Music Sequencing:

Music sequencing or recording software has four distinct types of tracks. Audio, MIDI and Instrument tracks usually appear next to each other in the arrangement window. Tracks are listed vertically and measures or the time line progresses from left to right:

• AUDIO tracks are used to record and playback audio files and will ideally be inputted and outputted via a dedicated audio interface.

• MIDI tracks are used to record and play MIDI data to an external MIDI equipped device via a MIDI interface or internally to a Virtual Instrument.

• INSTRUMENT tracks have a variety of names but refer specifically to Virtual Instruments. They can be thought of as a hybrid track, the recorded data is in MIDI format but the output is audio. These usually have the ability to 'freeze' the VI which creates an audio file of the performance and turns off the VI freeing up computer resources.

• TEMPO track is unique, there is only one per song. If the song uses beats and measures as the reference point then the Tempo Track not only controls the speed but also the time-signatures. A metronome or click is available to help the user keep time. In more advanced sequencer software the tempo of the audio can be changed after it is recorded but the beginner will probably use a fixed tempo for their early adventures. For this reason it is a good idea to experiment with the tempo of the song before comencing recording.

Where to start? That's simple with whatever you have got. You don't have to have a completed song, chord chart or lyric. The beauty of this technology is that changes and edits can be made at any time. Parts can be copied, moved around, added to or deleted. If all you have is an idea for a chorus then that's the place to start. It's a good idea to get things down for example record a guide vocal early in the piece. As the vocals are often a major part of the song having a guide allows you to arrange the instrumentation around it.

Once you have the basics of the song perhaps a verse and chorus, use the cut and paste facility to make a basic arrangement. This helps to quickly gain an idea of the overall feel of the tune.

	The RODE NT1A is a relatively in-expensive large diaphram condenser microphone that is suitable for vocals and acoustic instruments such as guitar. It comes with a 10 year warranty.

Here are a few recording tips and tricks:

• VOCALS: Lead vocals are best recorded with a large diaphram condenser microphone. Use headphones to avoid spill and if possible track a number of takes. These can be edited later. When it comes time to mix you may use one verse or even one line from one take and subsequent lines from other takes. Backing Vocal tracks are good when you have many of them.

• ACOUSTIC GUITAR: Stereo record with two microphones; Use an installed pick-up and microphone and experiment with placing it in the stereo field; And one of our favourites: If the performer can play the same part twice use mono microphone or pick-up recording and hard pan each take oppositly. Another good trick which can be applied to other tracks as well is to record a performance in mono and then make a duplicate track. Hard pan each track left and right and use the delay or time off-set parrameter to play one track early, perhaps 5 milliseconds and the other track late by 5-10 milliseconds. This creates a wide sounding stereo image.

• ELECTRIC GUITAR: If an effects processor with stereo outs is used record that as a stereo track. Mono microphone on amplifier use mono tracks and in general try double taking the rhythm parts and hard pan.

• BASS GUITAR: Often recorded straight through the audio interface or via a DI.

• DRUMS: Recording a kit requires more advanced engineering skills and equipment. Sometimes just using two condenser microphones as overheads will capture the moment and if possible add dynamic microhphones on the kick and snare. The novice will save a lot of time and hassle by using MIDI or Virtual Instruments sounds. Experience has show that the novice songwriter has more trouble with rhythmic parts than any other so the use of VIs with patterns included is a great start.

• PIANO: Is a tricky one and requires some experimentation with microphone placement. Try a pair of condensers and open up the piano if possible. Again the use of MIDI or VIs is strongly recommended.

• LOOPS: Most commonly found are rhythmic loops or drum grooves. These are imported or loaded onto audio tracks. You may set the tempo of the song to match the loop and in more advanced sequencers the loop can be time-stretched to match the desired tempo. The catch with most applications is whilst sounding like a looped file it is best not to loop or use the repeat function but to place the loop in a bar or bars and repeat or copy those bars not the original audio file.

• MIDI or INSTRUMENT TRACKS: The introduction of MIDI in the early 1980s and Virtual Instuments in the 21st century has revolutanized the production potential of the songwriter. In the music sequencer the recorded data is in MIDI format. MIDI data can be manipulated or edited much more powerfully than audio data. One of the most significant features is the use of Quantize. This allows the recorded data to be shifted to a specified time or beat reference. The best way for data to be entered is via a keyboard or keyboard MIDI controller. Basic units are in-expensive. Even with little or no keyboard expertise if the user has any musical abilities then skills will be aquired as time and songwriting adventures progress.

• SYNTHESIZERS: Digital pianos and sound modules should be recorded as MIDI tracks and then tracked as audio before you progress to the mixing stage. It is suggested that this be late in piece as changes can be make to the MIDI data all the way up to the this point. If the Synth is Multi-Timbral i.e. you use more than one instrument from the same machine on different MIDI channels try this: Solo or Mute tracks and record tracks or groups seperately. This allows you to use different FX, EQ, Pan and Volume on alternative...now audio...tracks. TIP: This method can make a 'boring' MIDI based backing track really come alive! Separating Drums, Bass, Keyboards and Guitar with an audio based amp simulator can make a huge improvement. If you have a decent music sequencer it may be a good idea to turn off the internal FX in the MIDI device and replace these with audio FX in the mixing stage.

	The Shure SM57 is a classic and very useful to have in the arsenal. Excellent for guitar amps and percussion micing. And very tough!

 

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