Thursday, December 30, 2010

Neon Indian - Should Have Taken Acid With You Tab

Surprised to c not a lot of tabs on these guys. Here's one I think u can relate 2 (warning tab may not line up correctly on mobile phones):

      E|       11 13 11 13 15          11 13 11 13 15
B|9 11 13 13 11 13
G| main arpeggio
D|
A|
E|

E| 11 13 15 13 11 11 11 13 15 13 11 11
B|13 13 13 13
G|
D| main arpeggio(cont.)
A|
E|

E|13 11
B| 12 8 12 8 8 12 8
G| 10 10 10
D| short lead countermelody
A|
E|

Chords: Ab/ Eb(G bass note)/ Eb/ Bb

There she is. Keep in mind the keyboards on this
one are layered across the stereo spread and
have some subtle differences. I took the liberty
of combining them to one basic part for guitar.

Tuesday, December 28, 2010

Inside the Track....

Getting close 2 the mix phase on a new song so just a quick run down on our production process. We started with electric piano scratch vocal and a click. Then we markered all the sections you know "verse, verseB, bridge, etc." We made one adjustment here based on listening and decided vocals should come in right away so the song could be a bit shorter. After that the drum part was layed down followed by bass. This gave the song a foundation on which to build. 4 different acoustic gtr parts followed as well as 6 electric gtr parts. Next, a few synth parts were dropped in and out of various spots for some interest and contrast. Now with the song taking shape we added in some color with reverse cymbals, percussion, swells, and other things of that nature. Nothing was automated at this point just basic levels and some mutes so every part wasn't playing all the time. And now we r ready to record the lead vox within a nice sonic bed that should provide enough support for a good take. Probably do a lot of listening once we get a solid vocal and decide if it needs harmony support. After that we'll be breaking out the eq, compression, automation, reverbs, delay, limiting and so on sending parts to busses (e.g. gtr buss, drum buss, percussion buss) to make everything more manageable and it'll be all but wrapped up and ready to post.

Sunday, December 26, 2010

Melodyne vs. Autotune 7



Have had various versions of autotune so feel pretty comfortable with what it is and what it can do. But kept hearing about Melodyne so tried the demo and ended up getting the editor version. For speed and effects Autotune 7 still gets the call, but 4 more than basic pitch tightening Melodyne with its editor friendly but terribly named "blobs" is beast. Not only that but u can work on polyphonic and rhythmic material as well. Even creating entirely new harmonies out of pre-recorded material is possible. Autotune does have a graphic mode where u can get under the hood, so to speak, but it is far from user friendly. The only downside to Melodyne so far has been the steep learning curve and it is more time-consuming than autotune. Investing some time in learning how to run Melodyne seems the way 2 go since it will pay huge dividends down the road in increased flexibility and creativity. Autotune still has its niche though as it's a good option when yr pressed 4 time or only need light correcting on a few notes. So having access 2 both is ideal, but if u have 2 choose between them Melodyne is probably the best bet. Bonus tip: holding the alt key while editing in melodyne is like magic allowing u to move things freely however u want.

Wednesday, December 22, 2010

Beach House - Master of None Tab and Lesson

Great song by Beach House:
 
E|
B| 10 10 10 10
G|9 9 10 10 10 10 9 9 5 5 10 10 10 10 10 10 9 lead intro gtr.
D|
A|
E|


(C)You always (Bb)come to the (F) parties (Dm)too bad your (Am)feathers are (F)for the birds (Bb) All (F)your (A7)needs (Dm)I will (Bb)not let you (F)grieve

Okay that's the main body of the song there is one change and it goes like so:

(Am) Jack of all trades (Eb) Master of none (Bb)Cry all the time cause I'm (G7) not having fun

Bonus Lesson: Some additional harmonic interest is gained in the verses by the use of both minor and major "A" chords. This is a very useful trick for avoiding a cliched sounding progression. It also can be magic if used properly on a section change such as going from C (major) key in the verse to C (minor) key in the chorus. A couple of other interesting points occur in the change when they play an Eb chord and close out the section with a G7. The Eb "feels" strange coming after the root-A chord that proceeds it because the two are an extremely dissonant interval apart: the flatted-fifth. The key to it working is that the Eb chord is the fourth of the next chord (Bb)and also functions as the flatted-seventh of the key defining "F" chord. So it lives in an ethereal harmonic world between its dissonance with the "A" that proceeds it and its affinity for the other more integral (in the context of the song) chords "Bb" and "F." This helps it to sound both strange and yet not out of place simultaneously (kewl, huh?). The "G7" which leads us back 2 the main progression is another chord that sticks out as being a moment. It's the first and only time the chord is used in the song giving it an "air" of significance. It functions as the dominant 5th of the "C" chord which follow so it has a very strong pull toward this chord and smoothly connects u back 2 where u started.

Sunday, December 19, 2010

Cloud Nothings - Hey Cool Kid Tab

Okay nice two guitar jangle 4 U. First guitar plays the following chord progression for the verse: F#m/C#m/B/A. And for the chorus it plays: No Chord/A and on the next repeat No Chord/C#m and plays a B chord before returning to the main progression. Here is the tab for the second guitar that plays over the top of the first:
 E|        0                        E| 
B| 5575 555 4444 2222 B| 5455012
G| 6666 666 4444 2222 PartA G| 4444111 PartB
D| D|
A| A|
E| E|

Friday, December 17, 2010

Twin Shadow - Castles Made of Snow Tab

Yeah, time to dissect another 1 4 U.First off the key is Gmin. Progression is G/F/Eb(tiny Eb/F riff)/Bb/C/D(passing)/Eb/Bb/Eb(tiny riff motif again)/ G/F/Eb believe it or not that's it! although the atmospheres change dramatically this progression is beneath everything else you hear. If u want to bite on the funk rhythym guitar here tis
E|                       13 10  

B|11 10 8 11 13  11 10 8 10 10  


G|12 10 8 12 12  12 10 8   


D|                          


A|                           


E|                          

Thursday, December 16, 2010

Hits and Misses Part #1




Soundtoys Decapitator is 1 of the plethora of analog saturation plugins on the market. What separates this 1 from the pack is the vast amount of distinct and usable sounds u can get. U actually have 2 work hard to get a sound that doesn't sound good and if u want to grind it up the punish button is always a click away. Especially useful on the drum buss but in the right doses it can add some oomph to just abt anything. Definitely a hit and u can find it @ www.soundtoys.com/products/Decapitator/ .
Antares Mic Mod EFX on the other hand is a complete waste. Doesn't even come within a lightyear of it's claims to "model classic and exotic microphones." Rlly not more than a glorified eq and a poor excuse 4 1 @ that. antarestech.com/products/mic_mod_efx.shtml is the lnk if u are a plugin completist.

Sunday, December 12, 2010

Galaxy Swan - Space Elevator

Ok, time for a new song. Oddly enough there is a company building an actual space elevator for reals--who would have thunk it. Space Elevator by galaxyswan

Wednesday, December 8, 2010

LCR Panning

Feel like the LCR panning approach has become very beneficial to our songs. Here is a good description of the technique from gearslutz.com:


For those that don't know, LCR mixing refers to a style of mixing where there is no "in-between" panning; everything is either hard left, center, or hard right. This came from the consoles of the 70s' bussing schemes (specifically Neves and APIs, I believe), where your pan pot is switched in, meaning you have to press a button to engage it, and doing so affects the sound (generally in a negative way). Most engineers instead opted to use the buss matrix to assign the tracks to the "mix buss Left", "mix buss Right", or "mix buss Left and Right" (which would put in the Center).


Hope that made sense....anyway...


The approach requires a slightly different take on processing, including EQ, compression, reverb, everything really. I tend towards more mono verbs (usually panned center), and, if I'm summing ITB, I find myself using broader strokes in the lower midrange for more "glue".

Saturday, December 4, 2010

Painting with drums

Spending a lot of effort on coming up with drum parts that tell a story, and it can do some duff stuff 4 yr recs. like starting with just a pumping kick and building on that or having extra hi-hat hits for 2nd verse or leaning on the overheads or room mics for the chorus can give yr drum parts the character and life that they need. With a current track dropped the drums out for just a couple bars and now it's like a totally different magic. It gave the mix all the personality it was missing.