Wednesday 28 November 2018
Tuesday 27 November 2018
EQ Research Task
For each of these different kinds of EQ, please find out a real example, What it is, what are the characteristics, what is it good for, how does it work and what makes it special
Tube/Valve EQ
Classic Console EQ
Although this is derived from EQ modules found on high end mixing desks, these are now widely available as outboard channel strips, and in the 500 series module format. These are solid state devices, and are often desirable due to the 'musical nature' of the chosen frequency points. Before the creation of 500 series modules people would often buy up old classic mixers, and re-house the various desk modules for use as single channel outboard processors. This was possible due to the modular nature of high end mixing desks.
The 1073’s three-band EQ has a fixed 12kHz high frequency shelf band along with switchable low and mid range bands with cut and boost controls. Below those is a passive third-order (18 dB/octave) high pass filter.
The API 550b is another EQ derived from a classic console. Its four EQ bands are overlapped significantly to aid in dual roles as problem solver and sweetening device with each band offering seven switchable filter frequencies that span four-to-five octaves. These frequencies, purposely selected to be musical rather than numeric, were selected by an experienced "who's who" list of the industry's most proficient engineers. API also pioneered the 500 series 'Lunchbox' format, a much more affordable entry point in to high end channel processing.
The SSL E-Series is based on the classic E-Series mixer from the late 70's/early 80's. Again this now comes in a more usable format, coming in both 500 series format, and SSL's own 'lunchbox' style format, the X Series.
The Trident 80b follows the same idea, transferring the EQ modules from the classic Trident A-Range mixer in to both channel strip and 500 series format.
These modules have stood the test of time due to the high quality manufacturing processes, and the time spent developing each module to work in the most musical way possible. The fact that they are still widely produced today using modern manufacturing processes but keeping true to the original design demonstrates the versatility and usability of these classic pieces of outboard processing.
Digital EQ
With the advent of DSP - Digital Signal Processing - EQ was able to move away from the analogue domain and in to the digital world. This came with many advantages and disadvantages. The most obvious benefit with digital EQ was the ability to recall settings, something that isn't possible with analogue EQ's. the use of upsampling and very high bit rates means that digital EQ can preserve signal quality, and so there should be no obvious quality change when using digital signal processing. Internally within a DAW processing usually makes use of 32 or 64 bit floating point calculations, giving incredibly high internal resolution, and upsampling means they are often working at much higher sample rates than the DAW setting, all of which ensures that no errors or audio artefacts are introduced.
Unlike analogue, digital EQ is completely transparent, and should not colour the sound in any way. This makes them incredibly precise when compared to the natural anomalies found with analog circuitry such as harmonic distortion.
Every DAW comes bundled with its own plugin EQ, and third party plugins that often use higher quality algorithms are widely available.
Outboard digital EQ was only limited by the quality of processors available at the time, and these outboard units have been superseded by much more powerful computer based systems, making digital outboard much less common.
Due to the rapid increase in computing power (see Moores Law) EQ plugins now provide much higher quality signal processing than was previously available. Bundled EQ plugins now match the quality of previously expensive third party plugins.
This vast increase in computing power has also led to the rise of analogue modelling - the ability to recreate separate components of analog circuitry in the digital domain - and this technology allows people to create digital models of classic analogue outboard. As well as standard plugins, equipment such as hosted UAD plugins provide incredibly accurate models of analogue equipment, by offloading the processing power needed from the computer to a separate DSP card contained in third party hardware.
While internally digital signal processing is very high quality, the biggest limitation, or area for concern, lies in the initial conversion quality from the analog to the digital domain. In order to achieve high quality results, studios invest in expensive, super high quality interfaces, providing the very best analogue to digital conversion, allowing them to take advantage of a range of both analogue and digital equipment.
Linear Phase EQ
Standard EQ plugins are sometimes described as 'Minimum Phase' EQ's, as they can cause phase issues with material passed through them. The end result of this is often inaudible, but can sometimes manifest as phasing at certain points in the frequency spectrum. This can result in a 'smearing' of the sound - a lack of clarity introduced by the processing. To combat this, linear phase EQ introduces a delay, or time shift, to prevent any phasing caused by the EQ process.
While this preserves audio quality, the very nature of the process will cause latency - a time delay to the processed signal - moving the audio signal out of time with other material. To achieve Linear Phase, the whole audio signal is delayed, compared to a standard EQ where the delay will only occur at the processed points of the frequency spectrum. To achieve this requires a large amount of processing power, which is one of the drawbacks of using linear phase EQ. Additional processing power is needed to try and dal with the latency issues caused as a side effect of the process.
Linear phase EQ can either come in a plugin format, but is also available as very high end outboard equipment, such as the Weiss EQ1-LP Linear Phase Mastering EQ.
Linear Phase EQ is widely used in mastering (applied as a stereo EQ across the whole of the program material) where audio quality is paramount. The high processing requirements and latency issues that may be introduced means it is not realistic to use across individual elements in a mix.
Match EQ
Match EQ allows you to analyse the content of a sound source to create a template of the frequency spectrum, and then generate an EQ curve that will make another sound source match these frequency characteristics.
In other words, I could analyse a commercial mix in a similar style and genre to my own material, and create an EQ curve that would match the characteristics of my mix to the source material.
In theory this sounds like a very simple way to make everything sound great, but it isn't perfect, and so cannot be used as a magic wand, but it does give you a great insight in to the balance and frequency spread of your material, to give you an indication as to where your own mix may be lacking.
It can also be used on individual elements, to make one kick drum match the frequency profile of another for example.
Graphic EQ
Tube/Valve EQ
PULTEC EQP- 1A Passive Valve EQ
TL AUDIO EQ1 Dual Valve EQ
Thermionic Culture The Swift 2 Channel Valve EQ
Valve or Tube EQ's are pieces of hardware analogue outboard, that use vacuum tubes to amplify the analogue audio signal. The EQ circuit is Passive - this means it works by attenuating (reducing the volume) the audio signal. While this preserves audio quality, the undesirable side effect is a reduction in volume, and so the vacuum tubes are used to amplify the signal. Vacuum tubes are desirable for processing analogue signals as they naturally add second order harmonic distortion. This means it adds a second note an octave above the original, which sounds harmonically pleasing.
Valve EQ's are often used to add 'warmth' and 'colour' to the signal, enhancing the musical aspects of the signal and having a thickening effect. This works well on low frequency material such as kick drums, bass lines, and other drum elements. It will add some warmth and thickness to any signal passed through the unit however.
The Pultec EQP-1A was first developed in the 1950's, and is still widely copied in modern EQ outboard units today, which tells you a lot about its desirable and versatile characteristics.
Classic Console EQ
Although this is derived from EQ modules found on high end mixing desks, these are now widely available as outboard channel strips, and in the 500 series module format. These are solid state devices, and are often desirable due to the 'musical nature' of the chosen frequency points. Before the creation of 500 series modules people would often buy up old classic mixers, and re-house the various desk modules for use as single channel outboard processors. This was possible due to the modular nature of high end mixing desks.
The 1073’s three-band EQ has a fixed 12kHz high frequency shelf band along with switchable low and mid range bands with cut and boost controls. Below those is a passive third-order (18 dB/octave) high pass filter.
The API 550b is another EQ derived from a classic console. Its four EQ bands are overlapped significantly to aid in dual roles as problem solver and sweetening device with each band offering seven switchable filter frequencies that span four-to-five octaves. These frequencies, purposely selected to be musical rather than numeric, were selected by an experienced "who's who" list of the industry's most proficient engineers. API also pioneered the 500 series 'Lunchbox' format, a much more affordable entry point in to high end channel processing.
The SSL E-Series is based on the classic E-Series mixer from the late 70's/early 80's. Again this now comes in a more usable format, coming in both 500 series format, and SSL's own 'lunchbox' style format, the X Series.
The Trident 80b follows the same idea, transferring the EQ modules from the classic Trident A-Range mixer in to both channel strip and 500 series format.
These modules have stood the test of time due to the high quality manufacturing processes, and the time spent developing each module to work in the most musical way possible. The fact that they are still widely produced today using modern manufacturing processes but keeping true to the original design demonstrates the versatility and usability of these classic pieces of outboard processing.
Digital EQ
With the advent of DSP - Digital Signal Processing - EQ was able to move away from the analogue domain and in to the digital world. This came with many advantages and disadvantages. The most obvious benefit with digital EQ was the ability to recall settings, something that isn't possible with analogue EQ's. the use of upsampling and very high bit rates means that digital EQ can preserve signal quality, and so there should be no obvious quality change when using digital signal processing. Internally within a DAW processing usually makes use of 32 or 64 bit floating point calculations, giving incredibly high internal resolution, and upsampling means they are often working at much higher sample rates than the DAW setting, all of which ensures that no errors or audio artefacts are introduced.
Unlike analogue, digital EQ is completely transparent, and should not colour the sound in any way. This makes them incredibly precise when compared to the natural anomalies found with analog circuitry such as harmonic distortion.
Every DAW comes bundled with its own plugin EQ, and third party plugins that often use higher quality algorithms are widely available.
Outboard digital EQ was only limited by the quality of processors available at the time, and these outboard units have been superseded by much more powerful computer based systems, making digital outboard much less common.
Due to the rapid increase in computing power (see Moores Law) EQ plugins now provide much higher quality signal processing than was previously available. Bundled EQ plugins now match the quality of previously expensive third party plugins.
This vast increase in computing power has also led to the rise of analogue modelling - the ability to recreate separate components of analog circuitry in the digital domain - and this technology allows people to create digital models of classic analogue outboard. As well as standard plugins, equipment such as hosted UAD plugins provide incredibly accurate models of analogue equipment, by offloading the processing power needed from the computer to a separate DSP card contained in third party hardware.
While internally digital signal processing is very high quality, the biggest limitation, or area for concern, lies in the initial conversion quality from the analog to the digital domain. In order to achieve high quality results, studios invest in expensive, super high quality interfaces, providing the very best analogue to digital conversion, allowing them to take advantage of a range of both analogue and digital equipment.
Linear Phase EQ
Standard EQ plugins are sometimes described as 'Minimum Phase' EQ's, as they can cause phase issues with material passed through them. The end result of this is often inaudible, but can sometimes manifest as phasing at certain points in the frequency spectrum. This can result in a 'smearing' of the sound - a lack of clarity introduced by the processing. To combat this, linear phase EQ introduces a delay, or time shift, to prevent any phasing caused by the EQ process.
While this preserves audio quality, the very nature of the process will cause latency - a time delay to the processed signal - moving the audio signal out of time with other material. To achieve Linear Phase, the whole audio signal is delayed, compared to a standard EQ where the delay will only occur at the processed points of the frequency spectrum. To achieve this requires a large amount of processing power, which is one of the drawbacks of using linear phase EQ. Additional processing power is needed to try and dal with the latency issues caused as a side effect of the process.
Linear phase EQ can either come in a plugin format, but is also available as very high end outboard equipment, such as the Weiss EQ1-LP Linear Phase Mastering EQ.
Match EQ
Match EQ allows you to analyse the content of a sound source to create a template of the frequency spectrum, and then generate an EQ curve that will make another sound source match these frequency characteristics.
In other words, I could analyse a commercial mix in a similar style and genre to my own material, and create an EQ curve that would match the characteristics of my mix to the source material.
In theory this sounds like a very simple way to make everything sound great, but it isn't perfect, and so cannot be used as a magic wand, but it does give you a great insight in to the balance and frequency spread of your material, to give you an indication as to where your own mix may be lacking.
It can also be used on individual elements, to make one kick drum match the frequency profile of another for example.
Graphic EQ
Tuesday 20 November 2018
BTEC 90 Credit Diploma - Track Creation Task - Deadline Tuesday 4th December 2018
In the commercial world of music production many businesses, advertising agencies and radio stations often pay people to re-create tracks in a particular style that can be used without having to pay for licensing, or creating copyright issues.
For this task I would like you to recreate something commercial that you like
I would like you to choose a song - this can be anything, favourite band, favourite track at the moment, something old, something new - and make a track that is representative of it.
It should contain similar instrumentation, be in the same genre, have the same feel and same style, but should not be a direct copy of it.
Please remember all of the analysis techniques we have looked at previously - tempo/structure/instrumentation etc - and make sure you analyse your chosen track thoroughly so that your re-make is close to the sound of the original.
You should make use of a range of compositional techniques - MIDI/Apple Loops/Recordings/Software Instruments etc - and you should also make sure the track is well mixed. Feel free to use the recording studio to record any parts that are needed.
Please create a google document in your Google Drive Logic folder to document the process from start to finish. This should include screenshots, an analysis of the original track, and information on any techniques you have used to create your homage.
I will allow some lesson time for this task, but expect you to spend an equal amount of time during study periods to work on your project. You will then have 5 minutes to present your final mixed version to the rest of the class, summarising and explaining your approach and evaluating your success.
Good Luck!
For this task I would like you to recreate something commercial that you like
I would like you to choose a song - this can be anything, favourite band, favourite track at the moment, something old, something new - and make a track that is representative of it.
It should contain similar instrumentation, be in the same genre, have the same feel and same style, but should not be a direct copy of it.
Please remember all of the analysis techniques we have looked at previously - tempo/structure/instrumentation etc - and make sure you analyse your chosen track thoroughly so that your re-make is close to the sound of the original.
You should make use of a range of compositional techniques - MIDI/Apple Loops/Recordings/Software Instruments etc - and you should also make sure the track is well mixed. Feel free to use the recording studio to record any parts that are needed.
Please create a google document in your Google Drive Logic folder to document the process from start to finish. This should include screenshots, an analysis of the original track, and information on any techniques you have used to create your homage.
I will allow some lesson time for this task, but expect you to spend an equal amount of time during study periods to work on your project. You will then have 5 minutes to present your final mixed version to the rest of the class, summarising and explaining your approach and evaluating your success.
Good Luck!
Being a songwriter in 2018
This is from a post on Facebook by a songwriter called Sam Barsh
Today, I am going to expose the reality of what it pays to be a songwriter in 2018.
This will be shocking to many of you, and probably not in a good way. But if there’s anything in my life that I’ve tried to keep a healthy relationship with, other than my loved ones, it’s the truth.
In addition to my respect for the truth, I’m posting this now for 3 reasons:
1. I often talk to friends colleagues of mine who congratulate me on recent career accomplishments, and infer either directly or indirectly how they think I’m doing financially.
2. I am deeply embedded in both the songwriting/production world and the working musician world, and most people in both worlds have no clue of the reality of what songwriting pays in the streaming era.
3. I am in the process of organizing a fundraising campaign for the Ruth Bader Ginsburg music project I just completed, and I realize that people might question why I would be crowdfunding something when they may assume I don’t need the money.
In order to keep this post from being a novella, I’m going to focus on the artists I get asked most about: Kendrick Lamar, Anderson .Paak, Aloe Blacc and Logic.
All of these totals include mechanical royalties (physical sales, download sales and streaming), performance royalties (radio and other royalties collected by BMI or ASCAP), and upfront sync licencing fees (for usage in TV/commercials/film etc.)
For my songwriting on Kendrick Lamar’s “Institutionalized” from the album “To Pimp A Butterfly,” I have earned less than $20,000. I have a 12% share of the song. The album went Platinum, won a Grammy and was a worldwide phenomenon.
For my songwriting on Anderson .Paak’s “Heart Don’t Stand a Chance” and “Your Prime” from the album “Malibu,” I have earned less than $5,000 total. I have a 16.66% share of each song. The album was certified Gold in Europe, nominated for a Grammy, and launched .Paak into stardom.
For my songwriting on Aloe Blacc’s "The Man" I have earned a little less than $200,000 over the course of the song’s 5 year existence. I have an 8.5% share of the song (this is largely due to the major piece that Elton John and Bernie Taupin took off the top because their hit “Your Song” was interpolated in the chorus of “The Man.”) The song was #1 on the pop charts in the UK, top 10 in the US and top 5 worldwide, selling 4 million copies. The album it was on, “Lift Your Spirit” was nominated for a Grammy.
For my songwriting on Logic’s “Black Spiderman,” I have earned less than $2,000. This will likely increase as the song has only had 2 royalty cycles so far, but it was not big on commercial radio so it won’t increase by much. I have a 16.66% share of the song. “Black Spiderman” was certified Gold as a single in the US, won an MTV VMA, and was included on the album “Everybody” which went Platinum.
Now for the breakdown:
The biggest difference between these songs is that “The Man” was a big hit on traditional AM and FM radio, which is technically called “terrestrial radio,” and it was licensed a ton on TV, film and commercials. It also came out in 2013, which was a time where many people still purchased downloads.
Even though most people today see it as an outdated medium, terrestrial radio (along with sync licensing) is the bread and butter for songwriters’ earnings. At any given time, there are around 30 songs in heavy rotation on terrestrial radio. Expand this to include all the genres of commercial radio stations, country, urban, pop, alternative, AAA, and lets say there’s 50 or so current songs earning significant money on radio (I’m not including classics in this, just current hits). That’s the reality.
If you want to get into the songwriting game to make money, your odds are infinitessimal. You’re not only competing with millions of writers for one of those 30-50 songs, you also have to account for the fact that most hits today have between 3 and 6 writers on them, so the pie is divided accordingly. And, for my musician friends that are dabbling in songwriting and production, know that you’re competing with people who do nothing but write songs and produce, and have been honing their craft with as much dedication as we have to our instruments. I myself have put in my 10,000 hours at least threefold, as a musician, a songwriter and as a producer and engineer. And it still took me 10 years of seriously working at songwriting to write major records.
Streaming pays virtually nothing. It’s not the streaming companies’ faults, they just pay what they have to as deemed by the US Government. Streaming royalties are not negotiated in the free market. The Music Modernization Act aims to change that, but the new royalty rates will still be set by the Justice Department, they are just allowed to take new technology into account when setting those rates. Here are two articles that show examples of what streaming pays, they are from a couple years ago but the same rates still apply:
I have a catalog of over 100 songs, a large number of which are with major artists. This includes 4 songs on #1 albums on the Billboard 200 (the premier Billboard albums chart that covers all genres), and numerous others in the top 5 of the Billboard 200 and Billboard Hip-Hop/R&B charts. Collectively, they have earned millions of sales and nearly a billion streams. If this were 15 years ago, I would likely be a millionaire. I say this not egotistically, but just to make a point.
Now, nobody needs to feel sorry for me. As Hyman Roth said, “This is the business we’ve chosen.” I chose this path, and I make a living. As a musician who doesn’t have to tour and can support a wife (and a dog:), have my own room in a recording studio, and lease an apartment in a safe area in Southern California, that is saying something. But, I don’t have buy-a-house money, I don’t have buy-whatever-keyboards-i-want money, I don’t have “let’s go to Palm Springs or Vegas for the weekend and spend 3 grand just because” money. (and don’t let instagram fool you, a lot of people doing that don’t have the money for it either, but I digress…)
You may ask, how do I actually earn a living? Well, I still earn a good chunk of my income from royalties, since all the pennies from hundreds of songs add up, and I’ve been fortunate to have songs from my catalog constistently get licensed for visual media.
I earn money from producing, which is a separate topic but involves an upfront fee for the work as well as a back-end royalty.
I earn money from paid session work, usually through the musicians union for work I do on major label records that I have also written songs on, as well as royalties from the union for songs I’ve played on that are in films.
I earn money from playing live gigs and private events, which I still enjoy and appreciate both as an income source and as a chance to create and hang out with my musical comrades, many of whom are my close friends. I am not, and will never be, too good to do what it takes to earn a living. I appreciate every call I get, and if I can’t do something or don’t have the time at that moment, I always make a point of saying thank you to whomever asked me.
As I reflect on the years of tireless work I’ve put in to songwriting and the financial end result, I can best make this analogy:
Imagine having the dream of being a doctor, and knowing that it’s a long and very difficult road, but if you actually make it there, you’ll be earning a comfortable living. You study hard in high school, get into a good college. Spend nights and weekends studying, forego most normal college social activities. By sheer hard work, and some luck (luck is ALWAYS one factor in success in music and in business, no matter what anyone tells you), you get into a top medical school. You work harder, get through school, do your residency, then you’re finally ready to work as a fully board-certified physician. Through more hard work and some luck, you get a position at one of the most prestigious hospitals in the country. But, when you go to sign the contract, you discover that the job which paid $400,000 a year when you started school now pays $60,000 a year.
I hope this has given some insight as to what life as a songwriter is like today. Despite the disheartening reality of the numbers, I have confidence that the craft of songwriting will not die, but we need to acknowledge the reality and adapt instead of trudging headfirst into an empty cave without a flashlight.
Thank you for reading this, and feel free to share.
Love, Barsh
Love, Barsh
Combination Lock Compression Technique
This method will allow you to hear the effect of each setting on the overall sound as you set the compressor up
Set the controls on the compressor as follows: Highest ratio Fastest Attack Fastest release Low threshold (lots of gain reduction happening)
Step 1 – Attack Settings Start with the attack control. Experiment with different speeds and listen to the effect it has on the leading edge of the sound. If compressing a snare for example you should hear that the fastest attack sounds like a thin drumstick, and as you slow down the attack the drumstick will sound thicker. Only focus on the leading edge, ignore the artefacts introduced by the other settings Focus here is the thickness of the attack, which should be adjusted to taste
Step 2 – Release Settings Next start to slow down the release. Again adjust and listen, try and achieve slower speeds while keeping some nice ‘bounce-back’ to the attack stage. You could try and make this sound musical in terms of the groove/tempo fo the track for example. If this is set too slow it will start to affect the transients as the compressor wont be able to let go before the next transient hits
Step 3 – Ratio Settings Higher Ratios = smaller sound/Lower Ratios = larger sound. Lower the ratio until you feel the ‘size’ of the part fits the space it has in the track.
Step 4 – Threshold Settings Its good to try and make sure it isn’t compressing all the time – allow some parts to have no compression (or 1:1 ratio) so they have the chance to sound big! With more percussive parts or drum sounds this may not be possible due to the short nature of each hit – in this case make sure you bypass the compressor to see what effect you are having on the part.
Set the controls on the compressor as follows: Highest ratio Fastest Attack Fastest release Low threshold (lots of gain reduction happening)
Step 1 – Attack Settings Start with the attack control. Experiment with different speeds and listen to the effect it has on the leading edge of the sound. If compressing a snare for example you should hear that the fastest attack sounds like a thin drumstick, and as you slow down the attack the drumstick will sound thicker. Only focus on the leading edge, ignore the artefacts introduced by the other settings Focus here is the thickness of the attack, which should be adjusted to taste
Step 2 – Release Settings Next start to slow down the release. Again adjust and listen, try and achieve slower speeds while keeping some nice ‘bounce-back’ to the attack stage. You could try and make this sound musical in terms of the groove/tempo fo the track for example. If this is set too slow it will start to affect the transients as the compressor wont be able to let go before the next transient hits
Step 3 – Ratio Settings Higher Ratios = smaller sound/Lower Ratios = larger sound. Lower the ratio until you feel the ‘size’ of the part fits the space it has in the track.
Step 4 – Threshold Settings Its good to try and make sure it isn’t compressing all the time – allow some parts to have no compression (or 1:1 ratio) so they have the chance to sound big! With more percussive parts or drum sounds this may not be possible due to the short nature of each hit – in this case make sure you bypass the compressor to see what effect you are having on the part.
Being A Songwriter In 2018
This is from a post on Facebook by a songwriter called Sam Barsh
Today, I am going to expose the reality of what it pays to be a songwriter in 2018.
This will be shocking to many of you, and probably not in a good way. But if there’s anything in my life that I’ve tried to keep a healthy relationship with, other than my loved ones, it’s the truth.
In addition to my respect for the truth, I’m posting this now for 3 reasons:
1. I often talk to friends colleagues of mine who congratulate me on recent career accomplishments, and infer either directly or indirectly how they think I’m doing financially.
2. I am deeply embedded in both the songwriting/production world and the working musician world, and most people in both worlds have no clue of the reality of what songwriting pays in the streaming era.
3. I am in the process of organizing a fundraising campaign for the Ruth Bader Ginsburg music project I just completed, and I realize that people might question why I would be crowdfunding something when they may assume I don’t need the money.
In order to keep this post from being a novella, I’m going to focus on the artists I get asked most about: Kendrick Lamar, Anderson .Paak, Aloe Blacc and Logic.
All of these totals include mechanical royalties (physical sales, download sales and streaming), performance royalties (radio and other royalties collected by BMI or ASCAP), and upfront sync licencing fees (for usage in TV/commercials/film etc.)
For my songwriting on Kendrick Lamar’s “Institutionalized” from the album “To Pimp A Butterfly,” I have earned less than $20,000. I have a 12% share of the song. The album went Platinum, won a Grammy and was a worldwide phenomenon.
For my songwriting on Anderson .Paak’s “Heart Don’t Stand a Chance” and “Your Prime” from the album “Malibu,” I have earned less than $5,000 total. I have a 16.66% share of each song. The album was certified Gold in Europe, nominated for a Grammy, and launched .Paak into stardom.
For my songwriting on Aloe Blacc’s "The Man" I have earned a little less than $200,000 over the course of the song’s 5 year existence. I have an 8.5% share of the song (this is largely due to the major piece that Elton John and Bernie Taupin took off the top because their hit “Your Song” was interpolated in the chorus of “The Man.”) The song was #1 on the pop charts in the UK, top 10 in the US and top 5 worldwide, selling 4 million copies. The album it was on, “Lift Your Spirit” was nominated for a Grammy.
For my songwriting on Logic’s “Black Spiderman,” I have earned less than $2,000. This will likely increase as the song has only had 2 royalty cycles so far, but it was not big on commercial radio so it won’t increase by much. I have a 16.66% share of the song. “Black Spiderman” was certified Gold as a single in the US, won an MTV VMA, and was included on the album “Everybody” which went Platinum.
Now for the breakdown:
The biggest difference between these songs is that “The Man” was a big hit on traditional AM and FM radio, which is technically called “terrestrial radio,” and it was licensed a ton on TV, film and commercials. It also came out in 2013, which was a time where many people still purchased downloads.
Even though most people today see it as an outdated medium, terrestrial radio (along with sync licensing) is the bread and butter for songwriters’ earnings. At any given time, there are around 30 songs in heavy rotation on terrestrial radio. Expand this to include all the genres of commercial radio stations, country, urban, pop, alternative, AAA, and lets say there’s 50 or so current songs earning significant money on radio (I’m not including classics in this, just current hits). That’s the reality.
If you want to get into the songwriting game to make money, your odds are infinitessimal. You’re not only competing with millions of writers for one of those 30-50 songs, you also have to account for the fact that most hits today have between 3 and 6 writers on them, so the pie is divided accordingly. And, for my musician friends that are dabbling in songwriting and production, know that you’re competing with people who do nothing but write songs and produce, and have been honing their craft with as much dedication as we have to our instruments. I myself have put in my 10,000 hours at least threefold, as a musician, a songwriter and as a producer and engineer. And it still took me 10 years of seriously working at songwriting to write major records.
Streaming pays virtually nothing. It’s not the streaming companies’ faults, they just pay what they have to as deemed by the US Government. Streaming royalties are not negotiated in the free market. The Music Modernization Act aims to change that, but the new royalty rates will still be set by the Justice Department, they are just allowed to take new technology into account when setting those rates. Here are two articles that show examples of what streaming pays, they are from a couple years ago but the same rates still apply:
I have a catalog of over 100 songs, a large number of which are with major artists. This includes 4 songs on #1 albums on the Billboard 200 (the premier Billboard albums chart that covers all genres), and numerous others in the top 5 of the Billboard 200 and Billboard Hip-Hop/R&B charts. Collectively, they have earned millions of sales and nearly a billion streams. If this were 15 years ago, I would likely be a millionaire. I say this not egotistically, but just to make a point.
Now, nobody needs to feel sorry for me. As Hyman Roth said, “This is the business we’ve chosen.” I chose this path, and I make a living. As a musician who doesn’t have to tour and can support a wife (and a dog:), have my own room in a recording studio, and lease an apartment in a safe area in Southern California, that is saying something. But, I don’t have buy-a-house money, I don’t have buy-whatever-keyboards-i-want money, I don’t have “let’s go to Palm Springs or Vegas for the weekend and spend 3 grand just because” money. (and don’t let instagram fool you, a lot of people doing that don’t have the money for it either, but I digress…)
You may ask, how do I actually earn a living? Well, I still earn a good chunk of my income from royalties, since all the pennies from hundreds of songs add up, and I’ve been fortunate to have songs from my catalog constistently get licensed for visual media.
I earn money from producing, which is a separate topic but involves an upfront fee for the work as well as a back-end royalty.
I earn money from paid session work, usually through the musicians union for work I do on major label records that I have also written songs on, as well as royalties from the union for songs I’ve played on that are in films.
I earn money from playing live gigs and private events, which I still enjoy and appreciate both as an income source and as a chance to create and hang out with my musical comrades, many of whom are my close friends. I am not, and will never be, too good to do what it takes to earn a living. I appreciate every call I get, and if I can’t do something or don’t have the time at that moment, I always make a point of saying thank you to whomever asked me.
As I reflect on the years of tireless work I’ve put in to songwriting and the financial end result, I can best make this analogy:
Imagine having the dream of being a doctor, and knowing that it’s a long and very difficult road, but if you actually make it there, you’ll be earning a comfortable living. You study hard in high school, get into a good college. Spend nights and weekends studying, forego most normal college social activities. By sheer hard work, and some luck (luck is ALWAYS one factor in success in music and in business, no matter what anyone tells you), you get into a top medical school. You work harder, get through school, do your residency, then you’re finally ready to work as a fully board-certified physician. Through more hard work and some luck, you get a position at one of the most prestigious hospitals in the country. But, when you go to sign the contract, you discover that the job which paid $400,000 a year when you started school now pays $60,000 a year.
I hope this has given some insight as to what life as a songwriter is like today. Despite the disheartening reality of the numbers, I have confidence that the craft of songwriting will not die, but we need to acknowledge the reality and adapt instead of trudging headfirst into an empty cave without a flashlight.
Thank you for reading this, and feel free to share.
Love, Barsh
Love, Barsh
Thursday 15 November 2018
90 Credit Diploma - Human Ear Research Task
Please create a google document in your acoustics folder, and gather as much information as possible to answer the following questions : -
The Human Ear -
How does the human ear work? How do we hear sound?
What is the function of the outer, middle and inner ear, and what is each part made up of?
Can you find a diagram of the human ear, showing the correct names for each element?
What different types of hearing damage can occur, and how?
What are the upper and lower limits of human hearing? - (think about volume and frequency)
Psychoacoustics -
What is psychoacoustics?
What are auditory illusions and how do they work?
Please find some examples of auditory illusions.
Health & Safety -
How does the human body prevent hearing damage?
Is there anything we can do to protect our hearing?
The Human Ear -
How does the human ear work? How do we hear sound?
What is the function of the outer, middle and inner ear, and what is each part made up of?
Can you find a diagram of the human ear, showing the correct names for each element?
What different types of hearing damage can occur, and how?
What are the upper and lower limits of human hearing? - (think about volume and frequency)
Psychoacoustics -
What is psychoacoustics?
What are auditory illusions and how do they work?
Please find some examples of auditory illusions.
Health & Safety -
How does the human body prevent hearing damage?
Is there anything we can do to protect our hearing?
Wednesday 14 November 2018
Combination Lock Compression Technique
This method will allow you to hear the effect of each setting on the overall sound as you set the compressor up
Set the controls on the compressor as follows: Highest ratio Fastest Attack Fastest release Low threshold (lots of gain reduction happening)
Step 1 – Attack Settings Start with the attack control. Experiment with different speeds and listen to the effect it has on the leading edge of the sound. If compressing a snare for example you should hear that the fastest attack sounds like a thin drumstick, and as you slow down the attack the drumstick will sound thicker. Only focus on the leading edge, ignore the artefacts introduced by the other settings Focus here is the thickness of the attack, which should be adjusted to taste
Step 2 – Release Settings Next start to slow down the release. Again adjust and listen, try and achieve slower speeds while keeping some nice ‘bounce-back’ to the attack stage. You could try and make this sound musical in terms of the groove/tempo fo the track for example. If this is set too slow it will start to affect the transients as the compressor wont be able to let go before the next transient hits
Step 3 – Ratio Settings Higher Ratios = smaller sound/Lower Ratios = larger sound. Lower the ratio until you feel the ‘size’ of the part fits the space it has in the track.
Step 4 – Threshold Settings Its good to try and make sure it isn’t compressing all the time – allow some parts to have no compression (or 1:1 ratio) so they have the chance to sound big! With more percussive parts or drum sounds this may not be possible due to the short nature of each hit – in this case make sure you bypass the compressor to see what effect you are having on the part.
Set the controls on the compressor as follows: Highest ratio Fastest Attack Fastest release Low threshold (lots of gain reduction happening)
Step 1 – Attack Settings Start with the attack control. Experiment with different speeds and listen to the effect it has on the leading edge of the sound. If compressing a snare for example you should hear that the fastest attack sounds like a thin drumstick, and as you slow down the attack the drumstick will sound thicker. Only focus on the leading edge, ignore the artefacts introduced by the other settings Focus here is the thickness of the attack, which should be adjusted to taste
Step 2 – Release Settings Next start to slow down the release. Again adjust and listen, try and achieve slower speeds while keeping some nice ‘bounce-back’ to the attack stage. You could try and make this sound musical in terms of the groove/tempo fo the track for example. If this is set too slow it will start to affect the transients as the compressor wont be able to let go before the next transient hits
Step 3 – Ratio Settings Higher Ratios = smaller sound/Lower Ratios = larger sound. Lower the ratio until you feel the ‘size’ of the part fits the space it has in the track.
Step 4 – Threshold Settings Its good to try and make sure it isn’t compressing all the time – allow some parts to have no compression (or 1:1 ratio) so they have the chance to sound big! With more percussive parts or drum sounds this may not be possible due to the short nature of each hit – in this case make sure you bypass the compressor to see what effect you are having on the part.
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