Posted by Keith Freund On January - 6 - 20102 COMMENTS
Ladies and germs, I present to you what is perhaps my favorite release that I’ve worked on to date: In The Clouds, a five-song EP and debut release from Boston-based indie rockers The Dirty Dishes.
I mixed and co-produced the record, also sharing mastering duties with Dave Cooley (produced both Silversun Pickups records and has mastered for J Dilla, Madlib, & Polyphonic Spree). They’re something like a female-fronted Silversun Pickups or Autolux. But fresher. And maybe with a dash of Smashing Pumpkins. Listen to all five songs on Bandcamp. My favorites:
» “Deer In Headlights” (catchy, indie)
» “Stolen Apples” (fun with a hint of evil)
» “Thin Air” (epic shoegaze)
Haggle with your favorite ticket scalper tonight outside Boston’s House of Blues to catch the Dirty Dishes opening for Passion Pit at their sold-out show. And in case you haven’t noticed, these blogosphere darlings have been hyping the hell out of the Dishes:
BLOGGERS: feel free to post an mp3 for free download. You can also embed their Bandcamp player on your page by clicking the song title and then “Share”.
Posted by Keith Freund On November - 25 - 20091 COMMENT
Miss Geo is a Rhode Island-based singer songwriter. Her new album, The Story, is an excruciatingly (yes) catchy indie-pop record with clever lyrics and tons of stand out tracks. Check out “Broken Wrists”:
I’ve been meaning to feature Miss Geo for a few months now, not only because the music is killer, but because I want to talk about a lesser known service that we offer at Fix Your Mix called stem mastering. Stem mastering, sometimes also called stem mixing or separation mastering, is a hybrid between mixing and mastering. To explain how this works, I’ll tell you a little bit about how this record was made.
The Story was produced, engineered, and mixed by my good friend Rob Arbelo here in Boston. What I received from Rob was stereo “stems”–a single stereo track of drums, a stereo track of all the guitars combined, stereo vocals, bass, and a stereo track of synth/harmonies/noises combined. The benefit of mastering from stems is twofold:
You can’t always be sure exactly how mastering will affect a mix. Sometimes guitars get louder, the snare’s sustain increases, the kick gets lost in the chorus, etc. By effectively mixing and mastering at the same time, I was able to quickly and easily tweak basic levels and EQ while retaining the essential character of Rob’s mix.
One of the most often-cited benefits of mastering is an objective ear to lend fresh perspective to a mix. In my opinion, stem mastering is infinitely more valuable in this capacity than mastering alone.
I love working from stems, so if you’re a self-produced, DIY artist and want to mix it yourself without sacrificing the energy and clarity of a professionally mixed record, this may be the route to go. Or if you’ve spent months producing the hell out of someone else’s record and you’ve got a great mix that just needs a little tweaking, stem mastering will allow you to take a nice long nap while some other guy does the boring stuff!
UPDATE: We are now officially offering stem mixing at $80/song.
“Broken Wrists” was featured on Hype Machine yesterday and tons of people have been favoriting it, so if you like the song, heart/ReTweet this to bump Miss Geo up on the HypeM charts:
Key Signature: A minor, C Lydian Time Signatures: 3/4, 4/4, 6/8 Special Songwriting Devices Used: Three-bar phrases, Polymeter, Polyrhythm, Modal harmony Structure: Verse-Refrain-Verse-Refrain-C-D-C-D-C-Outro
Hover your mouse over terms underlined with dots (like this) for more information. If you’re following along with the album version rather than the video, subtract 5 seconds from any time stamps listed below to account for the video lead-in.
This blog mostly concerns itself with what can loosely be considered pop music, but today’s song violates what is perhaps pop’s most sacred and universal characteristic: structure. It’s not that “Ready, Able” has no structure, but it certainly isn’t your typical verse-chorus-verse. While a traditional pop song is designed to grab your attention and get to the hook ASAP, Grizzly Bear has no patience for people with no patience. And to those who wait, the payoff is that much sweeter.
A Narrative Of An Average Listener Experiencing This Song For The First Time (click to enlarge:)
“Ready, Able” starts with a sparse and confusing instrumental passage, which you eventually realize is part of the verse. Like the claymation monsters of the video that appear both happy and sad, you can’t tell whether to be scared by the droning, tribal mysteriousness of the rhythm section, or amused by the playful, almost upbeat vocal melody. You’re relieved to hear a chord–the first one in the song–at 0:42. This is the start of a new, more palatable section: the refrain.* Here Grizzly Bear builds anticipation for something that never comes. Right as the music sounds like it’s about to reach the tonic, the whole damn thing cuts back to the verse like a movie that ends on a cliffhanger, cutting to black at the most crucial moment. (And you still have no idea what “Rosebud” means…) Read more...
And now you’re brought right back into the verse. A push-and-pull dynamic is created with two different kinds of tension:
The verse draws its tension from rhythmic confusion, sparseness, and lack of harmony.
The refrain creates tension with full, but unresolved harmony.
After the second refrain, you are led to a surprising, but also cohesive and highly gratifying climax at 1:53 (the C section) which starts on an A minor chord and continues to build throughout the second half. It’s gratifying not only because of the lush production and arrangement elements that kick in, but because it took 2 damn minutes to get to the I chord! As shown in the image above, the music video works in the opposite manner. It starts off a little odd and then morphs into something truly bizarre. To better understand what’s so off about the verses, let’s go right into a rhythmic play-by-play:
Disclaimer: Phil pointed out to me that the verses of this song could be more succinctly written and understood as 12/8, rather than my more complicated explanation of calling it 3/4 and 4/4 (with the later sections in 6/8 half time). If you count the verses in 12/8, they begin to make a lot more sense. I instinctively heard this section in small beat groupings (possibly because of the odd rhythmic patterns and lack of a steady drum beat), however, so I’m keeping this section as is for the sake of posterity.
The verses consist of 24-beat phrases demarcated by a kick drum. It’s hard to tell what’s going on: the vocals don’t quite match up with the percussion and those harp glissandos seem to sneak up and jump out at you from behind the bushes when you least expect them to. What’s going on here?
What you’re hearing is called polymeter–the simultaneous use of 2 or more time signatures sharing a common pulse. The verses in “Ready, Able” juxtapose a 3/4 waltz (the vocals and harp) on top of 4/4 (percussion). In this case, the shared pulse is the duration of the quarter note. Only after 24 beats do both time signatures start their down beats at the same time.
24 is a good number for polymeter because it can be evenly divided by the most common beat groupings: 2, 3, 4, 6, and 8. As a consequence, these 24-beat phrases also transition nicely into the refrain in 6/8 at half tempo. Now let’s move on to polymeter’s evil twin sister: polyrhythm.
Two Types of Beat Divisions Simultaneously – Polyrhythm
Congratulations, you’re about to dive head first into the metaphorical deep end of music theory. Drummers and music nerds, get ready to geek out.
Polyrhythm is when two different kinds of beat divisions are used simultaneously (not to be confused with beat groupings–that’s polymeter). In Western music, beats are typically subdivided in half.** This type of division is called duple meter and looks like this:
One whole note = two half notes = four quarter notes = eight 8th notes = sixteen 16th notes = thirty-two 32nd notes
But there are other types of divisions, the most common of which is a triplet: when two beats are divided into three beats. For example, three 8th note triplets take up the same amount of time as two regular 8th notes.
During the C section (1:53), the lead synth (a Synclavier?) has a tremolo effect that creates 16th note tripets over the regular 16th notes of the other instruments. Here’s a simplified notation of this rhythm (click to enlarge):
UPDATE: I think it’s safe to say that this is an Omnichord, not a Synclavier.
Welcome to Polyrhythmville. And what’s really trippy is we’re in 6/8. While 6/8 rhythms are grouped in sets of 3, each beat is still normally subdivided by multiples of two. But here the total number of 16ths per measure is 18–you don’t see that number often in music–and all this on top of 12 beats–a concept so mindblowing that only underline and italics at the same time could possibly come close to expressing the insanity. Half way through the D section, we hear this pattern again with a lofi hi hat sample. We’re beginning to see the number 3 take shape as a major theme in this song: beats grouped in 3s, beats divided by 3, and finally, 3-bar phrases:
In pop music, chord progressions and phrases typically last 1, 2, 4, or 8 measures. Deviating from this is a great way to shake up your songwriting without venturing into odd time signatures, which often means sacrificing accessibility. It’s hard for the average music listener to dance or rock to something in 5/4 or 7/8,*** but they will have no problem dancing to 5- or 7-bar phrases in 4/4.
That being said, when great songwriters use a device like this there’s a reason for it, whether they’re aware of that reason or feel its effect intuitively. “Ready, Able” uses 3-bar phrases throughout most of the second half, providing two advantages:
Vibe: We’re expecting 4-bar phrases, so 3-bar phrases have a cyclical, hypnotic effect. It feels like the thought is not quite finished.
Lyrics: If the D section had 4-bar phrases, there would be a big empty space when the lyrics finish, or they would have had to write more lyrics and extend the melody. By using 3-bar phrases, Grizzly Bear is able to keep interest high while retaining their original lyrical and melodic idea.
But there’s a problem. In addition to being super weird and hip, these odd phrases are leaving people hanging. There seems to be no destination. Solution? A 4-bar phrase at the end of each section. Consider your thirst for finality quenched. There’s also an extra bar at the end of the refrain (normally 4-bar phrases) to make room for a IV-7 (D minor 7) which has a strong pull to I- in this case.
If you follow this blog, you’re already aware of the trend of rap songs without music. To the music snobs and hipsters frowning upon that concept, I am pleased to inform you that Grizzly Bear essentially does the same thing during the first verse of this song–there is no progression, only a vocal melody, lost in an enchanted forest of polymeter and the occasional harp gliss. But of course, context is everything. I doubt we’ll be seeing Ying Yang Twins comparisons any time soon.
“Wait’ll You See My D… minor 7.”
During the second verse, Grizzly Bear seems to have added a very faint guitar or bass on the note C. It seems that the key is now C major, the relative major from A minor. With the vocal melody notes included, the overall harmony of this section seems to be a single, but very colorful chord normally reserved for Jazz: Cmaj9(13) (C, E, G, B, D, A). In other words, every note in the key except F, which would be tension 11. 11 is usually considered an “avoid note” on a major 7 chord.
But listen again. There’s a drum tuned to F#, which would be the tritone of the C major. In the absence of a natural F, I’m prepared to say that we’re not in the relative major at all, we’re in C Lydian and the chord is Cmaj7 (9 #11 13), which includes every single note of the key signature. Lydian mode can be described as foreign and magical-sounding and the second verse of “Ready, Able” is no exception. This mode is often used by film composers for dream sequences. What’s even more bizarre is that the #11 drum is the lowest note in the section, making it sound especially dissonant. I wouldn’t call the chord an inversion though, because the drum comes on very weak beats.
Other than C and tension #11, the lead vocal provides every other note in this chord. Don’t get me wrong: not all melody notes should be considered part of a song’s essential harmony, but in this case the tensions (9 & 13) come on down beats at the beginning of the 8-bar vocal phrases, the strongest beats possible during this section.
For further reinforcement of this harmony, there’s a background harmony with 3, 9, and 7, and the harp hits 7 on its way down to 13. Also listen for faint pizzicato strings plucking between C and G, with a few interjections of perfect fourth dyads (DG and BE) for some exotic flavor. It’s also worth noting that based on the way these notes are stressed dynamically, the string arrangement sounds displaced by one beat–that is, its down beat begins one beat after the drums and palm-muted guitar. This gives the strings a light, playful feeling but also makes them sound somewhat detached from the rest of the music.
As stated earlier, the refrains create tension by never landing on I-. It’s also worth noting that the vocal melody single-handedly changes the chord progression with a major 6 interval on F, creating a second inversion D minor chord.
The C and D sections use one of my favorite progressions: I-, V-, IV- (see also: “My Love” by Justin Timberlake and “Ayo Technology” by 50 Cent). As I talked about in my Kanye analysis, the V minor usually sounds peculiar in a pop context, but it sounds at home in “Ready, Able.”
I was unable to find good guitar tab or piano transcriptions for this song online, so this will get you started if you’re a Grizzly Bear fan and want to cover this for YouTube:
“Ready, Able” Chords – Simplified For Rhythm Guitar & Piano (See our chord abbreviation guide for help with this section.)
Verse 1: C (single note only) Refrain: F, Fmaj7, to E- (plus D-7 during last measure) Verse 2: Cmaj7(no5) C section: A-, E-, D- (pianists: start on A-/E) D section: A-, E-7, D-7
“Ready, Able” Chords – Full Harmony
Verses: Cmaj9(13) Refrain: F, D-/F, Fmaj7, D-/F, to E-7 (plus D-7 during last measure) C Section: A-, E-add11, D- D section: A-9, E-7, D-7(13) (add tension 11 to these chords when the string quartet comes in)
“Ready, Able” Chords – Functional Analysis
Verse 1: Imaj9(13) Refrain: VI, IV-/3, VImaj7, IV-/3, to V-7 (plus IV-7 during last measure) C Section: I-, V-add11, IV- D section: I-9, V-7, IV-7(13) (add tension 11 to these chords when the string quartet comes in)
This concludes my analysis. If you’ve read this far, you’re probably an ultra music nerd like me and for that I salute you. I might be imagining or missing some of tensions, so if you hear anything different or disagree with my analysis, feel free to leave a comment.
*While some sources refer to choruses and refrains interchangeably (Wikipedia included), but there is a difference. I’m calling this section a refrain because it sounds like an extension of the verse music, whereas choruses typically either repeat the verse music with more production elements, or introduce an entirely new idea altogether. This section is fairly long for a refrain, but more importantly the movement is not harmonically strong enough to be a chorus.
**With the very notable exception of swing and shuffle grooves.
***In some cultures, dancing to odd meters is commonplace (Indian and Greek music, for example).
BONUS: In case you were wondering how much meth I had to smoke to write something this long, there’s method to the madness of those harp glisses:
During the instrumental portions of the verses, they come on beat 2 of the 5th and 7th measures of the phrase.
During the vocal portions of the verses, they come on beat 3 of the 3rd and 7th measures of the phrase.
Posted by Keith Freund On September - 22 - 20092 COMMENTS
A friend of mine is an exceptionally talented bass player. He’s played all over the world with musicians from Michael Brecker to Andy Timmons and he’s also an excellent storyteller. One day we were hanging out and he started reminiscing about this gig he played during apartheid in South Africa. He began by saying that he had this six-month contract to play as the house band at a nightclub.
Everybody listening had to stop him before he made it through his first sentence: A six-month contract to play at a venue?
We were stunned.
“Was that just the way they did it in Africa back then?”
“No, that’s the way everybody used to do it back then.”
Thirty years ago, young local groups were actually contracted to play at a venue for numerous dates at a time. Allegedly, you could actually make a decent living doing it too. You’d play a bunch of small gigs and build a local reputation for yourself or open for a bunch of bands as they passed through town and get some exposure to managers and label reps on the way.
My wheels were spinning from his comment and I missed the rest of the anecdote (fortunately, like all great musicians, he’s prone to repeating his best stories so I got many other opportunities). This just seemed so crazy in comparison to what is going on in the live music world today. Another friend of mine, a very talented sax player, just got back from a gig up in New York and told me that insanely talented, well-connected musicians are playing at venues in New York for a free meal…
Look at the picture above from the Cavern Club: “THE BEATLES PLAYED HERE 292 TIMES”…
The musical landscape has changed dramatically over the past thirty years. Once upon a time, musicians were able to be musicians and support themselves with their music through a fertile, logical local system. Now the clubs are gone, the gigs pay so little that they aren’t even worth the gas, radio doesn’t care about the local scene any more, and (as previously discussed) it’s pretty hard to make it big unless you are already big in the first place.
During an interesting segment on NPR’s All Songs Considered, Carrie Brownstein and a panel of music bloggers discussed whether or not labels were useful in discovering new music. In a brief aside, Carrie mentioned that the label Kill Rock Stars almost passed on her band, electroclash darlings Sleater-Kinney, because they thought it was “just a side project”.
Now in Brownstein’s case, the group was a side project to her other band Excuse 17, but there is a prevailing philosophy among the decision-makers at labels that there should be some considerable measure of success derived specifically from the band in question in order for it to merit consideration.
That’s pretty difficult to do in today’s musical climate. I’ve always encouraged people to not define themselves by their day job—do enough to pay the bills and support your passions. The music business is now saying that that’s not enough. You have to be professional before going pro.
The problem is that we no longer have a system where amateur musicians can cultivate and support themselves in the process of turning professional. The issue is partly one of supply and demand. Back in the 60s, venues wanted bands and there simply weren’t that many out there. It was more difficult to even get an instrument, let alone be good enough at it to play for two hours.
All their success aside, Ringo Star and Mick Fleetwood would each tell you that they are not the most talented drummers (Mac Fleetwood doesn’t even know what 4/4 time is and he labored to explain that fact in Ken Robinson’s The Element). The fact is that they were the guys in their local area with a drum kit. Drums at the time were exceptionally expensive and too large for most in urban England to store. If you had the instrument, you were in a band. If you were in a band of any caliber, you were likely to land a gig playing at some venue with some regularity.
Every band needs somewhere to play. Unfortunately, these days venues are so financially strapped that they’d often rather put the iPod on shuffle than hire four teenagers and a sound guy. Consequently, the venues with live music are overrun with demos of musicians willing to play for peanuts.
In a world where it is virtually impossible to support yourself as an amateur musician, labels are left looking to people who are already famous to fill out their rosters: solo artists from previous hit-making bands like Gavin and Gwen, celebutantes, and contestants from reality TV.
Some amateur bands are lucky enough to catch a label’s attention and they land one of the precious few spots on a national tour playing a hundred dates with one band. Obviously these gigs are rare, but they also reduce exposure to only the fans of a certain band.
It has been said that all business is local. In the Digital Age, there is such a focus put on national and global considerations that the local concerns fall by the wayside. But ultimately, a return to a fertile local music environment is what will repair the music business. Labels have an interest in seeing musicians cultivated in their home environments, winning over a local demographic, and climbing a logical ladder toward regional and national success.
This was the model that worked thirty years ago and I believe it can still work with some adjustments for the digital age. In many ways and to their detriment, record labels are stuck in the old ways of conducting business. In this instance, I fear that they have overlooked a useful lesson from the past. Emphasizing a fertile local music scene and a logical progression from there toward a national spotlight is what encourages a diverse and creative musical landscape. There is no one better suited to make this happen than the labels themselves.
Posted by Keith Freund On September - 18 - 20092 COMMENTS
It was 2003 when I first discovered Lazy Mane & Kosherbeets through the grapevine as they began to generate a buzz in the North Atlanta area. I got Kosherbeets’s number from a mutual friend, picked his brain about music, recording, etc., and the rest is history. I cut my teeth mixing his solo release, Dude, College, and now his joint effort with long time collaborator Lazy Mane: Supreme I.N.K.
They’ve since shared the stage with a number of hip hop notables including Atlanta mainstays the Ying Yang Twins and quintiple-platinum act Nappy Roots (of “Awnaw” fame). Tonight, Friday, Sept. 18th, 2009, you can catch the duo at Lenny’s in Atlanta performing with Dungeon Family* artists Killer Mike(featured on a number of OutKast songs), Cool Breeze, and Rico Wade of Organized Noize.
I don’t know exactly where to pin down their sound-a little Bone Thugs here, some early OutKast there, and a combination of all those jazz records, photographs, and history books they’ve got lying around the studio. The result is a classic sound that spits in the face of trends and resonates on both an intellectual and primal level.
Supreme I.N.K is their best to date, particularly The Springtime, which is a sample-based, major key uptempo song with “instant classic” written all over it, and The Galaxi, a trippy, dark, futuristic beat with lyrics and live sax to match.
In honor of the album’s release, I’ve thrown together a sampler with some of my favorite cuts from the album:
Mixing in an artist’s studio is kind of like becoming fluent in Pig Latin. You’ve already got all the skills you need, it just takes a little bit longer to get your ideas out at first. To get familiar with their speakers (Event 8s) and room, I referenced their influences for similar instrumentation/arrangements but used more recent mainstream songs to get the low end sounding current. We also checked mixes in a number of consumer environments including a few vehicles with decked-out audio systems and took notes for revisions.
Supreme I.N.K. is the only full album that I’ve mixed entirely independent of my own gear and rig.** It was done entirely in the box (plug ins only, no outboard gear) using primarily the Waves Diamond and SSL plugin bundles in Pro Tools.
Fixing Their Mix
I consider all of my projects to be collaborative efforts, but especially in this case–they did the rough mixes and final tweaks, I sculpted the sound into a more professional and cohesive arrangement. So this was one of those cases where I literally “fixed [their] mix” rather than playing the traditional mix engineer role.
I read that one of my favorite engineers, Rich Costey, did this on Foo Fighters’ latest, Echoes, Silence, Patience & Grace. The tracking engineer did the initial mix work if I’m not mistaken and RC was brought in to finish it off.
They’ve intentionally eschewed iTunes and Amazon in favor of a more grassroots approach by giving away the album for free online and selling physical copies at shows. So check them out at Lenny’s if you can, and grab the album. It’s free!
*I owe Will (Kosherbeets) a special debt of gratitude for introducing me to my favorite rap album of all time, Dungeon Family’s Even In Darkness. Dungeon Family is a more or less defunct (hibernating?) collective which includes OutKast, Goodie Mob, Cee-Lo, et al.
**For my clients reading, note that I don’t generally do attended sessions–the time we save from this is one of the ways we can provide an incredible value at a rate that’s affordable for independent artists–but I made an exception for these guys because of our long time relationship and hey, it gave me a good excuse to go back to Atlanta for a few weeks.
Posted by Keith Freund On September - 17 - 20094 COMMENTS
Despite the democratization of music production technology over the past ten years, most of the mastering process is still a black art to most people. You can buy a cheap microphone for your computer at Wal-Mart to record your bedroom demos, but for some reason you still can’t get your music as loud and clean as Kanye. The brave can attempt a lot of it at home with varying degrees of success, but an esoteric lexicon still exists that causes many to second guess their ability to deliver a professional product. “Red Book” falls into this category.
If you just google “Red Book CD” or “Red Book Master” you’ll wind up with a bunch of questionable mastering sites offering a lot of warnings but not a lot of information. They say “Oh, you can make a CD at home, but is it a Red Book??!?!” Then they proceed with obfuscating generalities that encourage you to accept the fact that you are out of your depth and that you should use their service, in part, to obtain such a mystical artifact.
Well allow me to demystify the term and you’ll see that getting a Red Book master is not reason enough to choose a mastering house.
“Red Book” refers to a document created in 1980 by Sony and Philips. A team of about 8 researchers was tasked with creating the specifications for standardizing compact discs (CDs if you’ve been living under a rock…on Mars…with your fingers in your ears and singing “la la laaaaa” to yourself at the top of your lungs for the past 30 years). Researchers in the companies had a propensity to house their reports on the various forms of CDs in color-coded folders or books and refer to them as such.
These eventually became known as the “Rainbow Book Series”. Lesser-known standards also included “Yellow Book” for CD-ROMs, “White Book” for video discs, “Beige Book” for photo discs, and “Scarlett Book” for super-audio discs. The specifications found within these books dealt explicitly with standardizing production for the companies. With Red Book, the virtual monopoly in CD technology at the time by Sony and Philips contributed to most of the other manufacturers adopting the same standards for compatibility across the board.
The Red Book stipulates that a standard CD should be 120 mm in diameter, 1.2 mm thick, and composed of specific materials (polycarbonate plastic substrate sandwiching some form of thin metal and coated in lacquer if you want to be explicit). Pretty much every commercially available CD conforms to these physical standards.
Interesting aside: the companies originally wanted 60 minute of play time with 100 mm to 115 mm discs. The ultimate choice of 74 minutes came from the suggestion by Herbert von Karajan, conductor of the Berlin Philharmonic, that the CDs should accommodate Beethoven’s 9th Symphony, which was recorded in 1951 at the Bayreuth Festival in Germany. This increased time necessitated the increase to 120 mm diameter discs. The first test disc ever made was pressed in Hanover in 1981 and featured Von Karajan conducting the same group, so his opinion must have been important to the researchers.
Additionally, Audio CDs must have three areas: the lead-in, the program, and the lead-out. Every disc-burning program that writes audio CDs uses these areas. The lead-in contains the table of contents and directs CD players to the track markers and song titles and so forth. The program area is where the actual audio is housed (in Audio Engineering, program is just a term used to describe any kind of sound content). The lead-out contains no data and indicates to players that the CD has ended.
Lastly, the Red Book stipulates what kind of files can be used and how they should be encoded and organized on the CD. Discs can contain up to 74 minutes of audio, up to 99 tracks with a minimum of 4 seconds per track, with the possibility of 99 separate sub-divisions within each track.
The program content must be the standard 44.1 kHz sample rate, 16-bit depth and be two channel stereo. Data is stored in frames of 1/75 second length and data is written in sector sizes of 2,352 bytes per frame. Frames are encoded in such a way to minimize the effect of damage to a CD and house error correction and display information.
That last bit is a little abstruse, but basically all of these are the standard for every disc-burning program out there.
So what’s the big deal with Red Book masters? The short answer is that there isn’t one—at least not today. Understand that the Red Book was written in 1980, before commercial audio CDs ever even hit the market. These were the standards the companies decided on before ever releasing a CD and were to be used as the template for mass producing CDs for the future. In a large part, the Red Book is merely a description of what an audio CD is, not some uber-special type of audio CD that you need to have special gear to create.
Once upon a time, the means of creating audio CDs existed only in big manufacturing plants and the common-folk had to patronize these establishments to get their discs reproduced. Now, technology has come so far that virtually every disc making tool available to the consumer can and does follow these standards.
I suspect that the only reason this term even exists anymore is because of stand-alone hard disc recorder/burners like the Alesis Masterlink, which give the option to record different kinds of discs. Since many recorders are capable of recording at much higher (and some at much lower) quality than standard audio discs, the Red Book option is selected so that whatever you’ve recorded comes out playable from the burner. I speculate that the “Red Book” option on these recorders is meant to be a short-hand for burning a playable disc as opposed to a data or archival disc. Also, since many of the professional hard-disc recorders were made in the 80s and 90s, companies were still tinkering with Super Audio CDs and other forms of discs that might have been included as options.
Think back 10 years ago when you were burning CDs, maybe one in every ten or twenty didn’t work or some would only play on a certain brand of CD player, or maybe it only played on your computer but not your car or in your car but not your CD player. Across the board, these problems have been reduced with error correction and more intuitive interfaces, not to mention the fact that the average consumer now knows the difference between a data disc and an audio disc and can recite the sample rate and bit-depth for Audio CDs.
The Red Book standard is in many ways simple antiquated jargon for specifications that we can safely take for granted anyway. Some might latch on to this term because it’s something they can use to sound more professional than you. Of course, by and large the people employing the term don’t know any better, they just know that they can push the “Red Book” button and make something without knowing what it is.
If you burn your disc using an audio-CD writing program, using a normal CD-R, and using a modern CD Burner, then you’ve got yourself a Red Book disc. I would suggest burning at the slowest speed possible to minimize errors, but other than that you are golden!
Earlier this year, Phil and I began working with rap crossover group and production team, SV & DJ Jove, who have become two of our most promising unsigned clients. Check out a sampler from their club anthem “Act Stupid!” and SV’s catchy R&B single “You Know” (currently on the front page of FixYourMix.com).
You may recognize DJ Jove (birth name Vinnie) from MTV’s new reality series Is She Really Going Out With Him?, a show about bad boys that date good girls or as the network puts it, “douchebags and the women that love them.” From the creator of popular blog and book Hot Chicks With Douchebags, Is She Really Going Out With Him? chronicles the trials and tribulations of an alpha male in his natural habitat, which in Jove’s case includes his internet show, Reset Radio, where two porn stars have a cannoli-sucking contest live on the air.
Watch more highlights on MTV.com by clicking on the image below:
This guy knows how to work a crowd. A little YouTubing turns up dozens of live shows including a video of Jove doing part of a set in a bra (I’ll spare you the link). To get a sense of his live presence, also check out clip 2 from the MTV.com series where he spins in a club filled with scantily-clad women. He raps the first verse on “Act Stupid!”
As a producer, SV has a diverse but signature sound from club rap (think Black Eyed Peas) to pop-R&B (a la Rihanna or Akon). Although born and raised in Brooklyn, some of his beats have a Miami feel to them, particularly “Act Stupid!” In others, he juxtaposes tribal and Middle-Eastern sounds with a mainstream, synth-based club minimalism (like in Rich Boy’s “Drop”). SV is also making moves as a rapper and lyricist–his hook writing ability in particular is phenomenal.
Breaking Onto The Charts
Look out for these guys in the coming months. Today, there are really three ways for an artist to break onto the rap and pop scene, any of which could propel SV & DJ Jove to the top of the charts:
A guest spot from an established artist – the Drake model
“Going viral” – the Soulja Boy model
Grassroots / paying dues – This is the model for most big rappers today including as TI and Lil Wayne. Can take up to a decade to reach peak potential. One could argue that like with rock music, these artists largely benefited from the promotional dollars of the “old music business” (pre-2000s) and that this sort of success may not be as viable in today’s short-attention-span/everything’s-free marketplace. On the other hand, if you told me that Wayne was eventually going to be a Top 40 artist back when I was jamming on his Tha Block is Hot album, I wouldn’t have believed you. I always thought of him as one of the under-appreciated members of Cash Money Records. So I think there’s actually an objective reason for why these artists stood the test of time and went from moderately successful Southern rappers to Top 40 artists: talent.
Posted by Keith Freund On August - 20 - 20096 COMMENTS
Key Signature: C minor Special Songwriting Devices Used: V minor chord, starting the chorus on a chord other than the root
Note: This post requires a basic knowledge of intervals,solfege syllables, and voice leading. If you don’t understand a term underlined with dots (like this), move your mouse over it for the definition.
The other day I was messing around with “Amazing”by Kanye West on guitar and noticed that it uses an often neglected chord in modern pop music, the V minor. Before we get into why the V minor is unusual (and what Kanye has in common with Coolio), here’s the chord progression:
Verse: C minor (2x), G minor, C minor Chorus: Ab major, C minor, G minor, C minor
Or in Roman numeral analysis form:
Verse: I minor (2x), V minor, I minor Chorus: bVI major, I minor, V minor, I minor
In “Amazing,” G minor is the diatonic V chord–the triad built on the fifth note of the scale. But V chords in today’s minor key pop songs almost always have either a major third (making it a V major chord borrowed from the parallel major) or no third at all. The diatonic V minor chord is rarely used.
Origins of the V Major Chord in a Minor Key Context
Most American pop stems from jazz or blues harmony, but if there’s one songwriting device that has carried over from classical, it’s borrowing the V major chord from the parallel major key in the context of a minor progression.* In these situations, there is a non-diatonic note: the V chord’s major third, which will always be the leading tone of the key. This note has a very strong tendency to resolve up to the root note by a half step. The result is better voice leading back to the root than a V minor chord would provide. Since a V chord resolving to I (or more specifically, ti going to do within that resolution) is considered the strongest tendency in any key, the voice leading is (apparently) so important here that composers have been using this non-diatonic chord for ages.
But Kanye doesn’t swing that way.
If you’ve ever studied classical music, you know that the concept of proper voice leading is meant to make things sound “smooth.” But smooth can often turn into boring, particularly in the context of non-orchestral music. By using the V minor chord, Kanye adds some much needed harmonic interest to a relatively sparse arrangement.
So rare is the V minor chord in pop** that hearing it played on a single instrument (piano in this case) sounds a bit unusual, even medieval. The expectation of that leading tone over the V is so strong that, even for me, it was difficult to sing the minor 3rd instead of a major 3rd.
Combined with a dragging groove of an upright piano, it ends up sounding more like something to be played in the background of a saloon shoot out scene from a Western/Cowboy flick than a hit single for a mainstream rapper. In fact, if you remove the characteristic elements from this chorus–play V major instead of V minor and change the first I minor to IV minor (more on this below)–you’ve got Gangsta’s Paradise, choir and all:
Chorus Root Chord Placement
As I talked about in my analysis of “Kids” by MGMT, starting a progression on something other than the root automatically sounds more intelligently written. While pre-choruses and bridges often start on other chords (in order to build tension for the inevitable release into the section that follows), choruses almost always start on the root chord. When one doesn’t, it almost always ends there. “Amazing” is no exception and falls into the latter category.
But what’s interesting is that the chorus also has another root chord: the second one of the progression. So to expand on what I said in the previous paragraph, here are your root chord placement options for choruses with four chords or less, listed in order from most to least common:
Option 1: Starting on the root chord. This option solidly establishes the key from the outset, allowing the chords that follow to create new flavors and define the overall emotional content of the chorus in relation to the root. By far the most common option.
Option 2: Ending on the root chord. In these cases,the beginning chords lift the listener up, create tension, and eventually resolve to the root–using the harmony to create dynamics. This is a fairly common option, but also very powerful and can be a good way to shake up your songwriting or cure writer’s block. Examples include “My Hero” by Foo Fighters and “Go With The Flow” by Queens of the Stone Age.
Option 3: Using the root as chord #3 out of 4. This technique tricks you into thinking that it’s going to be a three chord progression, then adds a fourth chord which says “nope, it’s still going, the thought/feeling isn’t done yet.” Can create a cyclical feeling. This option is not totally unheard of but it’s rare. MGMT’s “Kids” is one example.
Option 4: Using the root as chord #2 out of 4. By far the rarest option and probably for good reason. I have no idea how to characterize what this option does emotionally, but in the case of “Amazing” it’s a defining characteristic.
Option 5: No root chord at all. I can’t think of any pop choruses that do this, so if you can, leave it in the comments!
(Note: Although the above is applicable to most choruses, obviously the emotional results may change with different combinations of these options or a greater number of chords. And by the way, you won’t find this list in a text book.)
So not only does the chorus start on a chord other than the root (in this case the bVI major), but the progression goes back to the root on the second of four chords, which is highly unusual. The result is a unique, signature chord progression (in pop you only have to be unique within about 10 years).
Well folks, that about wraps things up. As with all of my analyses I expect some good counter points (ha…) and a healthy dose of “this song sucks” / “this song still sucks” comments. But before we part ways I want to answer a question that Phil posed in his latest blog post:
“When was the last time you at home got a record, sat down, and listened to it?Really listened to it.Didn’t put it on while you clicked through Facebook or checked the local news.Just listened?”
My answer to his question is 808s and Heartbreak. And when “Amazing” came on for the first time, I had no idea Young Jeezy was going to come in because he wasn’t listed in the song title. I’ll be honest, I’ve had mixed feelings about Jeezy since day one, but when I first heard his voice come in over this strange track with the reverse reverb, I thought it was the hardest shit I’d ever heard.*** I got chills. And the fact that I wasn’t expecting it made it 10 times more powerful, supporting Phil’s theory that the less we know and see about the music before we listen, the better.
*Actually, classical music**** tends to use a V7, which is based on a V major with a minor 7th on it, forming a tritone between the 3rd and 7th of the chord and creating an even stronger pull to I. Though we typically think of classical music as triadic, this is the one 7th chord that classical composers used regularly.
The V7 chord is dominant-functioning, which in layman’s terms means our ears hear it as having a very strong pull to another chord, in this case back to the I major. This movement is called dominant resolution. The V chord builds tension while the root chord releases it. Since we have this strong expectation of resolution from listeners, the voice leading used for this transition is considered to be particularly important.
**The only other recent V minor example I can think of offhand is “Clocks” by Coldplay, although in this case the V minor is used to help establish the song’s Dorian tonality. The opening piano arpeggio can be analyzed as follows: I/3, V-/5, IV/5 or in other words: I major (1st inversion), V minor (2nd inversion), IV major (2nd inversion).
***This transition is shortened on the YouTube version.
****Yes, I’m using the term “classical” in a colloquial manner here; I’m not referring to the Classical period. This is terrible… even my asterisks have asterisks.
Posted by Keith Freund On May - 29 - 20092 COMMENTS
From “ill” to “trill,” buzz words have been a mainstay in hip hop culture since its inception, used to associate one’s self with a particular scene or movement. A few years ago, using the word “crunk” in a lyric served as an automatic association with the South while “hyphey” was code for California (specifically the Bay Area). As a rapper, buzzwords can either earn you street cred or date your work and career.
Snoop Dogg is the perfect case study on the benefits of buzz words. Like T-Pain with his Auto-Tune, “izzle” became Snoop’s brand, one which was so heavily copied and referenced that it elevated his status above and beyond his “Gin N’ Juice” days (via imitation being the highest form of flattery).*
While the term “swagger” is not technnically new to hip hop, it has only recently become a movement, turning the game on its head and defining what it means to be cool in 2009. “Swagga Like Us,” a hit collaboration between the four hottest** rappers in the game: Kanye West, TI, Jay-Z, and Lil Wayne. It’s the closest thing to a “super group” rap music has seen thus far. Because of this, everything in the song becomes significant automatically.
There are a number of notable musical devices used in this song***, but what struck me most was the word swagger itself. Dope, fire, fly,… Those terms have all been more or less meaningless, merely synonyms for “cool.” But swagger calls to mind a very specific brand of cool. Swagger is classy. Sophisticated. Timeless. Those who possess swagger stay in control no matter the situation.
Sinatra: The original Sultan of Swag.
I’ve heard some rappers imply that people can have all different ‘types of swag,’ but this article refers to classic Swag, the real deal, of which TI is the archetype. It’s not hard to imagine that TI had Sinatra in mind when crafting his his image.
“A person with swagger is classy, stylish, confident, above the fray, perhaps a bit aloof.”
-TI
Keri Hilson desires a man who has his “swagger right.” Mike Jones isn’t afraid to go pop for a woman with “Swag Through The Roof.” But as with anything that blows up quickly, its popularity could be its downfall…
The Death of Swag?
Several weeks ago, there was an internet uproar when CNN did a segment on Obama’s “swagga” (thank you, CNN for the ‘authentic’ spelling). Ehow.com now has instructions on how to “turn [one's] swag on” (see: “Turn My Swag On” by Soulja Boy). But swag started going down hill long before CNN caught wind of it.
I consider myself a connoisseur of pop music. Give me the dirtiest, most superficial, mindless morsels of sugary pop goodnesss and I’ll devour them in one bite. But every now and then a song comes along that is just so utterly baffling that I have to stop myself. I’m going to go against popular opinion here and put myself out there: “Swagg Surfin”? Really? Is this serious?“I SWAGG WHEN I SURF NOW WATCH ME SURF N SWAGG”? I practically had a heart attack when I heard this song for the first time. Swagg Surfin is beyond me. Maybe it’s the fake horns, maybe it’s the laughable dance, but I will not allow myself to like this song. Swagg Surfin is the new Laffy Taffy. Take a look:
The funny thing is, I’ve listened to Swagg Surfin so many times now (in an attempt to wrap my head around it) that I actually enjoy the song now. While it’s been all over Atlanta radio for a while now, a lack of a Wikipedia page leads to me to believe F.L.Y. and their Song-Dance has yet to make it out of the South.
So what does it all mean? Is swagger signaling a more mature direction for rap, a response to increasing social awareness from the 2008 presidential election? Has the younger generation decided to “turn (their collective swag) on and tune in?” Can you think of more rap buzz words? Comment with your favorites.
*Of course, today all but the dorkiest of middle-class white kids are tired and unamused by izzle references, including Snoop himself I’m sure.
**Young Jeezy is certainly up there, but his latest album didn’t do so well (though I’m a huge fan of “Put On” and “Vacation”) and he is branded as a cocaine dealer (“the snowman”), which is problematic for him because rap has turned away from gangster rap in favor of party/club music. At this time two years ago, every rap client put down Young Jeezy as a reference on our Fix Your Mix Submission Form but now it’s all Swagg Surf or TI.
***This song also struck me because it was on the iTunes Top 10 at the same time as the song its beat was sampled from, which demonstrates another trend, Sampling Stuff That Isn’t Old. Other songwriting devices used in “Swagga Like Us” include Phrygian mode and a driving kick drum pattern
Posted by Keith Freund On May - 27 - 20099 COMMENTS
Following the success of my compositional analysis of “Single Ladies”, today I’m here to talk to you about a song which is equally unusual but lives in a completely different realm of music and pop culture. Battles is a mostly-instrumental, indie-math-something-or-other rock band comprised of several other influential but fairly obscure bands and Boston scene veterans.* “Atlas,” the first single from their debut and most recent LP, Mirrored, illustrates a number of interesting songwriting techniques that you can use to expand or understand your own writing.
Tempo: 134 BPM Key Signature: D Lydian (same notes as A major) Time Signature: 4/4 Special Songwriting Devices Used: Shuffle groove, Modal harmony
What’s most compelling about this song is that it is haunting, but not dark in a depressing way–rather it is hypnotic, like an alien army marching into a battlefield. While there is plenty of interesting stuff going on here production-wise,** this post seeks to explore what gives this song its otherworldly feel from a compositional perspective.
The first thing to note is that the song was written in Lydian mode, a scale which is considered “mostly major” because it is the same scale shape as major except the fourth note is raised by a half step. (To turn D major into D lydian, you would change the G to G#). To better help you understand what modes are, where they come from, and how they can be used check out Keith’s Crash Course on Modes For Self-Taught Musicians. Lydian is one of the least common modes in pop music today but can be the most beautiful. You hear it mostly in film music and 70s rock (see: the intro to Led Zeppelin’s “Dancin Days“).
D Lydian is officially established when the vocals come in. The A-section melody (“People won’t be people when they hear this sound…”) outlines a D Lydian scale going down in perfect fifths starting on solfege syllable sol (A). These repetitive intervallic jumps in Lydian mode make for a trance-inducing result. The bassline underneath remains firmly planted on D, which is exactly where it stays except for moving to E at 3:29 (5:30 in the album version) for a few seconds. This lack of chordal movement is part of what gives Atlas its drone-like quality. In the absence of a chord progression, Battles relies on evolving melodies, syncopated rhythms and the frequent introduction of new elements/sounds** to keep interest level high throughout this seven minute epic.
Shuffle
Shuffles are kind of like the matrix. No one can be told what a shuffle is… Well, I guess really what I’m trying to say here is that the text book definition of a shuffle is not necessarily how we hear it. Shuffle is a fancy name for a triplet feel where the second note of the triplet is not played or generally emphasized. Often, though, we hear the third beat of each triplet not as part of a triplet at all, but simply a pickup note going back to the initial beat rather than part of a triplet. A song which uses all beats of the triplet is said to be in 12/8 time. One could argue that Atlas is actually a 12/8 groove rather than a shuffle because the drums often use all three beats of the triplet, but the vocal melody and bassline strongly reinforce a shuffle feel. Soloists sometimes use triplet patterns over shuffles, so the presence of a few full triplets here is negligible.
The Difference Between a Shuffle and Swing
Shuffle feel is actually a type of swing based on a tap dance (the shuffle). There are two main differences:
Shuffles typically emphasize beats 2 and 4 while a swing groove often does not (see: the entire Jazz idiom). Atlas features a clap (speak of the devil) on beats 2 and 4 during the verses, with the snare drum eventually coming in.
Though it sometimes sounds like it, swing is not thought of as a triplet feel. What’s actually happening is every other 8th note (or other note value) swings (drags) a little bit late, hence the name. The end result may sound like a triplet, but unlike in a shuffle, a timing of a swung note is inexact–some performers are known to “swing harder” than others and certain subgenres of jazz call for different types of swing feels. And again as with shuffles, triplets are sometimes used for soloing over swing time.
I hope you’ve found this article useful. If you have any other observations about Atlas, feel free to leave a comment. If you find yourself writing in the same songs over and over again, try integrating modal harmony or a triplet feel into your next song. It could end up being the stand-out track on your album.
WARNING: BEFORE COMMENTING ON THIS POST, WRITE YOUR COMMENT ON A SEPARATE DOCUMENT AND THEN PASTE IT INTO THE COMMENT BOX. WE HAVE BEEN HAVING PROBLEMS WITH COMMENTS GETTING LOST ON THIS PARTICULAR POST. THANKS.
*My first experience with Battles was several summers ago, and Mirrored was just about to be released. A friend of mine convinced me to go on a road trip to New York City from Atlanta, one of our main objectives being to see brit-rockers The Noisettes. To our delight, we learned upon arrival that the show had been combined with a Battles show which was set to take place at elsewhere but had been cancelled. I was blown away by what I saw, and it looked a lot like what you see in the video above.
I mixed and co-produced the record, also sharing mastering duties with Dave Cooley (produced both Silversun Pickups records and has mastered for J Dilla, Madlib, & Polyphonic Spree). They’re something like a female-fronted Silversun Pickups or Autolux. But fresher. And maybe with a dash of Smashing Pumpkins. Listen to all five songs on Bandcamp. My favorites:
A friend of mine is an exceptionally talented bass player. He’s played all over the world with musicians from Michael Brecker to Andy Timmons and he’s also an excellent storyteller. One day we were hanging out and he started reminiscing about this gig he played during apartheid in South Africa. He began by saying that he had this six-month contract to play as the house band at a nightclub.
Despite the democratization of music production technology over the past ten years, most of the mastering process is still a black art to most people. You can buy a cheap microphone for your computer at Wal-Mart to record your bedroom demos, but for some reason you still can’t get your music as loud and clean as Kanye. The brave can attempt a lot of it at home with varying degrees of success, but an esoteric lexicon still exists that causes many to second guess their ability to deliver a professional product. “Red Book” falls into this category.
Interesting aside: the companies originally wanted 60 minute of play time with 100 mm to 115 mm discs. The ultimate choice of 74 minutes came from the suggestion by Herbert von Karajan, conductor of the Berlin Philharmonic, that the CDs should accommodate Beethoven’s 9th Symphony, which was recorded in 1951 at the Bayreuth Festival in Germany. This increased time necessitated the increase to 120 mm diameter discs. The first test disc ever made was pressed in Hanover in 1981 and featured Von Karajan conducting the same group, so his opinion must have been important to the researchers.
Buy “Act Stupid!” on iTunes
