Local or Imported CD? Does it matter sonically?

So, we had this conversation on why imported CDs cost more (they do!) and whether buying an imported CD had any benefits of a better sound in comparison to the humble local version.

I managed to try it out on one of the albums that I recently got through a friend who came back from the US. I went out and bought a locally manufactured version of the same album.

I asked Mr. Nilesh in also check this out with me {since he commented that there might be some differences on different discs stamped in different locations } 

First, we listened to both for an A/B in the studio, and we thought they both sounded very similar, except for the Low End, which we both thought had a very slight enhancement on the local disc.

We then imported the tracks into Pro Tools, realigned them to make sure they start on time, apparently there was 12 samples of differences between the two tracks (oh yeah, we found one difference between the two discs, though it doesn't make any difference for an individual owner of any of the two discs!!!!!)

Then, we inserted same plug-ins on both tracks and phase inverted one of the tracks, and they cancelled each other, completely.

We, also looked at a Spectrum Analyser for both tracks, it does seem to have some extremely minor differences between the two, but we decided they were too negligible for any serious audible differences.

AND, the conclusion is.......

We think, at least with this particular album, the only difference is the quality of the inlay paper and printing, and no difference in sonic quality. By the way, the imported version was bought form Amazon for US$1.78 with free shipping, which came to RM6 (of course to a US address!) and the local CD was bought at RM46.90.

Love You Like I Do - Production Part 2

Continuing on with the production of this track, we now have a rough arrangement sequenced in. The arrangement was created in the newly released Logic Pro X Digital Audio Workstation software.
While working with the singer, the arranger & songwriters figured the key was not ideal and settled on a key two semitones above the original. This key seems to suit the singer's vocal range much better and she too feels much more comfortable singing the song.

Have a listen to the rough arrangement here. This does not include the vocals but is in the new key. There are eventually going to be a lot of electronic elements but for now the foundational elements have been laid down. The idea is to keep it simple and commercially viable but also introduce something unique to the genre.

Hanz has used a lot of third party software instruments in this arrangement. Mainly East West Quantum Leap Pianos, East West Symphonic Orchestra for all the string section parts and Addictive Drums for the acoustic drums. We don't plan on replacing these instruments with real recordings so we will be spending a lot of time fine tuning the sound to achieve more realism. Probably the only 'real' instrument we will record is an acoustic guitar.

AP010's Class Field Visit

29th July 2013

The class went out on field visit to two places to get first hand information on various types of audio production available in local scene. They first visited Vision New Media, formerly known as Double Vision. They had information on how audio plays a great role for video, some tips of mixing music, sound effects and dialogue to a video, also to watch video-shooting on the venue.

Liaison from Vision New Media was our very first batch of CAP graduate, Lai Chee Keong, their in-house audio engineer.

A short demonstration on putting in all the audio elements to a video.

The real deal behind the shows we seen on TV, all the Beta machines that does all the video conversions, transfers and QC.

Dubbing studios facilities for overdubbing on cartoons and drama series.

Observing a shoot at the venue, it's a car dialogue scene.

Next up, they visited Studio 21:05 which is own by the members of Asia’s leading hip-hop/rock band “Pop Shuvit”. They learned from JD (Studio Engineer/Owner & also ICOM Alumni) the setup of a project studio as well as steps to kick-start a studio.

JD explaining the setups and giving out tips on how to start up a studio.

JD giving out more tips on room consideration.

Studio B of Studio 21:05.

That's all folks, stay tune for our next field visit.

“The visit to Vision New Media and Studio 21.05 provided a great opportunity to experience first hand the information taught in lectures. At Studio 21.05, it was particularly interesting to discover the process of studio design and the intricate but important positioning of acoustic foam panels. “

Gianluca Sidhu, CAP Level 1

"It was very inspirational. I never had the chance to see a professional mixing set-up other than the ones in my church. That gave me motivation to work harder towards my goal."

Brian Wong, CAP Level 1

For more information on Vision New Media, please visit http://www.visionnewmedia.net/index.php?p=distribution

For more information on Studio 21:05, please visit https://www.facebook.com/studio2105

'Love You Like I Do' - Production Part 1

This is a song written by Terry Tim (CAP Level 2) & Eugene Yeo (B.Mus. Level 6). Terry composed the melody and progression while Eugene penned the lyrics. There was some debate regarding the title of the song which was initially 'Songbird' but eventually we settled on 'Love you like I do' as that seemed to make more sense in context of the lyrics.

Initially the song was conceived as a voice with piano accompaniment arrangement, but I felt it could sound better with a fuller arrangement. So currently we have Hanz Koay (B.Mus. Level 6) working on an arrangement along with Tim & Eugene helping out.

The tune is sung by Moh Heng Wei (BTP Level 2) whose vocal style lends well to the intimacy of this song. We will be recording this again once the arrangement is complete, but have a listen to the early demo here to get an idea of what the song sounds like. It should also be quite insightful to eventually come back to this demo once the entire production is complete, just to compare how much the song evolved through the production process.

Glitching Vocals in Pro Tools

Pro tools is not a DAW just for doing things the conventional way. In this video I show some editing techniques to create glitchy stutters and gating effects on a vocal line.
Audiosuite plugins are also very useful for creative processing, especially the 'Reverse' and 'Vari-fi' effects.
Try out some of these editing techniques in your work to get some more creative results.

Morphing in Pro Tools

This is a cool little trick I discovered using Pro Tools' automation techniques. With this technique you will be able to morph from one plugin preset to another preset over a fixed time. Normally this would be a very time consuming process but with Pro Tools' automation features, this is achieved with a lot of ease.

SHURE SM 57

Pro Tools Key Focus Commands

This is my secret to being a Pro Tools ninja. The commands key focus mode, when enabled lets you perform some functions that would normally take multiple key commands or even use the mouse. The great thing about this feature is that you don't have to hold down any modifier keys or mouse clicks to execute these commands. An example is cut, copy and paste, which normally involves the command key and either X, C or V. With the keyboard focus enabled you just have to press X,C or V to execute those commands.
Once you get used to using these commands you will be flying around with your editing in Pro Tools and all your friends, employers, teachers will be extremely impressed.

Read the article below that explains the different commands or watch the video to see an explanation in Pro Tools.
http://www.macprovideo.com/hub/pro-tools/pro-tools-10-commands-keyboard-focus-mode

Ever wondered what goes on behind a show production?

The International College of Music just paid tribute to the legends of Classic Rock@KLPAC on the 26 & 27th of April 2013, and the entire production was handled by a student team. Yes, a student team indeed!

But staging a big event is never easy as it involves weeks of rehearsals to prepare for the final show . Our student crew consisting of a mixture of students from the CAP (Certification in Audio Production), BMUS (Bachelor of Music), BTP (Berklee Transfer Programe) & FIM (Foundation in Music) programmes worked collectively in pulling off another successful ICOM Celebration Series Concert.

Show production is all about working closely in teams and working hard. Perhaps you could be in the production team for our future tribute concerts?

Here is a snippet of the technical production team hard at work as they pack up to move to KLPAC:

Four things you didn't know about air:

1. Sound is moving air

2. Sound is created with a disturbance of air

3. Sound is heard through a mixture of compressed (high pressure) and rarefied (low pressure) air

4. Sound can only be heard in air besides liquids and solids

Third Ear Anyone?

How do you know Front-Of-House mixing is for you?

Here are five clues to tell you that you desperately want to be a Front of House (FOH) engineer and mix live shows:

1. You always want the best seat in the house not because you want to watch but you want to listen to a fantastic performance!

2. You just like standing in front of big boards or desks that have lights and knobs fitted on them (in true Star Trek control centre style) and oh yes, they also control sound.

3. You secretly wish to say ‘soundcheck, 1, 2,’ just for the fun of saying it since you’ve heard it a number of times before.

4. You always desired to be a puppeteer, but don’t like wires tied to your fingers, as you prefer your fingers to be free yet controlling something.

5. You also secretly wish to be a performer but in this case perform on the board or console for the audience as well as the band each night.

Give these five clues some thought and if you are one of them who has had such hints knock on your mind, then you should seriously drop whatever it is you are doing right now and get yourself admitted into the CAP programe since we will teach you about Front of House mixing!

Kick Drum Enhancement

Getting good bottom end on the kick drum has always been an issue which engineers have struggled with. The ideal situation is to get that bottom end by excellent mic placement but sometimes the ideal situation does not present itself. Luckily, with digital technology this issue can be addressed in the mix.

My technique is to layer a kick drum sample, along with the original kick drum. This can take some time as its pretty much a manual job of splicing, copy, pasting till the desired result is achieved. The most important thing to look out for is phase issues. Make sure the sample and the original waveforms are in phase. In other words, make sure they are reaching their positive and negative peak at approximately the same time. This will involve zooming in and visually comparing the two waveforms.

The following video shows an example of the result of this sample layering technique. The result is subtle as I did not want overpowering low end, but if you use headphones or full range speakers you should notice the difference.

Video Link