Doing Everything to Serve the Song
The blender’s part is by and large comprehended to be the customizing of components inside the generation.
Then again, the blending stage is still a creation stage, and accordingly, there is still time for including, evacuating, or changing the vision of components.
I have done everything from including insane impacts, quieting instruments, supplanting drums, overdubbing guitars, and even included vocals onto records. The foundation to the greater part of this is doing so in great taste.
The other critical attention is that the blender now and then must relinquish their own particular imperativeness. The things which “feel” the best aren’t essentially the things that “sound” the best.
Putting things out of offset, abandoning them sloppy or flimsy, excessively reverberant or gracelessly dry, can all go towards the fundamental objective: the accomplishment of the tune.HD Video shoot crew and camera Alexa,RED,5D. The best tunes are the ones that are the most propelling to the audience and that doesn’t generally
Pitch correction is a funny thing.
Sometimes it can improve a vocal recording. Sometimes it can make it worse. For me, the key to this is in understanding the interplay between pitch and emotion.
For many inexperienced vocalists, pitch correction often improves their recordings. Their poor control of pitch results in performance expression that is inconsistent with the creative direction of the music. In other words, notes sound off-pitch in a bad way. So, pitch correction provides an improvement. It makes the notes sound more like what was intended.
For many experienced vocalists, however, pitch correction is either neutral (and a mild waste of time) or even makes the recording worse. Great vocalists with excellent pitch control will deliberately use pitch deviations in ways that support and enhance the creative direction of the music. In other words, they sing off-pitch deliberately, and it sounds good.
The human voice is not robotic. It’s amazingly fluid and expressive. Quantizing to the most-common (i.e in tune) pitches makes about as much sense as reducing the dynamic or tonal range of a performance — it might be appropriate for the vocalist or the music, but know that doing so restricts the expressive range of the vocalist’s performance. For vocalists that don’t have the skill to control their performance with sufficient precision, reducing the expressive range of the recorded performance can result in an improvement.
But sufficiently skilled vocalists can make effective use of both types of extremes of their (pitch, dynamic and tonal) expressive range — the extreme ends of their physical capabilities and the extreme subtleties of small changes.
Digital DJing software makes it easy to loop tracks; you can instantly create continuous new segments that are useful for mixing. If your tracks have short intros or outros, try looping these sections to extend them, and create instant remixes. You can even mix two or more loops together! Here’s how to mix into a loop:
- Start with crossfader in the middle of the mixer.
- Load Deck A (the deck on your left-hand side) with a track, and play it.
- Select a part of the track to loop, and loop it (e.g. a percussive section).
- Bring up the channel fader on Deck A.
- Load up Deck B (the deck on your right-hand side) with a track.
- Cue up Deck B in your headphones, play it, and beat match or sync the track.
- Slowly bring up the channel fader on Deck B.
- Enjoy the sound of your mix!
- Slowly bring down the crossfader to blend out Deck A.
- Deck B is left playing on its own.
To achieve a perfect mix, you’ll need to:
- Know the best places to mix the tracks together.
- Release the track that you’re going to mix in at the right point in time.
- Choose a mixing technique, and perform it to the best of your ability.
It’s a good idea to record your mixes, and listen back to them to evaluate your DJ skills. Keep practicing and creating mixes; with consistent practice you will improve!