Music Business Tips –

Hip-hop is a musical genre characterized by a rhythm accompanied by rap and songs, born among the black and Latin American youth of the Bronx and Harlem in the 1970s.

Hip-hop is today a culture in its own right. The need for quality productions is always growing and it is essential for artists (vocalists, beatmakers, DJs …) to have a sound knowledge in order to promote your achievements.

When we talk about hip-hop, we talk about culture simply because it includes 4 modes of expression: deejaying, rap, graffiti and breakdance.

These disciplines, appeared before hip-hop, will be integrated from the birth of the movement.

It is nevertheless by his musical expression that he is the best known and, as a result, often reduced to this one.

Hip hop is still unknown. This cultural and political movement often seems reduced to a caricature but above all expresses a new language of popular revolt.

A history of hip hop culture
Hip hop remains unrecognized. This cultural and political movement often seems to be reduced to a caricature but above all expresses a new language of popular revolt.

Hip-hop is not just a cultural movement. It is rooted in the Social Revolt of the working class districts. Jeff Chang proposes a social and political history of hip-hop in the book can’t stop Won’t stop.

This musical and artistic trend comes from the Bronx and the popular neighborhoods of New York. These territories are being abandoned by the public authorities. Education, health, social wings are disappearing. The housing is left in a state of disrepair. Youth grow up in unemployment and poverty.

A history of hip hop culture
Hip hop remains unrecognized. This cultural and political movement often seems to be reduced to a caricature but above all expresses a new language of popular revolt.

Hip-hop is not just a cultural movement. It is rooted in the Social Revolt of working class neighbourhoods. Jeff Chang proposes a social and political history of hip-hop in the book can’t stop Won’t stop.

This musical and artistic trend comes from the Bronx and the popular neighborhoods of New York. These territories are being abandoned by the public authorities. Education, health and social welfare are disappearing. The housing is left in a state of disrepair. Youth grow up in unemployment and poverty.

“Boyz-N – the Hood” appears to be a mediocre and often macho rap. Created by Jonathan Jackson, it becomes a true generational myth. In the Soledad Brothers, prisoner George Jackson collected letters written to his brother Jonathan about communism, sex, resistance. Jonathan Jackson tries to escape the death penalty by escaping the courtroom with a gun to the judge’s head. The prisoner is killed. “Boyz-N – the Hood” became the myth of a youth revolted and hunted by the police.

The city of Los Angeles is traversed by significant social inequalities. In 1965, the Watts district rose again. A week of riot allowed the population to regain control of the street in the face of a helpless police. The gang then joined the revolution. Watts then became the mythical quarter of poets and philosophers. Gangs politicize themselves in contact with black activists. Some even wear the black leather jacket in solidarity with the Black Panthers. Mike Davis described the Crips as “a mixture of juvenile subculture and protomafia” and as “the last lifeblood for thousands of young people left behind.”

In the 1980s, violence on the street became more severe. The rap is broadcast through homemade cassettes. “These new blues were a great way to recreate daily life on the eruptive margins of inner-city neighbourhoods and its perilous reversals,” said Chang. Violence, crack, guns, gangs are described by hip-hop music. The gangsta rap is growing Wilder. New artists invent a direct style. “If it were a protest, they would throw away the ideology and go straight to the riot. If it was sex, they would throw the seduction to go straight to sex, ” described Chang. This music is based on theatricality and threat. The power of words must liberate from internalized oppression to become a new black poetry and the coolest rebellion.

In 1992, in Los Angeles, the police beat up a young black man named Rodney King. Riots break out. Blacks and latinos actively participate in this movement. On the other hand, Korean traders are suffering damage. “No justice, no peace” became the slogan chanted by the rioters.

The crackdown is getting tougher. The war on gangs is like a war on youth. The law prohibits the gathering of young people on the street. Black people are heavily repressed and make up the majority of the prison population. The reactionaries also invest the cultural ground and do not cease to denounce the rap that conveys violence and sexually explicit words.

Sister Souljah, a black activist close to Public Enemy, proves to be particularly good at polemic. She defends hip hop culture as a means of disseminating political ideas. “Rap is a vehicle for Black Consciousness mass marketing,” says Souljah. Above all, it unconditionally defends the rioters and trivializes their violence in relation to the daily brutality of the gangs. Bill Clinton then accused him of inciting violence against white people. Ice T is also denounced by the reactionaries. His song “Cop Killer” is seen as an inducement to kill cops.

Who will be the shadow in Lyon ?

Dissemination and recovery

The hip hop generation invents its own journalism. The media describes the rap from the outside. From now on, passionate young people address their readers with their own language, which reflects their anxieties and controversies. The source, an amateur magazine, claims to embody the revolt of an entire generation.”It perfectly illustrated the hip hop attitude – that b-boy attitude, with the overwhelming confidence of the street-goer, the morgue – ridden challenge of a generation, the barely secret joy of owning something that an army of parents, cultural critics from the baby boom, or rock-and-roll journalists couldn’t really understand-and put it into words,” said Chang.

But the magazine also reflects the contradictions of hip-hop, between its commercial potential and its potential activist. The Source doesn’t just want to be “the voice of the rap industry” to become ” the music, culture and Politics magazine hip hop “. He creates the canon of rap magazines with topics like dates and guide to record releases, the best hip hop quotes, fashion pages with mannequins.

The section “Doin’ the Knowledge ” offers a hip hop look at the political issues of the time : crime, the prison system, aids, Islam, electoral politics, the Gulf War. Journalists are always debating what should be in the magazine. “Hip hop journalism made it possible to focus on the Straight Talk of margins, highlight the added value of free speech and all the fun of breaking sugar on people’s backs, define a boom-rap aesthetics, celebrate different forms of beauty and make money at the same time,” notes Chang.

Hip hop gradually became the embodiment of the urban, commercial and trendy lifestyle. Brands like Nike are taking over the hip hop culture to develop their advertising image. Certainly, an underground movement persists, with these independent labels. But the rap is less aimed at the blacks of working-class neighborhoods and more at the White petty bourgeoisie, with a much greater purchasing power. Hip-hop journalism fades behind hip-hop magazines like Vibe. Many rap fans reject this new headline. “For them, Vibe seemed to turn hip hop into a museum piece – cool, but cerebral, clever, but constipated, splendid, but bourgeois,” says Chang.

Young people from all walks of life dress in the same way. But, instead of equality, it is more a negation of the relations of class domination and race. The urban cool “feeds on the alienation that defines race relations in America : it sells to the white youth the fetishization of the black style, and to the black youth its fetishization of the white wealth,” Naomi Klein analyzes.

From the mid-1990s, rap became a commodity. The record industry took control of this music, which became the most profitable. “In the past, there was a creative tension between the two roles of hip hop, a commodity in the media industry and a driving force behind a vast and dynamic network of local undergrounds,” said Chang. But radio imposes a formatting and standardization of music.

The concentration of capital eradicates diversity. Five record companies, one radio and one music channel share the cake of the cultural industry. Independent labels get bought out, evicted or crushed. Political rap became a bland, inoffensive, “conscious rap” for “vegetarian hip hop fans with advanced education, an Ipod and a Northface backpack”, joked Jeff Chang. The conscious rap does not express a political revolt but a market share.

â€Atlanta’ / series é renovada para a terceira temporada

Hip hop revolt

But the hip hop generation is not that depoliticized and consumerist Mass often decried by its elders. Young people participate more in protests than the Civil Rights generation. But they are abandoning the political spectacle and no longer organizing large media marches in Washington. They prefer direct action at the local level to transform their daily lives. “Vital fighting was taking place at the local level, where hip hop activists were struggling in the streets, neighbourhoods, school boards, town halls, state legislatures, and corporate offices,” said Chang.

Rap, graffiti and breakdance mobilize people on education, urban gentrification or repression.”Young people notice that the only things that can no longer be sold, recovered or marked are mobilization and political dissent,” says uski Winsatt.

The book by Jeff Chang proposes a dive into the history of hip hop. He stresses the popular and anti-establishment origins of this movement. Unlike the chatter of a Cachin Olive Tree or the revisionist delirium of Mathias Cardet, this book shows not only the breath of revolt but also the commercial recovery of the last great movement of counter-culture.

The comparison between hip hop and civil rights generation is relevant. The youth of the 1980s no longer adopted ideological and openly political language. But hip hop helps to anchor the protest in the daily life of working class neighborhoods. Violence, drugs, police repression, poverty and boredom are the rhythms of rap music. Even if the cruel observation of a violent reality takes precedence over the emancipatory perspectives. But hip hop remains a creative movement that breaks the daily routine. It is a new form of expression that invents its new language, away from militancy but in tune with reality.

The 10 Best Sampler VSTs for Music Producers

There are as many ways to use samples are there are producers.

Working with samples can be as simple as dragging and dropping them onto your DAW timeline.

But many producers prefer the workflow of dedicated sampler plugins.

Sampler VSTs have a lot in common with hardware samplers—but they’re much more powerful and flexible.

In this article I’ll break down the best software sampler plugins for creative sampling techniques.

1. Native Instruments Kontakt 6

Native Instruments Kontakt is the biggest name in software samplers.

Konkat is an incredibly deep and powerful sampler plugin with a huge library of third party banks and sample sets available.

Kontakt can handle every task you’ll ever need your sampler to do, but it’s uniquely suited to realistic imitations of acoustic instruments.

It’s the go-to sampler of sound designers and film composers. Entire orchestras can be simulated convincingly with Kontakt.

These deep sampling capabilities combined with the extensive third party content make Kontakt a top sampler choice.

Deep sampling capabilities combined with the extensive third party content make Kontakt a top sampler choice.

2. Logic EXS24 mkII

Logic’s built in sampler plugin is the powerful EXS24, now on version mkII.

EXS24 is another capable modern sampler well suited to loading hyperrealistic multi-GB sample libraries of orchestral instruments.

EXS24 it’s equally at home on loops, phrases and single samples. It provides the powerful envelope, filtering and velocity triggering options you’d expect from a modern, full-featured sampler.

3. MOTU Machfive 3

MOTU Machfive 3 is another impressive sampler plugin from a respected manufacturer.

Machfive contains unique features such as a variety of noise oscillator styles and a dedicated synth engine with FM and wavetable modules.

MOTU offers a range of sampled instrument libraries that let you emulate studio staples like grand piano and orchestral percussion.

4. TAL Sampler

TAL Sampler is an excellent affordable sampler that brings back the fast and fun workflow of retro hardware samplers.

Its analog modeled synthesis section includes a self-oscillating filter and flexible modulation matrix for subtractive tone shaping.

TAL Sampler can only has four independent layers, but sometimes limitations are good.

TAL Sampler only has four independent layers, but sometimes limitations are good.

TAL Sampler features a unique DAC modelling engine that can emulate the sonic qualities of several vintage samplers.

These crunchy and lo-fi yet satisfying sampling modes set TAL Sampler apart.

5. Arturia CMI V

Arturia CMI V is a plugin recreation of the legendary Fairlight CMI.

The Fairlight casts a huge shadow over the history of sampling. In fact, the term “sampling” itself was coined to describe one of the functions of the CMI.

When it first debuted the CMI came with a price tag of around $300,000 USD—and it’s sampling capabilities were primitive by today’s standards.

Nonetheless, artists like Kate Bush, Peter Gabriel, Stevie Wonder and Herbie Hancock embraced its futuristic sound and helped popularize the concept of sampling.


Arturia’s lovingly crafted plugin version gives you all the distinctive vibe of the Fairlight sampler without the price tag.

The unique sound and workflow of the CMI is an inspiring sampling tool.

The unique sound and workflow of the CMI is an inspiring sampling tool.

6. Ableton Simpler

Sometimes the best solution to a problem is to make it…simpler.

Ableton’s built-in Simpler plugin comes standard with all versions of Live.

Simpler is straightforward and creative yet deep and powerful. When it comes to manipulating single sounds, Simpler is one of the most immediate tools available.

With every parameter accessible from a single Live-sized panel, Simpler gives you direct access to the controls that matter most.

Simpler can only load one sample at a time, but that’s more than enough given how flexible and creative this tool is.

7. Steinberg HALion

Steinberg’s HALion was one of the first advanced DAW samplers on the market.

It’s another powerful sound design tool capable of highly precise sonic sculpting and realistic emulation of acoustic instruments.

HALion also features a well-developed library of sampled instruments including vintage style synths, world instruments, and convincing pianos.

Since it’s been a favourite for so long, HALion has an active user community to help you get the most out of its powerful features.

8. Ableton Sampler

Ableton Sampler is Simpler’s big brother and Ableton’s flagship sampling plugin.

Where Simpler is designed to keep things quick and easy, Sampler dives into the nitty gritty with advanced sound manipulation features and the ability to load multi-sampled libraries.

But Sampler doesn’t completely abandon the straightforward approach of Simpler.

Despite its advanced capabilities you’ll still find all the playability and ease of use that Ableton is famous for in Sampler.

9. discoDSP Bliss

discoDSP Bliss is a simple but powerful sampler with some extremely creative features.

Bliss can automatically create sampled instruments from patches on any VST instrument.

That’s a pretty useful feature if you’re working with CPU-hungry synth plugins that bog down your sessions.

Ableton’s built-in Simpler plugin comes standard with all versions of Live.

But that’s not all Bliss has to offer. In addition to its highly customizable envelopes, filters and LFOs it features a built-in wave editor for making powerful sample- level adjustments to your source material.

10. Air Music Technology Structure 2

Air Music Technology Structure 2 is a full-featured modern sampler plugin with lots to offer.

Structure 2 comes bundled with a giant library of sounds to get started using right away. Plus, it supports every major format available for third party sample sets.

Its advanced sample editor gives you granular control over every parameter.

So many samplers so little time

Sampling and samples are a revolutionary technology. Dedicated sampler plugins like the ones on this list extend the sonic possibilities of your samples.

Try one of these sampler plugins the next time you’re looking for a creative tool to work with your samples.

The post The 10 Best Sampler VSTs for Music Producers appeared first on LANDR Blog.

26 Samples Tips: The A-Z of Using Samples in Your Music Production

Samples are some of the most powerful tools in your music production arsenal.

They’re bits of sound that you can chop, loop, stack on top of each other, and manipulate any way you want.

In this article we’re breaking down the A-Z of tips, tricks and techniques to help you work better with samples.

A. ADSR

ADSR stands for attack, decay, sustain, release. 

These are the controls you’ll find on a sampler’s envelope generator.

Manipulating your envelopes can have radical effects.

B. Breakbeats

A breakbeat is a type of sample that a contains drum or rhythm pattern from an existing track—usually vintage funk or R&B.

They’re called breakbeats because early hip-hop producers could only sample isolated beats during instrumental “breaks” just the drums were playing.

The most famous breakbeat is the Amen Break.

C. Crate-digging

Crate-digging is the old school practice of rummaging through the crates of vinyl records at a record store to find unique material to sample.

You can still crate-dig in the digital domain by browsing samples and using Selector to find unique combinations.

D. Distortion

Distortion is a powerful effect.

Downsampling, bit-crushing, clipping and other forms of sonic destruction are great for turning boring samples into something completely different.

Don’t be afraid to get your hands dirty!

E. EQ

EQ is for equalization.

There’s no rules when it comes to EQing samples.

Sometimes you need to use EQ to stop your tracks from masking each other.

Other times EQ is a creative tool for taking your sounds in a completely new direction.

F. Filters

Most samplers and sampler plugins have integrated filters.

Try using them as a tone-shaping tool before you reach for other types of processors.

Samples can sound completely different when radically filtered by high-or low-pass filters.

G. Gated reverb

Gated reverb is a combination of reverb and a noise gate.

When the reverb tail decays below the threshold of the gate, the sound is abruptly cut off. 

It’s the famous technique behind the super punchy 80s drum sound, but it can create unique ambience on samples too.

H. Hardware sampler

Samples don’t just live in your DAW.

Getting your hands on a hardware sampler can change your workflow in a way you might not expect. 

Classics like the Akai MPC and Korg Electribe will always be useful tools for music producers.

I. Interpolation

Stretching a single sample across the entire keyboard is an old school technique for pitch-shifted polyphonic playback.

But often it’s not very realistic. 

Enable the interpolation setting on your sampler to increase the quality of the pitch-shifted samples. 

J. Jamming

Jamming is an informal term for improvised performance and live collaboration.

You can sample improvised music performances live or from records.

Collaborating with other musicians can be a form of jamming.

K. Kits

Drum kits are a basic building block in music production.

The term “drum kit” comes from a traditional live drummer setup.

Today a drum kit can refer to collections of percussion samples meant to be used together.

L. Loop

Loops and looping are an essential part of any samples workflow.
 
Loop samples can be easily stretched and manipulated to create a composition.
 
Setting loop points within a sample in your sampler plugin can also yield inspiring results.
 

M. MIDI

MIDI stands for Musical Instrument Digital Interface.

It’s the language that digital music devices use to communicate.

Experiment with different ways to manipulate the MIDI that triggers your samples. Or trying using a MIDI controller to play your samples live.

N. Noise

In most cases you want to minimize noise in your recordings.

But sometimes noise can be the sonic glue that holds your mix together.

Using samples of vinyl pops and crackles or atmospheric noise is a great way to extend ambience without adding more tonal elements.

O. One-shot

One-shots are samples that are only played through once, instead of looping.

One-shots can refer to any type of “hit,” from a quick vocal ad-lib, to a synth tone, to a drum kick.

In most production situations you’ll have a mix of loops and one-shot samples.

P. Polyphony

Polyphony means more than one note at a time.

A sampler is polyphonic if it can play a sample or set of samples on multiple keyboard keys at once.

Using polyphonic mode on your sampler can open up harmonic possibilities you didn’t even know were there—try it!

Q. Quantize

Quantizing is  used to bring MIDI note events into time on the DAW grid.

But you can get much more creative with it if you throw the rule book out the window.

Many producers prefer a touch of imperfection, to make things feel more human.

Try quantizing to a groove to get a bit of that human feel into your samples.

R. Resample

Resampling means taking your sampled sounds and…sampling them again.

Applying processing and effects can turn a sample into something completely different.

Resampling commits your tweaked sound to a new sample and lets you start fresh—and take it even further.

S. Slicing modes

Many hardware and plugin samplers include a slicing mode for chopping samples into smaller segments that can be retriggered and manipulated.

Common slicing functions include creating slices based on grid divisions or transients detected in the source sample.

Slicing can make even the most mundane samples come alive.

T. Timestretch 

Timestretching refers to slowing down or speeding up a sample.

It’s usually used when you want to modify the tempo of a particular sample.

Timestretching can have a radical impact on a sample’s pitch and quality. Try using it creatively for an effect.

U. Upsample

Upsampling, also called “oversampling” is when you process a sample at a higher sample rate.

Some plugins can do this to improve the quality of the processing they apply.

V. Vintage sampler plugins

The limited storage and primitive AD/DA conversion of vintage samplers gave them a unique sound.

You can get some of this vintage flavour for yourself with plugins that model the classics. 

Try using plugins such as TAL SamplerSonic Charge Cyclone or 112 dB Morgana to add that perfect retro grittiness to your samples.

W. Wave Editor

Some sampler plugins have a built-in wave editor for fine tuning your source samples.

Try editing your samples directly at the waveform level using a wave editor.

X. X-fade

X-fade stands for crossfade.

Enable X-fade on looped samples in your sampler plugin to ensure they loop seamlessly without clicks or artifacts. 
 

Y. Y-cable

A Y-cable is used to create parallel signal chains with hardware like effects pedals.

But you can do the same thing with samples in your DAW. 

Experiment with different parallel and serial effects chains for radical new textures.

Z. .zip

A .zip file is an archived or compressed file format.

You might use .zip or .rar files for transferring or downloading stems and sample packs.

The post 26 Samples Tips: The A-Z of Using Samples in Your Music Production appeared first on LANDR Blog.

Loudness 101: How Mastering Levels Affect Your Sound

Loudness and dynamics are two of the most important concepts in mastering.

Mastering ensures your song is loud enough to compete in the marketplace of commercial tracks. And the biggest impact of the mastering process is loudness.

It’s seems like there are endless arguments about loudness going on in the pro audio community. So why is loudness such a big deal?

Some say loudness is killing music, but there’s plenty of pros out there still chasing the loudest master they can get.

With 12 million tracks now mastered with LANDR, it’s about time we clear the air on subject!

In this article I’ll go through everything you need to understand loudness in mastering, including what it is and what it means for your LANDR masters.

What is loudness?

Loudness is the human brain’s perception of sound pressure. The more energy (or SPL—sound pressure level) a sound has, the louder it seems.

It’s simple enough to understand with a sound in real life. But in your DAW, you’re working with audio signals—not sound waves travelling through the air.

To find the loudness of a signal, we have to measure it. Depending on how you choose to measure, you can come to some very different conclusions!

To find the loudness of a signal, we have to measure it.

Assessing loudness

Peak loudness method

The first way to assess loudness is to look at the highest moment in the whole audio track. This method is called peak loudness—but it doesn’t quite tell the whole story.

If you tried to raise your track up to 0 dBFS using the total peak loudness as a reference point you’d run into a problem. The loudest single moment in the track will be optimized…

But the quieter segments wouldn’t even come close.

In fact, raising the level this way is equivalent to choosing the normalize option in your DAW’s bounce menu—definitely not appropriate for mastering!

RMS method

The next option for assessing loudness is RMS measurement. RMS stands for Root Mean Square. It’s a mathematical method for determining the average level of a wave.

Comparing the two, the RMS values are considerably lower than peak, since RMS takes the dynamic extremes into account.

Perceived loudness

But there’s still more to it! Since you’ve been looking at the “electrical” loudness, you still don’t have a good picture of how loud you’d perceive the track to be.

That’s where the modern loudness standard LUFS comes in. LUFS stands for Loudness Units relative to Full Scale. It’s based on the way our ears (and brains) react to the intensity of sound at different frequencies.

With LUFS mastering engineers can make a loudness measurement that takes everything into account. It’s the perception based, integrated average loudness that’s relative to DAW full scale!

Loudness in mastering

Loudness in mastering is how close the mastering process brings the average level of a track (LUFS) to the 0 dbFS ceiling

Throw a modern commercial recording into your DAW to see what I mean. If it’s a pop, rock or electronic master from a major label, you’ll notice just how close the average level comes to 0 dBFS on your DAW meters.

Dynamic range compression is the method used in the mastering process to achieve these levels.

Once the difference between the highest peaks and the average has been reduced, the average level of the track can be boosted without risking clipping.

But increasing the level in this way has a trade-off… Loudness often comes at the expense of punch and dynamics—that’s what dynamic range compression is for after all!

The tug-of-war between between loudness and dynamics eventually led to a trend of ever-increasing average levels known as…

Loudness often comes at the expense of punch and dynamics

The loudness war

A lot has been said about the topic of music getting louder over time and the impact it’s had on the music industry and the listener.

But if for some reason you haven’t heard about it yet, here’s the basic idea:

Mixing and mastering engineers have always liked things loud, but with the advent of digital lookahead limiters in the CD era, loudness became an arms race.

The theory was that listeners would instinctively prefer the sound of CDs that delivered a louder signal to their speakers—especially if they were shuffling tracks across different albums on multi-cd changers (remember those!?).

So mastering engineers kept pushing their masters closer and closer to 0 dBFS.

Eventually the loudness craze culminated in a series of notoriously over-compressed records that prompted a backlash from listeners and the pro audio community.

Today, the average level that streaming services can actually send to your speakers is more or less standardized.

Today, the average level that streaming services can actually send to your speakers is more or less standardized.

That means that on Spotify, the 2003 remaster of Thriller won’t actually output a louder signal than the original 1982 master.

Without the extra loudness to trick our brains, the extra compressed masters sound flat, fatiguing and not very pleasant.

And that’s a good thing for listeners. There’s no longer any reason to compromise the punch and dynamic liveliness of your master just to gain yet another thousandth of a dB of loudness.

Loudness and LANDR

So where does LANDR stand in the aftermath of the loudness war?

Before we get too far let’s make one thing clear—Loudness isn’t evil. Loud masters can sound great, as long as they’re not completely squashed with compression.

Loud masters can sound great, as long as they’re not completely squashed with compression.

Loudness definitely has its place in the musical landscape. Certain styles and genres require maximum loudness, while others need delicate dynamics.

That’s where mastering intensities come in. LANDR mastering styles offers 3 different intensity settings that cover a broad range of loudness and dynamics.

  • Lo: A lighter touch that preserves dynamic balance
  • Med: Commercial loudness without sacrificing punch and impact
  • Hi: Maximum loudness that preserves detail

Lo is the least compressed, so it’s also the most dynamic—and the least loud. It’s perfect for acoustic music or anything where natural dynamics are important.

Med is right down the middle, balancing loudness with dynamic range. It doesn’t have the effects of intense compression, but it won’t be as loud as possible. When in doubt, Med is a good starting point for most tracks.

Hi is the most intense. The compression is heavy but satisfying with no compromises on loudness. I use Hi whenever I’m working with genres that need to be loud to compete.

But the only way to know for sure is to master a track and use your ears to find the intensity that fits your sound.

Thinking out loudness

There’s so many opinions out there that loudness has turned into a lightning rod for the audio community.

But it’s not as scary as it sounds. Loudness is a basic property of audio, and its role in mastering is worth taking the time to understand.

Take the time to apply different intensities to different versions of your tracks. You’ll get a better understanding of how loudness levels impact your own recordings.

Now that you have your head around loudness, master some tracks and hear it for yourself.

The post Loudness 101: How Mastering Levels Affect Your Sound appeared first on LANDR Blog.

Watch: Will Mix Bus Processing Affect My Master?

LANDR’s senior audio engineer Al Isler loves to talk mixing. So we opened up our P.O. box to the LANDR community and asked you to send Al your most burning mix-related questions.

Today’s questions: “On my mix-bus I have been doing some mid side eq-ing and I notice how much the sounds are glued in together and it sounds more cohesive. I do only -1or -2db of gain reduction. Will this affect my mix for mastering?” — from Kevon Thomas

Subscribe to the LANDR YouTube and get all the latest mix tips.

 

The post Watch: Will Mix Bus Processing Affect My Master? appeared first on LANDR Blog.

Best Multi-Effects Pedal For 2019

Best Overall Multi-Effects Guitar Pedal: Zoom Electric Guitar Multi Effect Pedal (G1X Four) A fantastic all-around pedal that packs all the latest features and functions you would expect in a premium pedal but comes at an affordable price suitable for all musicians. With 70+ effects, 13 amp models, and even looping functions, this is a complete effect pedal experience. Best Budget Multi-Effects…

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Best Wireless Microphone for 2019

Best Overall Wireless Microphone: NASUM UHF Dual Channel Professional Wireless Microphone System Looking for a powerful, high-quality pair of wireless microphones that don’t break the bank? Check out the NASUM setup that comes with everything you need while maximizing the potential for the highest quality vocal experience you and your listeners will be looking for. Best Budget Wireless Microphone:

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Best Portable PA System For 2019

Best Overall Portable PA System: Knox Dual Speaker and Mixer Kit As a complete set, the Knox PA system guarantees to tick all the boxes for what you’ll be looking for. With a multiple channel mixer built right into the device, two speakers per set, telescopic stands, all the cables you could ever need, a wireless microphone, and more, you’ll be amazed that all this comes for the affordable price…

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Best Digital Pianos For 2019

Best Overall Digital Piano: LAGRIMA LG-802 88-Key Beginner Digital Piano With a great selection of features, this full-sized 88-key digital piano is packed full of voices, tones, and styles, and prides itself on being able to replicate the most traditional sounds in the highest quality. No matter what level of musician you are, the LAGRIMA has everything you need. Best Budget Digital Piano:

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Best Modeling Amps For 2019

Best Overall Modeling Amp – Vox Adio Air GT Modelling Combo Amp Small, compact, mighty, and absolutely loaded with features, the Vox Adio has set the bar when it comes to modern-day modeling amps. With all the effects, tones, voices, and software you need for a complete experience, the VOX Adio has been designed around you. Best Budget Modeling Amp – Line 6 Guitar Combo Amplifier Line…

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Best Tube Amps For 2019

Best Overall Tube Amp: Vox Valvetronix VT20X Modeling Amplifier Vox has always been at the forefront of audio equipment, and this tube amp is no exception. Packed with all the features you could ever need from a tube amp, including a powerful speaker that’s ready for practice and live performances, whatever you need from a quality amp, Vox has it all. Best Budget Tube Amp:

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Best Power Conditioners For 2019

Best Overall Power Conditioner: PDU Power Strip Power Conditioner (with Protection) If you’re looking for a power conditioner that guarantees to tick all the boxes for what you’re looking for, comes at a great price, and is easily one of the most popular power conditioners available today, you may not need to look further than this PDU strip! Best Budget Power Conditioner:

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