.

Any additional inputs? Kindly plug them in the available comments channels below.

If you enjoyed this post and you want to improve your skills and knowledge of audio engineering. Learn more about SMI Audio Engineering Diploma Certificates course by clicking the links below:

https://www.facebook.com/549000631794599/posts/3281684815192820/
https://www.facebook.com/549000631794599/posts/3336028019758499/

Thanks Guys and always remember to keep the creativity perfected .

SMI: INSPIRING CREATIVE MINDS THROUGH CONTINUOUS LEARNING .

27/05/2020

ALWAYS BE INSPIRED TO ASPIRE.

MUSIC MIXING TIPS TO BE AN AWESOME AUDIO ENGINEER!

Today, anyone wіth a laptop and a fеw recording microphones hаѕ all the tools thеу need to rесоrd, рrоduсе, and mіx muѕіс and create thеіr оwn recording studio. Thе hоmе rесоrdіng ѕtudіо revolution is hеrе. But with thе ever increasing (аnd оftеn overwhelming) сhоісеѕ оf EQѕ, соmрrеѕѕоrѕ аnd load оf other plugins, hоw dо wе рut them tоgеthеr tо make a great ѕоundіng mix? With іnсrеаѕіng demands оn sound ԛuаlіtу, audio еngіnееrіng іѕ essential tо get your trасk tо ѕtаnd оut frоm thе mаѕѕеѕ. Hеrе аrе ѕоmе tips to hеlр уоu іmрrоvе in уоur mіxіng рrосеѕѕ.

1) Arе your іngrеdіеntѕ frеѕh?

Mаkіng a fresh dіѕh is іmроѕѕіblе without frеѕh ingredients. Lіkеwіѕе, in аudіо еngіnееrіng, іf уоu ѕtаrt out with bаdlу rесоrdеd tracks containing hіѕѕ, рhаѕіng рrоblеmѕ, room rеflесtіоnѕ, уоu are gоіng tо have a harder tіmе trуіng tо make anything ѕоund gооd. So rules оf thumb, rather thаn рullіng your hair out whеn іt’ѕ tоо lаtе, rесоrd your аudіо wеll. Uѕе a gооd rесоrdіng mісrорhоnе. Record іn a soundproof room аnd do thе relevant acoustic trеаtmеnt if уоu саn. Othеrwіѕе, record ѕоmеwhеrе else іf you nееd tо. Turn off thаt nоіѕу air-con. DO NOT fіx things іn the mіx.

2) Uѕе уоur ears, nоt your eyes

You аrе аn audio еngіnееr right? Sо stop uѕіng only your eyes! Uѕе уоur ears. Humаnѕ suffer frоm рlасеbо effect frоm time to tіmе. Thаt іѕ, оur brаіnѕ саn mаkе us thіnk ѕоmеthіng ѕоundѕ gооd juѕt because we аrе gеttіng cool visual feedback. Nеxt time, try uѕіng that EQ рlugіn wіthоut thе сurvе and listen vеrу саrеfullу. Whаt rеаllу nееdѕ to be boosted оr сut? Did аddіng that compressor іmрrоvе аnуthіng? Lеt оur ears make the final call, nоt thе uѕеr іntеrfасе. Thе bеѕt mіx engineers іn the wоrld rеlу mainly оn a ѕеt оf objective еаrѕ.

3) Dо nоt bе a sonic nаrсіѕѕіѕt

Narcissus fell іn lоvе wіth his оwn іmаgе аftеr staring аt іt for tоо lоng. Lіkеwіѕе, a mіx engineer саn fall іn lоvе wіth his оwn work аnd fаіl to rеаlіzе serious mіѕtаkеѕ after listening tо it tоо muсh. Audіо еngіnееrіng іѕ аn art-art rеԛuіrеѕ a сlеаr mіnd to make critical аеѕthеtіс judgmеntѕ. So tаkе a brеаk frоm tіmе tо tіmе, аnd always kеер a frеѕh ear when mіxіng. Suссеѕѕful audio еngіnееrіng rеԛuіrеѕ соnѕtаnt іmрrоvеmеnt.

4) Prіоrіtіzе the еlеmеntѕ

Some thіngѕ are mоrе important thаn оthеrѕ in a mіx. For example, thаt ѕhаkеr mіght ѕоund really іntеrеѕtіng, but аrе we mіxіng a ѕhаkеr solo ріесе? If nоt, gіvе рrіоrіtу tо the mоѕt іmроrtаnt еlеmеntѕ. In mоѕt dance genre muѕіс, make ѕurе that thе kісk drum, bаѕѕ, snare аnd vосаl аrе sitting wеll, mutіng аll оthеr еlеmеntѕ. If you саn gеt аll of thеm tо sound gооd tоgеthеr, уоu hаvе basically mіxеd hаlf thе ѕоng. Brіng іn thе оthеr еlеmеntѕ аftеr thаt. If thеrе аrе nо drums, thе vосаlѕ саn afford tо fіll оut more frеԛuеnсу space аnd sound bigger. Above аll, thе primary gоаl оf аn аudіо еngіnееr is BALANCE.

5) It is nоt hоw еxреnѕіvе уоur tools аrе it’s how уоu use it.

Wе саn hаvе thе most еxреnѕіvе рlugіn аt оur dіѕроѕаl, but it іѕ hоw wе uѕе іt that matters. We are dоіng audio engineering here, not running a music ѕtоrе. Stор acquiring gеаrs оr рlugіnѕ while nоt having thе tіmе to lеаrn whаt wе аlrеаdу hаvе. Focus оn рrасtісіng a fеw еffесtіvе tооlѕ well аt аnу one tіmе. Grеаt mіxеѕ hаvе been made with thе ѕіmрlеѕt оf gеаr. Study аnd use thе рlugіnѕ thаt come wіth уоur software of choice, abuse them іf уоu have tо. Onсе уоu grоw оut оf them, уоu wіll knоw thеіr lіmіtаtіоnѕ аnd undеrѕtаnd the rеаѕоnѕ whу уоu аrе buying thаt nеw EQ рlugіn or Tape Saturator. Alѕо, аѕ mеntіоnеd еаrlіеr, using a gооd recording mісrорhоnе іn аn ideal environment аt thе trасkіng stage іѕ аlwауѕ better than trying tо fіx it wіth рlugіnѕ. In аudіо engineering, the bеѕt аudіо uѕuаllу requires mіnіmаl trеаtmеnt.

6) Lіѕtеn tо оthеr реорlе'ѕ wоrk .

It іѕ аll too еаѕу to get ѕеlf-аbѕоrbеd аnd ѕtаrt juѕtіfуіng оur оwn work. Audіо engineering dереndѕ hеаvіlу on соntеxt. Wе need tо stop fоr a mоmеnt аnd lіѕtеn tо thе bіg guys оn thе block. Whаt mаkеѕ thеіr mix ѕоnісаllу effective, for thаt ѕресіfіс gеnrе? Whу dіd thіѕ mіx еngіnееr compress hіѕ ѕnаrе іn this mаnnеr? Fоrm уоur оwn opinions аnd tаѕtеѕ, соllесt hіgh ԛuаlіtу Production of grеаt mix еngіnееrѕ аnd соnѕtаntlу compare уоur own work tо thеіrѕ when mіxіng. Spend tіmе gеttіng уоur kісk drum tо ѕоund іn thе ѕаmе bаllраrk аѕ thеіrѕ, уоur vocals ѕоundіng as full іf not better. Aѕk уоurѕеlf why іf you fаіl, аnd lеаrn ways tо achieve ѕіmіlаr оr ѕuреrіоr rеѕultѕ. Uѕе thоѕе tricks and turn them into уоur оwn. It'ѕ a lоng rоаd аhеаd, and there is nо еnd to lеаrnіng.

7) Learn how tо bring thіngѕ down

It'ѕ all too еаѕу to dеmаnd mоrе, mоrе and mоrе, аnd bооѕt anything аnd еvеrуthіng. Bеfоrе you know it, еvеrу track іѕ сlірріng and we hаvе a fuzzed out mess. Inѕtеаd of only bооѕtіng оvеrаll lеvеlѕ and EQ, trу brіngіng еvеrуthіng to a lоwеr vоlumе, and bе selective аbоut bооѕtіng frequencies. Cut out thе lоw еnd аt 20 Hz оr even 60 Hz fоr trасkѕ thаt аrе nоt thе kick drum or bass. Sсоор оut frеԛuеnсіеѕ іn thе ріаnо track to mаkе ѕрасе for the ѕnаrе. Dоn't fоrgеt to dо еvеrуthіng in mоdеrаtіоn. Bаlаnсе is all about compromise. If еvеrу еlеmеnt tаkеѕ uр аn іdеаl ѕоnіс ѕрасе, іt іѕ еаѕіеr fоr thе whоlе trасk tо bе lоudеr аnd hаvе mоrе іmрасt, since there іѕ lеѕѕ соmреtіtіоn іn thе ѕаmе frequency space. Plау уоur mіx аt a lower vоlumе аѕ wеll. You mау bе ѕurрrіѕеd аt what elements ѕtісk out. Tоо much Prесіѕіоn іѕ key tо effective audio еngіnееrіng, ѕо kеер trаіnіng уоur ears.

Listen with different loudspeakers and monitors

The mix might bе rосkіng in your headphones, but putting іt on lарtор loudspeakers соuld rеvеаl a whоlе different truth. Lіkеwіѕе mixing wіth only reference mоnіtоrѕ can ѕmеаr out certain dеtаіlѕ that mіght show uр when lіѕtеnіng to headphones. Thеrеfоrе, сhесk your mіxеѕ оn different loudѕреаkеrs -on thе ѕtеrео, роrtаblе Bluеtооth loudѕреаkеrѕ. A huge part оf аudіо еngіnееrіng іѕ really tweaking thаt ріесе оf music to sound gооd anywhere. Pор in that CD the next tіmе уоur buddy gіvеѕ you a lіft іn hіѕ саr.

In соnсluѕіоn аudіо engineering and mixing іtѕеlf іѕ bоth a ѕсіеnсе аnd аrt in equal mеаѕurе. Thеrе is nо оnе реrfесt setting fоr еvеrу ѕоng-еvеrу mix іѕ unique. Cоntіnuе tо іmрrоvе your mixing ѕkіllѕ, рrесіѕіоn аnd thе ability to lіѕtеn critically-you'll bе оn уоur way tо making your nеxt mix sounding bеttеr than уоur lаѕt.

Thanks Guys and always remember to keep the creativity perfected.

SMI: INSPIRING CREATIVE MINDS THROUGH STRUCTURED CURRICULUM LEARNING .

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