Barni Sparkes

8========D ------- FMP TRACK THREE

Fri, 17 Jun 2011 18:23:47 -0400

8========D ------- FMP TRACK THREE

CLICK ON ME TO HEAR DUBSTEP AND BARNIS FMP TRACK TWO

Fri, 17 Jun 2011 18:22:54 -0400

CLICK ON ME TO HEAR DUBSTEP AND BARNIS FMP TRACK TWO

OMG LOOK ITS MY FMP TRACK ONE

Fri, 17 Jun 2011 18:21:55 -0400

OMG LOOK ITS MY FMP TRACK ONE

FMP!: Task 3 - Supplementary Roles

Thu, 16 Jun 2011 23:03:00 -0400

In this task I will talk through what roles were taken on by myself and my group/friend/mates/people during the time we were working on our FMP. This is to show I played my part when other people need assistance when working on there FMP, this can be by physically helping them by manning the desk or computer, or just by giving constructive criticism.

The Producer Role

When working the the studio ideas can be flying about non-stop, but other times you may all be stuck at a dead end and not know where to go. At some point in the time we was working on our FMP we all came to a point when we just didn’t know where to go with the current project, this is where we should all start being a team player, if you have a idea or opinion what might aid or help the other persons work then you should share that with them.

I have myself offered my personal opinion in the studio be it creative or critical, for example, when we was all hung up on getting as many audio elements rammed into our tracks as possible I listened to Daryl’s work and suggested that he take one of the pieces he wrote in on the microkorg and change it with a electric guitar as I felt he already had enough korg in the track. It can also be simple things as saying you think a certain element in a piece it to loud or quite, anything to help improve the final product.

Giving constructive criticism can be taken badly by some people but if you state your opinion to someone in a sincere manner it can save them a lot of grief with a problem they may not have picked up on later down the line.

The Engineer Role

This role involves helping out by physically manning the desk or sequencer for someone else whilst they are doing something else. This can be just pressing record whilst they are in the live room recording or it could be helping getting a decent level through on the mics.

A number of times when working on our FMPs I have helped record instruments just by sitting at the computer arming channels and getting signals through. I have also helped other people mic up instruments, most notably right at the start when we was recording our drum hits. Even just assisting DIing a guitar and helping get the correct sound through the mesa can be a great help when they could be getting on with something themselves.

I feel as a group we all took part in all these roles at some point, because we decided to take the studio sessions in turns it meant that the three people who’s session it wasn’t were there to help the persons who’s session it was the whole time, be it creativity or by rigging up and micing instruments.

FMP!: Task 2 - Production and Recording Techniques

Thu, 16 Jun 2011 20:40:00 -0400

In this task I will talk through how I recorded, processed and produced the three tracks for my EP. I am going to talk through each track individually, and I will talk about each element in all the tracks, whether it was recorded or is MIDI.

One of the first things Andy told us when we started planning our FMP was that each track will require a certain number of audio elements, the first figure he gave us was 12, but we later on found out that this was a scare tactic and he would be happy with 8 or 9. This criteria was set so that we are forced to record as many instruments as possible and not just use MIDI instruments for everything. A audio element is determined by the recording a processing techniques, for instance, all the recorded drums on a track will just be one audio element because they are all recorded and processed similar.

I will mention in more detail each individual instrument we recorded later but my first thought when planning each track was to get as many different sounds done as possible, all the instrument we recorded consist of drums, acoustic guitar, electric guitar, bass guitar, percussion (bongos, claps, cowbell), microkorg, xylophone, vuvuzela, mbira, recorder, stylophone, harmonica, accordion, whistle, ukelele, zephyr and vocals (beat boxing). These were all instruments we either brought in from home, or they were already in the studio, we did also want to get piano and organ recorded but we never got around to it.

To save myself repeating myself I am going to go through each instrument we recorded, go through that process and then go through how they differ in each track and what different techniques and programming I did.

Drums

My plan from the start of this project was to record all of the instruments as single hits rather than playing them in, this was because of my lack of skill in any instrument at all, and the fact that I prefer sampling and processing with individual hits. This includes the drums, first thing was to record the kick, I wanted to record a number of different kicks at different velocities and with the mic in different places, for example I would do a couple with the microphone inside the skin to get more bass in the kick and then a couple just outside to get more of a punch, once these were recorded I went through all the takes and chose a couple what I liked the sound of more. By the end of this I had two what I favored, I cut these into samples and bounced them down.

In the three tracks I ended up using the same kicks in all of them, I processed them by firstly EQing the kick on its own, mainly I took out any frequencies I didn’t need as these rouge frequencies would make mixing down extremely hard. For this kick that mainly consisted of taking out some of the bass, anything below 50 hertz was completely taken out, boosting around 120 hertz to give it a bit more punch, taking out around 300-400 hertz as it sounded a bit bloated and then boost a bit of the high end to brighten it up. In the end I also layered this kick with a sample I have myself to get it sounding much punchier and fatter. Finally I sent these to a drum bus with a compressor on it, all of my drums and percussion will be sent to this compressor.

Next I wanted to record a snare, I decided to record this in a way I have been taught all year, by placing one mic on the top of the snare where the hit is and the other on the bottom where the snares are. I recorded a number of different hits to try and get the best one possible and tried out a few snare rolls and different velocities. Once the best ones were taken out I cut them into samples and bounced the two mic channels down together.

When using these samples in my three tracks I used them in different ways, the first and third tracks it is used as the main snare in a carnival like beat, but in the dubstep track I used it as a ghost snare or rhythm snare if you will. This was because the recorded snare was not beefy enough for a dubstep track so I used a sample I had instead. When processing the snares in each track I first EQed out most of the low end, this was so no frequencies clashed with the kick on bass. I then EQed around a few other areas just so it gelled into the track better. After this I doubled it up with another snare to give make it fatter, limited them together and then sent them both through the drum bus what has a compressor on it.

The cymbals in each track are exactly the same. I recorded these by placing a mic right next to where the hit is and then taken a number of different shots, all at different velocities as done before with the other drums. The only cymbals I ended up using was the crash and the hi hat, when putting these in my tracks I would of started off by low cutting as much as possible without taking any of the body of the sound away, even if there was no low frequencies on the spectral analyzer I would low cut it just in case. I then put this through the drum bus to be compressed and then added reverb so make it fit in with the track better.

It is also worth mentioning that I use a 808 kick drum sample in the second and third tracks, although this is not counted as one of the audio elements I though I would talk through the processing involved anyway. After placing the sample and getting it in key with the track I started off by EQing it, this consisted of high cutting as much as possible without the sample sounding filtered, this was to emphasis the low end frequencies. I then side chained this to the kick drum very slightly just so they don’t clash. Finally I compressed it separate from the rest of the drums so it doesn’t get mixed up and muddy in the mix.

I will also mention that I did record toms aswell using the tom mics, but in the final mixes I decided not to use them.

Percussion

I recorded a number of different percussion instruments in live room A when starting the project, these consist of claps, bongos and cowbells. I did not use all of the samples in the end but I will go through the recording process never the less.

The first thing we recorded was the claps, I had a idea of how I wanted to record these. I started off by placing the vocal neumann in the center of the live room, with that I placed both pencil mics on either side of the room. I then recorded about 20 claps all from different distances, different pitches and different velocities. When this was done I spent a lot of time grouping all the claps in different ways to create loads of different sounding claps, I then bounced all of these down separately. Unfortunantly after all that I wasn’t completely happy with the sounds created, when placing them, putting them through the standard effects chain they still weren’t coming through in the mix the way I wanted them to.

Next I recorded one of the bongos we have in the studio, again I done this in studio A live room. I recorded this by placing one of the neumann’s close to the skin where the hit will be, and then placing another underneath the bongo near the hole, this was to try and get the all round sound of the drum and then I can just EQ out any frequencies after. Unfortuantly again I didn’t use this in any of the tracks at the end.

Lastly I recorded the cowbells, we had two of them to record what were both different pitches. We recorded them in studio a with the neumann, simply by placing the mic near where the hit will be and recording a few takes to try and get the cleanest sound possible. I ended up using these samples in all the tracks, the first track has both cowbells while the other has just one. In the first track I EQed out any rouge frequencies I didnt want to start off with, this being different for both cowbells, I then placed them into a rhythm and put them through the drum bus. I also decided to duplicate this cowbell channel and pan each one hard to the left and right to widen up the track a bit. In the other two tracks I only used the lower cowbell of the two, the standard effects chain on these are practically exactly the same as the first track.

Xylophone

One of the next instruments I wanted to incorporate was the xylophone what is being used in the first and second tracks. I recorded this by placing the neumann close the where the beater will hit, and I then began recording a number of different takes. I recorded a number of different notes on the xylophone as well, this was because it was a bit battered and some of the keys weren’t hitting to well. This led to a bit of trouble when putting the xylophone in my tracks, I had to fine tune some of the keys as they sounded a bit off. After this was done I would put it through the usual processing chain, including EQing and then compressing on it own to push it through in the mix, then adding a slight reverb to help it blend in. For the second track I also added a stereo delay on what automates both the wet and feedback in certain parts of the track.

Acoustic Guitar

I really wanted to add a acoustic guitar into one or two of my tracks but as I have never recorded one before I was a bit skeptical about how it will sound. I started off by placing a mic pointing toward the body of the guitar where the strings are being played, this was to pick up the hit of the strings. I then placed another microphone at the neck of the guitar towards the frets, this was to get a more atmosphere in the recording. On to the actual recording, as I can’t actually play the guitar I wanted to record a number of different single notes, chords and I also thought it would be a good idea to record a few loops in different styles and rhythms what I could work with later. We did this in a number of different takes and I took the best ones and bounced both of the channels down together.

When going to put the acoustic guitar into one of the tracks I really wanted to try it with my dubstep one, I instantly wanted to try out taking out of the loops I had recorded and cut it up. I started processing it by doing just that, I made it into a rhythm and started to EQ it what I found quite difficult, I had a hard time keeping the body of the sound without having it clash with other parts of the mix so I decided to use a acoustic preset as a template and adjust it to how I needed it. After a time getting it right and stopping the frequencies clashing I slightly compressed it to tighten up the sound, I then added a slight reverb and stereo delay to widen it a little bit, finally I added a vocal plug-in what double the track up creating more harmonics and helping it sit in the mix better.

Electric Guitar

The only time the electric guitar is used is in the second track as well, I thought it really fit in well with the whole subby vibe I was going for. Recording this was much more simple than the acoustic, we DIed it through the mesa to get a as clean sound as possible. I wanted to do it this way because I thought if I want to dirty it up a bit later I could always do that with a plug-in. We done the recording process exactly the same as the acoustic, we recorded a couple of single notes and chords so I could just bounce them all down and use them in sampler instruments.

I then placed this into my dubstep track using a sampler instrument as mentioned, I wanted it to be really simple in the mix to not overwhelm anything, so I just had it hit at the beginning of every two bars what really fit in well. I then EQed it not to differently from the acoustic, then compressed it, added reverb and a slight delay to help the sound ring out a bit longer.

Bass Guitar

The bass guitar was recorded in exactly the same way as the electric guitar, we put it through the mesa and recorded in a C, we done this in two different styles, one was more with a hit at the beginning and the other without. I bounced both of these separately so again I could use them in sampler instruments for my tracks.

I use the bass guitar in all three tracks and they are all processed in more or less the same way. For the first track I have a bassline over the top of it so I wanted to use it as more of a sub, to do this I EQed out most of the frequencies, until about 100 hertz to emphasis the low frequencies. In the dubstep track and the third I used the sample with the hit on it, this was because I wanted a more funky feel to it, I also didn’t high cut it as much as it is only being used in the intro and outro, and because it has nothing to clash with in these sections it can be more prominent. After the EQing I also compressed them a fair bit, this was to make the sound as tight as possible so it stands out in the mix but doesn’t clash with anything else. Lastly I slightly side chained it with the kick drum so they don’t clash with each other and I put a stereo imager on it to make sure the lowest frequencies are mono.

Harmonica

We also had a harmonica at hand to record what I thought would be a interesting instrument to use in one of the tracks. This was recorded in studio B using the SE, but considering none of us could play it properly we had to record single notes and then sample them in our tracks. We simply held it up to the microphone and recorded a number of different notes, these were then bounced down individually ready for us to process them ourselves.

I used the harmonica in my first track, but I didn’t want to use it as a harmonica as such, I wanted to manipulate the sound to make it sound more like a pad for atmosphere in the breakdowns. I did this by added a fair bit of reverb onto the channel, followed by a filter what automates up with it. I also had to use the fading technique to make a seamless loop as what we recorded was not long enough for what I needed. Finally I EQed out any frequencies I didn’t need and ran it through a compressor with some slight sidechaining to the kick drum.

Whistle

I really liked the idea of using a whistle in a couple of my tracks so I brought a referee whistle in from home. This was also recorded in studio B using the SE and we recorded this from different distances to get more atmospheric sounds and more direct clean ones from it. I preferred the more clean ones so I bounced them down so I could process them further.

I used these samples in both the first and second tracks in basically the same ways, all I did processing wise was EQ the lower frequencies out, compress, and reverb, stereo delay and that vocal plug-in to add harmonics.

Recorder

I also decided to record a recorder what Tim brought from home, this was done with the SE in studio B, again recording a couple of notes so I couple use them in a sampler instrument.

This is being used in the first track, I never wanted to use it like a recorder, but more like a lead synth. To do this I wrote the little melody for it and start away EQed most of the low frequencies out, adding some up a bit higher to brighten it up. I then compressed it, added a filter, reverb, delay and that vocal plug-in what adds harmonics. I then put another compressor on it to very slightly side chain it with the kick drum. It was then a case of making this and the bassline I added to work together. I also added the recorder into the third track in the intro, the processing on this was exactly the same as in the first track.

Stylophone

I was very excited to get the chance to use a stylophone in the EP because I love the sound it makes, so I got to recording it straight away. Using the SE in studio B we held the microphone in place and recorded a high C and a low C, this is so when transposing and using the samples in a sampler I wont have to stretch the sample as far.

I decided to use this in the second track, first thing to do was to load it into a sampler instrument and make a melody with it what was more difficult as I planned as I ended up having to fine tune the notes because they we’re slightly off. After that was done I EQed any rouge frequencies and put it through a compressor, then putting minimal reverb on it and then automating it up as the loop goes on throughout the track to space it out into nothing. Lastly I added a filter onto it what automates at certain parts in the track.

Mbira

The mbira is a strange percussive like sound from south africa or something and I got the chance to record this because Tim brought it in from home. This was done in studio B on the SE microphone, the instrument has about six metal tabs what when flicked play a different note, so I held this up close to the microphone and recorded each note, I then bounced these all down individually.

I decided to use this in parts of the dubstep track, the main issue was working out the notes and getting them in key. Once this was done I placed the sample on the arrange page in the rhythm I wanted what was a pretty simple job, then I put it through the standard effects chain of EQing, compressing, reverb and delay to get it sitting in the mix well.

Ukelele

In the studio we also had a ukelele lying around what I wanted to experiment with, recording this obviously isn’t that different from recording the acoustic guitar. I did this in studio A live room with a neumann pointing at the sound hole trying to get a really clean bright sound. I recorded a high C and a low C so I can use it in a sampler instrument later.

This is being used in the third track underneath the Zephyr in the main melody throughout. Most of this processing was similar to the acoustic guitar, I EQed it in the same way, compressed it and added a similar reverb and delay. This was a lot easier to process as it was just single notes on there own so I could find the rouge frequencies easy and drop them out of the mix. I high cut it slightly because I planned from the start to layer this with the Zephyr. Finally i also filtered it as it automates up in certain points of the track.

Zephyr

I was quite skeptical about using the zephyr because I thought all the strings would be out of tune and there is no way to tune it other than in a sequencer, but because I love the sound of it. I recorded this in live room A, I sat down with the zephyr on my lap with the vocal neumann point at the string I was plucking, I had someone press record and I went through each string a couple of times to get a good one. Once this was done I went through all the takes, and got one good take of each note, cut them up into samples and bounced them down.

As I mentioned before these samples are being used in the third track doubled with the lower ukelele. The only difference in the processing is that I wanted this to come through the mix more brighter and cut through all the way through. I did this by using a different compressor plug-in and used a bright boost preset on it, what made it sound really warm. Along with this I EQed out any frequencies I didn’t need included where the ukelele was hitting. I then used the same reverb and delay, along with the vocal harmonics plug-in with a very low wet setting.

Microkorg

I used samples I recorded from the microkorg in every track, these are all sample effects within the tracks and I also used the noise oscillator on it to get a white noise sample and make that into a seamless loop what runs throughout all three tracks. This was recorded into logic straight through the mixing desk in studio B. It was just a case of looking through the presets and find sounds I would like to use.

As I have already mentioned the microkorg is being used in all the three tracks, it is used in the first track as the siren effect used throughout, the risers, down sweep and effects spread throught. These effects are all being processed in a pretty standard way, they are all being EQed to sit in the mix well, all being run through compressors and they all have some sort of volume automation, reverb, delay, bit crusher or filter effects.

Vocals

The vocals in the third track were done by my good friend Nico, or ‘Koder’. They were actually recorded in his studio so I’m not sure if this counts as a audio element, but I did record it and it was done on Logic. This was recorded on a neumann straight away being ran through a EQ and some slight compression to stop any peaks. We recorded each verse, pre-chorus, chorus, stabs and adlibs several times and chose the best ones to use.

These vocals then had delay added onto them, a slight amount of reverb and finally compressed again. I then spent time mixing them all down so everything could be heard in the mix.

In studio B I also recorded Daryl beat boxing to a couple of different tempos rhythms and styles, this was done on the SE with a pop shield. I did plan to cut these up and use them in one of my tracks but I never got around to it. Finally in the first track I recorded Daryl whistling, I bounced this down, compressed it quite hard to bring the body of the sound out, EQ and filtered it then added reverb and a tremolo onto it to use as a riser.

Vuvuzela

One of the last instruments I recorded was my very own vuvuzela, I was really hoping to use this in one of my tracks but unfortunantly I could not fit it in anywhere, never the less I will talk through the recording techniques I used to do this as it was slightly different from the others on here. I started by placing the neumann in the middle of live room A with a pop shield, I then place one of the over head pencil mics further back behind that one because I wanted to catch more of the vuvuzela. I blew into it a few times trying to get different versions but that didn’t really work so I just focused on getting different length samples. When this was done I cut the audio up and bounce the two mic channels down.

Samples & MIDI

I also used numerous samples in each of the tracks and MIDI in the first one for the bassline, this was just to be more creative with what I could use. Most of the samples are percussion based, things likes shakers, tambourines, different types of random hits, breakbeats and I threw a trumpet sample in the third track. These were all processed in similar ways to the recorded samples expect I would of done less compressing and EQing because they would already be to a half decent standard.

The MIDI I used was in the first track for the bassline, It is just a patch I made in Reason, I wasn’t completely happy with this and you can tell it hasn’t had as much time spent on it as it could have.

Conclusion

After I was sure I had all the audio elements to meet the criteria I had sessions on each of the tracks mixing them down, making sure they all run smoothly and that everything is clear in the mix. Finally I done a rough master on each using ozone just to maximize the volume, I also played around with the plug-ins exciter and stereo imager, for example the stereo imager on ozone puts the frequencies into four different bands, and you adjust each bands frequencies making them wider or more central. I made the lowest frequencies mono, this is because a lot of sound systems are also in mono, so if you have a wide bass it wont come through that well on the system, this is very important when making dance music.

To round up I am satisfied with my finished product, there are many areas where I think I could have done better and there are some things I would of liked to do but I didn’t get around to. For example I wish I could have gotten both piano and organ recorded and incorporated then in my tracks. Some of the recordings could of come out better, mainly the ones what we recorded in studio B, i feel if they were done in studio A they would of been better quality. I would of also liked to get some sessions players in to add a more live feel to some of the tracks so it isn’t all programmed but I didn’t want to have to rely on other people.

Finally I feel the final mixes could been of a better quality but I think this just comes down to not enough time working on the mix at the end. On a positive note I am happy that I incorporated as many different recorded instruments as I did, and I combined them with samples from my own personal library and I threw some MIDI in there as well.

FMP!: Task 1 - Marketing and Demographics

Wed, 15 Jun 2011 19:16:00 -0400

Precedents and Demographics

In this section I am going to discuss and identify the target audience for my finished EP. With this information I will plan what the best means of marketing would be to make sure the product reaches the right people and makes a maximum profit.

The market I wanted to reach into is one I am currently involved in, I wanted to create a EP what would appeal and potentially sell to the electronic dance music market. There are a number of reasons why I chose this, firstly because I know the scene fairly well, I know the magazines, radio stations, websites and people who have influence within the scene. Another reason why I wanted to create a EP in this genre was because in the last couple of years this type of music has slowly gained recognition and became more and more commercially successful, this can be proved with looking at the rise of dubstep in recent years.

I aimed to create a 3 track EP consisting of two electronic dance tracks and one dubstep track. I thought having a mix of genres would widen the audience and potential sales. There are many precedents within the genres I have mentioned and they all have been rapidly growing in popularity in recent years, people such as Chase & Status, Nero, Swedish House Mafia, Flux Pavillion, Jack Beats and Foamo have all made careers out of this.

The demographic for this marketing campaign is far more easy to identify now than it would of been 5 years ago. As I have already mentioned the rise of electronic dance music such as dubstep over recent years has given the genres commercial success and much more exposure. You could even say that it is pop music now it has gained chart success and constant major radio airplay making it extremely accessible to most social backgrounds. But seeing as it is dance music I would think that the age of the average electronic dance fan would be 18-30, taking into account that these genres are most appreciated whilst out clubbing.

Marketing Strategy

The next step is to plan a marketing campaign to follow to lead up to the release of the EP to make it as successful as possible.

Online marketing

The first thing I will do to kick off the PR campaign is to try and create a fan base for myself, I will do this by making accounts and pages on all the social networking sites, these will include Twitter, Facebook, Soundcloud, Youtube and Myspace. From these accounts I will add, follow and message similar artists and fans of those artists, this will take a fair bit of time but it will instantly get a buzz around my name and the EP online. I am aware of a programme what works with Twitter, this programme allows you to pick another account on and it will automatically follow all of there followers, for instance I could choose Flux Pavilion who has 23,000 followers, this programme will go through all these and have my account follow them, this would get me in contact will a large amount of people interested in this same genre and greatly increase my online presence. I am aware that you have to pay for this programme but in the long run it will benefit me greatly.

Keeping with the online marketing side of things I would also aim to get in contact with a number of online music blogs and get my EP featured, some of these music blogs have thousands of devoted fans who read it everyday. The articles on some of these blogs also get featured on music blog aggregator’s such as Hype Machine, what gets thousands of people searching for new music on there.

Youtube is great for promotional purposes, you always see people telling each other about a video they have watched on it. Using this to my advantage I am going to talk with some graphics designers/film makers about getting a teaser video made. Making this video go viral would be amazing for this EP, and for this to happen it will have to be a humorous, original idea with a sample of the EP.

Magazines

There are also a number of specialist magazines what I would try and get a feature in, the best suited would be Mixmag, iDJ and Computer Music as these already have articles for new releases and reviews.

Radio

To go along with trying to get a buzz on the internet I will need to try and gain the support from some radio DJ’s To help with this I would like to hire a radio plugger, I would prefer to do this than to do it myself because they will have many more contacts than me and hopefully there reputation will aid this. I will allow the radio plugger to contact the more specialist radio stations and shows but I will get in contacts with the internet shows and pod casts. The radio shows I would like to focus on most are BBC Kent Introducing on BBC Kent, Kissy Sell-Out, Annie Mac and Annie Nightingale on Radio One, The Remix on XFM and Mistajam on 1Xtra.

Gigging

To follow up to all of this I will get stickers and flyers printed, to promote my fan pages and the EP. I will go to gigs with similar artists playing and hand these out to the punters. I think it would be a good idea to make promo CD’s of the EP and try to give these to the DJ’s at these gigs. Creating personal contacts with these DJ’s would be a massive help in getting support for the EP down the line. Finally I am going to aim to get a number of gigs books around the release date to help promote the release. These gigs will be focused around the local area and hopefully will branch into London.

I feel that this marketing campaign covers all the different necessary parts needed to get the EP to the right people. The most important thing is to remember who your demographic are and to think about how you can get them to be interested in your product.

FMP Proposal

Sun, 27 Mar 2011 17:45:24 -0400

When thinking about what to for my FMP I never really thought towards recording some band or group, I have always thought to keeping it towards my side of production, and to do this I am going to create a three track EP similar to the style what you will hear from both Nero and Chase & Status. I am planning on having two electro tracks and the third will be dubstep so all the cool kids will like me.

For all the instrumentation for this I plan to record drum hits separately, focusing on producing the best quality sounds possible. These simple recordings will be done by myself but I will need the assistance of Seany Bizzle for and more complicated drum rolls etc. I want to focus a lot on incorporating guitars in these tracks and this will also be done by myself, as will bass because I am some sort of badman at that. And as I guess all our group will I will kindly ask Birdman if I can use his micro korg for synths and pads etc. Also to help add up the audio channel numbers to react the criteria for this project I will have some sort of vocals recorded in all the three tracks, even if they are just phrases or one word.

I am going to try my best to reduce the number of VST’s in my tracks and my aim will be have everything as recorded audio, including things such as sweeps or effects. My time in the free week will be experimenting with obtaining the guitar sounds I am looking for these tracks.

This will all be commercially viable because it will be fucking awesome.

Record labels and marketing and shit.

Fri, 25 Mar 2011 19:16:47 -0400

Record labels are split into two categories, Major and Indie, the difference between these two is determined in a number of ways, the main thing to keep in mind is whether the label does most of there work ‘in-house’ or ‘out-of-house’. Basically this means that a label what does their work in-house will do all the work needed inside the company, and if it is being done out-of-house they will have contact with third party companies who will they will pay to do the work for them. For example, a major label will have the following jobs done in house by employees on a set salary:

A&R - These guys may scout acts by going to gigs etc. they can also be more involved with the artists by overseeing recordings, making sure everything is being done productively, on budget and on time.

Admin - Admins make sure everything runs smoothly within the company, this can be dealing with all the other branches of the company and basically being the middle man.

Distibution - This is for the manufacturing, sales and shipment of the records, this includes both physical and digital copies of the product.

Press Promo - These guys will have contacts with specialist magazines and work with them and artists to gain exposure through these methods, they may all deal with photoshoots and things like that.

Radio/TV Pluggers - Fairly similar to the press promo but soley with radio and TV stations.

Online Promo - Again, fairly similar to the two above but with anything online, like music blogs and online distributors.

As I mentioned before Major labels will tend to have these above departments in-house, meaning they have empolyeed people especially for that job. Indie labels many only have one or two roles from with-in the company, so all other will be hired on a freelance basis out-of-house.

So basically now I have discovered two hench producers but they are currently making music in their bedroom and I want to get their music out their and get them famous so I get loads of money for it, these guys are called ‘I Killed Kenny’, the plan of action is to have them release a three track EP, and this needs to be perfect and create a huge buzz in the scene. I am going to give them a month to create this fresh new EP as it needs to be perfect and I am going to lock them away for this time and hire out a professional studio so they can make their hip hop beats.

Studio hire @ £300 per week = £1200

Travel expenses @ £20 each per day = £1000

Mastering @ £50 per track = £150

Total outgoings = £2350

Now for all the promo and marketing ting so the music I made them make will actually be heard by people. This campaign will go on for around two months prior to the release of the EP.

Press promo @ £400 per month = £800

Radio/TV pluggers @ £1000 per month = £1000

Online promo @ £300 per month = £600

Photoshoot & editing = £200

Web design, logo, artwork = £200

Music video (this will be some mad youtube video like the one for Jack Beats - Up All Night, so we will need a graphic designer or some shit on a one time fee) = £120

Outgoings for marketing = £2800

Total outgoings = £5150

The EP will be released on all online retailers at £3.99 and anyone caught uploading it to mediafire or on there music blog with be knocked the fuck out. The retailers will take 20% commission.

I cant be bothered to work out 20% of my outgoings right now so I’m going to go to sleep.

REMIX

Fri, 25 Mar 2011 17:17:51 -0400

REMIX

Cassius - I Luv U So (Skream vs I Killed Kenny Refix)

Mon, 07 Mar 2011 10:38:00 -0500

So like when I work on sunday’s I normally go over to Gregg’s to get something for lunch, and there’s like this babe who works in there who obviously fancies me, but unfortunantly for her I’m only interested in her steak bakes, but for the chance of getting a free sausage roll I might give her my number.

Anyways…

Listen to our new track - http://soundcloud.com/i-killed-kenny/cassius-i-luv-u-so-skream-vs-i

Walrus Challenge

Tue, 01 Mar 2011 08:16:00 -0500

This project was the most challenging one we have been given yet, it was given to us so we can further our knowledge of live recording, sequencing and sound manipulation. The song we was given was Paul McCartney and The Wings ‘Live And Let Die’, and we would have to take on the task of recording longmen Andy and Rich try and play instruments as close to the original as possible.

The first task for this project was to listen to the original track and list all the instruments we could hear and decide whether we could recording them or if we would have to sequence them. Along with this because the original was recorded in 1066 or some shit the tempo is constantly changing and this meant we would have to work out a tempo map for what Andy and Rich would play along to. When this task was completed we were all set to start recording.

The obvious starting point for recording was the drums, so we started the recording session off by listening through the original track a couple of times to get a grasp of the different drums characteristics, this led us to set up the drum kit mic’s, getting a signal through and changing the position of the mic’s to fit the original as close as possible, it is also worth noting that Rich gave us a choice of two different snares and we chose the one what sounded closest to the original. Once this was done Rich ran through the song a couple of times and we took the best recording and started the various amounts of equalization and compression to improve the recording.

Once we had played around with the drums a bit trying to get them fairly similar to the original we moved on to record the bass guitar, plugging it into the mesa and tuning it we changed the sound around to try and get it as clear sound as possible so it will fit in our mix nicely. We didn’t EQ anything yet as we wanted to get as many things recorded as possible now and we would do all of that nearer the end of the session.

Next up was to record the guitar in the ‘chorus’, this was a more distorted sound so we plugged it into the mesa, made sure it was in tune etc. Then we ran it through one of Logic’s guitar amps to add character to it, we went through more or less all of them before we decided what one to use, obviously adjusting the settings of it accordingly. When we had a half decent sound Rich recorded the guitar where needed. The other guitar we needed to record was for the reggae section in the middle of the track, this sound was a lot different to the one we had just used as it is much cleaner and brighter. So get this sound we changed the EQ settings on the guitar to clean it up and we either took the guitar amp off or changed it for another one, I don’t remember to be honest. That was then recorded in and we spent the rest of the session EQ’ing, compressing and mixing what we had just recorded.

The next session we turned our attention to the piano what plays all the way through the track. We wanted to record this as MIDI piano’s sound butterz. Luckily for us the mic’s were already set up for us on the piano so once we had a signal through we spent a bit of time changing the mic’s around as we had some trouble with some sort of phasing sound coming through. After a while of failing to do so we just blamed it on the sound of the piano and thought we’d tell everyone it was in the original also. Rich then started to record the different parts of the piano track, this took several goes as there are many different parts where Rich would have to play the right and left hand separatley. Again we processed these sounds to make them sit better in the mix, whilst also trying to capture the same characteristics as the original track.

Before this session was over we quickly decided to record in the bongo’s, we did this by having one mic above the bongo, close to the skin, and the other to capture the low end of it under the bottom, Rich recorded this through the track where needed and we processed and mixed that audio before the session was over. We did this by carefully EQing both audio tracks of the recording so they don’t clash, and when listening back to the original if i remember correctly we noticed that the bottom recording was not needed as much, so we turned this down lower in the mix so keep it filled out but not to over power ant other frequencies.

The last recording we had to do was the infamous vocal day, this was infamous because of Rich’s amazing backing vocals and Andy’s ability to impersonate any artist to perfection. We obviously wanted to start off with the main vocals by Andy but they told us that recording Rich’s backing vocals first would be the best way to do it, and because there the bosses we went with Richs vocals first. We was then informed that the task would be fairly long as there would be four tracks for backing vocals, so we had Rich sing his beautiful voice through the mic to get a decent signal then we put a fare bit of reverb onto it to try and match the original. After a number of tries listening to Rich try and hit the right note we finally had four pretty good takes and mixed then down so it wasn’t to overwhelming. When we had recorded all the backing vocals throughout the track and had the mix pretty tight we moved onto the main vocals of Andy. Fortuantly this only neede two vocals tracks so wehad him practice through a couple of times and then recorded both version pretty easily, if I remember correctly we then all sat in Studio A and had nuff jokes parring each other like TEMPZ, then I had to go to work so my parring days were over.

The next thing we did was what we done throughout the whole recording period in studio B, it was the sequencing part of he project, and this was for all the instruments we couldn’t record in, this was all the strings, all the brass and the other instrument such as the organ, clav, glockenspeil and maybe a xylophone but I don’t remember to be honest. Anyway, we started this longman process by listening through the different parts over and over again trying to get the right notes and style as the original, but as for the sounds we used we was limited to using the EXS24 sampler in Logic. This process went on as long as the recording process and we compressed the files and EQed them to fit the original as close as possible. For the clav and organ we had Rich record them in in one of our Studio sessions which only took a couple of minutes as he is a badman. The last things to note are the timpani’s and the random door creaking sound effect in the reggae section, we got the timpani’s from various apple loops and just played the original along with our recording and placed them accordingly, whereas the previously mentioned other sound effect what sound like a door opening was done again through a apple loop but with a couple effects and pitch bending it.

We then had a session of just mixing the track down and getting any other little bits finished off. We decided to bus certain things together such as the vocals so they can be compressed and EQ’ed as one to bring all the different versions together. Overall I feel we came out with a pretty good sounding recording, but I feel we sometimes focused on making the different instruments and sounds sound good other than making them sound like the original. If we were to do it again I think we should of spent more time on the MIDI and less time complaining about the project, as we had a fair bit missing from the brass and strings, its not our fault we haven’t got a effing orchestra.

EYE H@V£N+ Y0UZ3D TUMBLAH IN AGEHEZ S0 EYE'M GUANNAH LlNC C0NG0R0CK!

Sun, 30 Jan 2011 10:47:55 -0500

http://soundcloud.com/congorock

Marketing

Wed, 05 Jan 2011 17:46:21 -0500

Marketing in the music industry is about getting your product to the audience who it will appeal to, to do this you need to know both the product and what audience it will appeal to, then you need to know how to get it to them. Marketing is so important in the music industry because basically marketing gets sales, and sales makes money. The marketing department need to get this right and make sure the right product is getting marketed to the right people.

Demographics

Demographics are the characteristics of human population, this means characterising people and social groups into classes. This can be done in many ways, for instance, gender, race, age, income, disabilities, education, employment status and location are all factors what are taken into consideration.

It is pretty obvious how this ties in with marketing in the music industry, when a new product is out for release they will want to identify the audiences what it will appeal to through these demographics. Basically it gives the marketing department somewhere to start when marketing a new product.

Precedents

In the UK there are six different social grades that the National Readership Society have created to structure the country according to there socio-economic status, they are:

A - Upper middle class

B - Middle class

C1 - Skilled working class

C2 - Skilled working class

D - Working class

E - Subsistence

Obviously these are not ideal for creating a marketing plan around as many more factors come into account when trying to find the audience you are aiming at. As I have already mentioned with the NRS grades, taking into account age, gender, ethnicity and even sometimes location will help the marketing department find where they should be aiming the product towards.

Advertising

Now you have basically found what audience you are aiming for you should try and find ways to get the product to them, first of all going to radio stations is a major thing to get right, there is no point going to Forced FM with a classical track because the audience who listen to Forced are not going to be interested in listening to or even buying the record. Going to Kiss FM with a more urban or dance track will appeal to there audience a lot more, therefore getting more potential sales.

Going to the right magazines can also help, like for alternative guitar music going to NME would be a good move, or Kerrang and Rocksound for heavier music. Electronic music have many magazine what people buy religiously, naming a few Mixmag, Computer Music and iDJ all would be great places to market electro, house, dubstep or drum and bass.

Another example could be that if you have a track what will appeal to teenagers then having posters on bus stations what are on school or college routes could be a good marketing idea, this will make sure a large amount of people see it each day, and the same can be said with getting advertisements during television programs what a large amount of your audience watch, channels like E4 and channel 4, and of course any music channel.

Copyright

Wed, 05 Jan 2011 17:45:29 -0500

What is Copyright?

Copyright is a set of rules and regulations granted by the law of a jurisdiction to the author or creator. It is important to note that copyright does not protect ideas, but only their expressions and fixation. This means that something what has been physically written down into a document or produced does not need to apply for copyright. Copyright used to only apply to published books by now it has spread to only things such as maps, dramatic works, paintings, photographs, computer programs, sound recordings and motion pictures.

How to protect Copyright

There are easy ways to protect your copyrighted material, if you have used a computer when creating the idea, be it a document or a song then the computer will log dates to when it was created, therefore if a infringement comes along you have evidence of when you created it.

Other ways can be to put the idea or expression in a envelope, seal it then send it to yourself on recorded delivery, you then do not open it unless a infringement occurs. Other people have also given there lawyers or solicitors and then the time and date has been noted down.

Publishing

Copyright is not only used to protect yourself against other people but to ensure that you can use the production yourself to re-copy and sell etc. In terms of music a artist will want to be able to reproduce a song, and then sell it to the public and perform it. Publishing companies will buy the copyright of a production to then re-sell, this will be done on a royalty basis where both parties (the publisher and the producer) will gain a pre-determined percentage of each sold.

Live eBENT

Wed, 05 Jan 2011 17:39:00 -0500

In the following blog I will dicuss my ideas and planning for a live music event. Things what I will take into consideration will be the venue, the artists who play and all the financial aspects what will determine if the event is worthwhile on my part.

Venue - Cable, Bermondsey Road, London (Capacity. 1300)

I have chosen Cable for my live event because it has an amazing reputation for the underground electro and dubstep scene and has already played host to some of the best DJ‘s and producers in the world. From own personal experience I know it is a brilliant venue for the acts I would like to book and creates an amazing vibe. It also has a 6am license which is what I will be taking advantage of.

Venue costs:

Venue hire w/ bar staff & sound/light engineer - £800

Security/ door staff x 8 @ £80 each - £640

Total on venue costs - £1440

Artist and Promotion:

Main room will have music from 10pm til 6am, I will note down what time each act will be on individually:

Foamo - £1000 (5am - 6am)

Jack Beats - £1000 (4am - 5am)

I Killed Kenny - Free (3am - 4am & 10pm - 11:30pm)

Flux Pavillion - £500 (2am - 3am)

Doctor P - £500 (1am - 2am)

Vesper & Pronto - Free (11:30 pm - 1am)

Total for main room acts - £2000

The second room will go on from 10pm til 4am:

Last Japan - £500 (3am - 4am)

Superbad - £200 (2am - 3am)

Warrior One - £300 (1am - 2am)

EnCee - Free (12am - 1am)

Jason Austin - Free (11pm - 12am)

Nick Dubbington - Free (10pm - 11pm)

Total for second room acts - £1000

Total on artists - £3000

Flyer design - £25

Fly print (1500) - £50

Facebook advertisement - Free

Music blog advertisement (Noiseporn, Maddecent etc.) - £500 put aside for costs

Advert in music magazines (Mixmag, Computer Music, iDJ, Emusician, Beat Factor etc.) - £500 put aside for costs

Advertising on radio stations (Radio 1, Kiss FM, XFM, Rinse FM, Select UK, BBC Radio Kent) all on various shows - £2000 put aside for costs.

Total on promotional costs - £3075

Total outgoings - £7515

Revenue:

Advanced Tickets (300) @ £10 each.

Standard Tickets (1000) @ £15 each.

Maximum Revenue (if all advanced tickets are sold):

Advanced Tickets - 300 * 10 = £3000

Standard Tickets - 1000 * 15 = £15000

Total = £18000

Maximum Revenue (without advanced tickets):

Standard Tickets - 1300 * 15 = £19500

Brekeven Point - 501 Standard Tickets

Maximum Profit - (With advanced tickets) = £10485

- (Without) = £11985

Bumming A Drum Kit

Wed, 05 Jan 2011 17:38:19 -0500

In this blog I will explain what mic’s we use when micing a drum kit up and how it is done, I will explain what things you have to take into consideration when placing each individual mic and what positions and distances work best.

Kick Drum Mics - Audio Technica ATM250

This is the first mic we would always place, this is because this will be plugged into the first channel, although we don’t place the mic’s in ascending order it can help keep things organised and bypass any unnecessary errors or mistakes.

This is one of the easiest mic’s to place, in terms of the mic position and the mic stand position as it doesn’t take up much space and there aren’t any other’s around it. It is best to place the mic a little way into the whole in the kick drum, you want to try and get a lot of the kicks punch and a little bit of the sub, but obviously it all depends on what kind of sound you are going for. The further you put the mic into the whole the more of the sub from the kick you will get, so getting a good ratio of this is essential.

Snare Mics - Top - SHURE SM57

- Bottom - SHURE SM58

As the top and bottom snare channel’s would be second and third it seems logical to do them next, placing the top mic first we would place the stand near the hi hat and have it poking through inbetween the hi hat and crash cymbal, making sure that neither hit the stand when hit. The mic itself should be placed as close to the skin pointing towards the middle of the snare as possible without getting in the drummers way.

The bottom snare is easier to place, placing the stand near the top snare’s stand is ideal to try and keep it out the way but just try and make the best out of the space you have. The mic should be pointed up towards the middle of the bottom of the snare.

Rack Tom And Floor Tom - CAD TSM 411

These mics are attached to the rim of the tom’s using clips, the clips should be placed on the side of the tom away from the drummer so they don’t get in his way, the mic’s should then be pointed towards the middle of the skin,

Hi Hat Mic - (At a rough guess) Samson CO2

This mic should be placed very carefully, you should try and position it as close to where the drummer will hit the hi hat as possible but take into consideration that he will be opening the hit hat quite a lot when drumming. Try and have the mic pointing down towards the hi hat a bit so it picks up the hi hat being closed as well.

Over Head Mic’s - Neumann KM 184

The two over head mic’s should be placed identically on either side of the drum kit, try and get them a even distance away from each other and have them pointing down over the kits, the main reason for these mic’s are to pick up the cymbals what haven’t been miced individually and to fill the rest of the mix out when recorded.

Getting signal

After we had placed all the mic’s in roughly the right places they would all be connected to the stage box via XLR leads, first making sure the phantom power is off first because we have used condenser mic’s. The next job would be to try and get signal through each mic, starting with the kick, then the snare mic’s, tom’s, hi hat, then overheads. Through this process we would be adjusting the mic’s to get the most clear sound we can from each mic. Before starting any recording it is good to have the drummer play as he will during the actual recording, this is so you can get the mix of the drums right and so you make sure nothing is clipping, its best to try and make it half the signal you want so there isn’t any chance.

When the recording was done to a satisfactory standard we split the different drums onto the mixing desk, from here we done all the necessary work to get the best sound out of the drums, including Eqing and using the noise gates. We also bounced the snares down together and re-bounced, and then bounced down the kick against using the outboard compressor.

Connections, Connectors, Cables, Stay Off My Lawn.

Wed, 05 Jan 2011 17:37:07 -0500

XLR - XLR cables come in to different forms, most commonly known as male and female. The male is used for the output signal whilst the female is used for the input. XLR are most commonly used for microphones and line level signals.

TRS - ‘TRS’ stands for tip, ring and sleeve but it is universally known as a audio jack. It is one of the most commonly used audio devices and because of this they come in many different shapes and designs. The most universally known type is the ¼ inch, but there are many others such as the 3.5mm and the 2.5mm.

Balanced - Balanced connections are used in all studio’s around the world, this is because they are designed to decrease interference and noise generated from external sources. Balanced connections do this by using three conductor connecters, commonly in the form of TRS or XLR leads. These connecters work by having two identical wires carrying the signal and the third acting as the conductor.

Unbalanced - Unbalanced signals are interfered by noise far more, for this reason they are never used to record as there will be far to much interference. The difference between a balanced and a unbalanced connection is that a unbalanced only has two connections, one for the signal and the other acting as a conductor.

RCA - These connections are also known as phono connections and are used to carry both audio and visual signals, the name ‘RCA’ comes from the Radio Corporation of America who introduced the design in the 1940’s. When only using audio only two wires are need, these will be the white and red, but when visual signals are being transmitted there is also a yellow cable used.

USB - The term ‘USB’ stands for Universal Serial Bus and are used to establish communication between devices and hardware, mainly computers. It is the standard connection between devices and computers because it is a quick and easy way to transfer and share data. They are universally used on mice and keyboard and other electronic devices such as external hard drives and game consol now use them.

Firewire - Firewire is also known as iLink and was invented by Apple in 1995. Essentially it is used for exactly the same reasons as a USB but at a higher speed transfer speed.

Optical Fibre - Optical fibres are mainly used for communications, they permit transmission over long distances and unlike metal wires they don’t lose signal the further away they are. They are also immune to electromagnetic interferences. Because of these factors they transmit the data a lot faster.

Bantam Leads - Bantam leads are used in all studios with a mixing desk. Essentially they are just like TRS connections but are now used specifically to route signals from the patch bay to outboard equipment.

Stoodio Terminologee

Wed, 05 Jan 2011 17:35:17 -0500

Mic Level - Mic level is the signal you are getting straight from the microphone, it is unaltered and unamplified.

Line Level - The line level is the signal from the microphone but amplified, so it is a stronger signal coming through

Audio Interface - A audio interface or sometimes known as a soundcard is the device that manages the input and output signals from a computer. They are used in multi channel recordings and process the audio signals into digital ones.

Signal Level - The signal level is the strength of a signal at a particular point, it is measured in DB.

Direct Injection - A direct injection, direct input or more simply DI is a device used when connecting a unbalanced output signal to a balanced input. It matches the levels and buffers the signal, decreasing the noise and distortion. XLR’s are the connections most commonly used with this device.

Distortion - Distortion is an alteration of the original shape, in this case the shape of the waveform. Distortion can be in the form of clipping when a waveform is far to loud and shows a harsh square wave. It can also be used as a effect to give the instrument or sound a more aggressive character.

VU Meter - A VU meter is a visual aid to display the signal level in volume units, they come in both analogue or digital and are used to show peaks in the signal running through. The typical scale for a VU meter is -20 to +3.

Noise Gate - A noise gate is a device used to control the level of a audio signal. You can use a threshold to allow certain frequencies through and cut other ones off. Typically this is used when instruments have leaked onto other microphones, for instance, when recording a full drum kit you may use a gate on the kick drum channel to cut out the frequencies picked up from the other parts of the kit.

Parametric EQ - A parametric equalizer is a multi band variable equalizer. It allows you to control three primary parameters of the band pass filter, these are the amplitude, centre frequency and bandwidth (Q factor). The amplitude of each band can be altered and the centre frequency can be widened or narrowed.

Shelf EQ - This is when you boost or cut all the frequencies above of below a certain frequency. The frequencies cut or boosted will all be altered to the same level. For instance if you cut from 200 hertz by 6 DB then all the frequencies below that will also be cut by 6 DB, this will be the same if you cut from 12 kHz, everything below this frequency will be cut the same amount.

Outboard Equipment - Outboard equipment is basically all the other equipment in the studio what is separate from the computer, sequencer and mixing console. This equipment can come in many different forms, for instance, you can get compressors, reverb, delay, limiters and all other effect or dynamic devices you can think of. All equipment such as keyboards what are used with the sequencers are in this category also.

Sausage Rolls In The Stoodio

Wed, 05 Jan 2011 17:33:45 -0500

Producer

A producer is someone who works with the artists, or he can even be a artist himself. The producer will creatively guide the artists and studio engineer and have a massive input towards the final product. They may have a extensive amount of technical knowledge what the artist and studio engineer may not and will oversee the whole process during the sessions in the studio.

Producers also often take on the responsibilities of scheduling the studio sessions, budgeting and negotiating. They may also work even more closely with the artist to coaching them and even co-writing the songs, as previously mentioned a producer will normally see the project right through till the end mixing and mastering.

Audio/Studio Engineer

A audio or studio engineer will be the person who records, mixes and will operate the studio equipment. They will have extensive knowledge of both the hardware and software what is used in the studio and could span out to being skilled in electronics, acoustics and psychoacoustics.

Although a studio engineer is not the producer or artist they will have input creatively into the project using there knowledge of the hardware and software being used, they should meet all the requirements to what both the artist and producer what and create the sound what they are going for.

Other roles what the engineer will take on are physical recording, this will be from placing the microphones to recording the artist. A engineer can be creative in this sense as well, using different spaces to get a different sound.

Mastering Engineer

Mastering is thought to be a dark art in the music industry, the breed of the mastering engineer is decreasing due to software what can get be used by anyone and get satisfactory results. A mastering engineer will be a very highly skilled professional, he will have knowledge of all aspects of audio engineering. A mastering engineer’s role is to take a piece of previously mixed music and get it ready for public distribution. This will be done using the highest of quality and most expensive hard and software. They get the unmastered track ready through maximizing, compressing, EQ’ing and many other techniques.

It is thought that you can’t be taught how to be a mastering engineer but it is just something you learn from experience.

The Tape Op

The responsibility of the tape op would have been to manage and maintain the tape recorder, although because of technological advances in the industry this job has been made more or less redundant. The tape op comes from the time when tape recorders where large, expensive and difficult to work with.

The tape op would also manage these recordings, as hundreds of takes can be made in a session so having access to a certain take quickly would be essential. In reality the tape op is one of the least important roles in the studio, as the responsibilities are the most unpleasant ones.

Channel Strip

Wed, 05 Jan 2011 17:31:34 -0500

Channel Strip