Visit us at Expo Scene 2015

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Music Books Plus will be presenting  a great selection of books on live sound, pro audio, lighting, rigging, trussing, theatre and more at special show prices during EXPO-SCENE, Canada’s largest production trade show – March 26 and 27 at the Palais de Congres in Montreal. Music Books Plus will be exhibiting at Booth 450.

For more information, visit www.nor.com/exposcene
On hand will be complimentary issues of Professional Sound and Professional Lighting & Production.

EXPO-SCENE home – www.citt.org/exposcene
Norris-Whitney Communications is proud to be a media sponsor of EXPO-SCENE, Canada’s largest production trade show – March 26 and 27 at the Palais de Congres in Montreal.

Happy St. Patty’s Day, Sláinte mhaith!

MBP stpattys“All the world’s a stage and most of us are desperately unrehearsed.” – Sean O’Casey

With St. Patty’s Day just around the corner…get ready to get your Irish on with Music Books Plus. We’ve put together our best collection of music books and resources to help you celebrate like the Irish folk! Whether you need a book of Irish Pub Songs, you’re looking for the Top-Requested Irish Sheet Music, you’ll find them at Music Books Plus. If you were hoping to brush up on your recorder or guitar skills before the grande celebration…we suggest titles like, 30 Irish Tunes for Easy Recorder  or Irish Music for Flatpicking Guitar Made Easy. Browse the Feature Products section now to find everything you need to celebrate like the Irish.

Happy St. Patrick’s Day, Sláinte mhaith!

http://www.musicbooksplus.com/Featured-Products-s/186.htm

 

NEW to the Music Books Plus Lineup

Music Books Plus is excited and please to add to our current list of resources the Lang Lang Piano Academy, Mastering the Piano.

lang-lang-piano-academy-mastering-the-piano-level--5 The Lang Lang Piano Academy encompasses a range of resources – printed books and digital products – for pianists of all levels, from beginners to advanced players, through which Lang Lang shares the secrets of his piano technique. Mastering the piano is the first series of books to be launched in the Lang Lang Piano Academy, a major new piano program encompassing a range of materials for pianists of all levels. Comprising five progressive books, mastering the piano captures Lang Lang’s passion, drive and extraordinary mastery of the piano. Each book gives students the chance to learn from this exceptional talent who has impressed the world.

Lang Lang Piano Academy: mastering the piano, Level 1(approximately equivalent to Grade 1/Early Elementary) includes exploring the keyboard, feeling the beat, legato playing, staccato playing, developing dexterity, playing chords, the left hand, and playing with dynamics.

Lang Lang Piano Academy: mastering the piano, Level 2 (approximately equivalent to Grade 2/Elementary) includes exploring the keyboard, hand coordination, rhythmic control, phrasing, developing dexterity, finger control, the left hand, and dynamics.

Lang Lang Piano Academy: mastering the piano, Level 3 (approximately equivalent to Grade 3/Late Elementary) focuses on exploring the keyboard, developing dexterity, the pedal, strengthening your hands, chords, playing in new keys, independent fingers, and independent hands.

Lang Lang Piano Academy: mastering the piano, Level 4 (approximately equivalent to Grade 4/Early Intermediate) includes posture, movement and hand shape, legato pedaling, new accompaniment styles, more on chords, more on rhythm, musical context, phrasing and rubato, and dexterity.

Lang Lang Piano Academy: mastering the piano, Level 5 (approximately equivalent to Grade 5/Intermediate) includes developing dexterity, instinctive pedaling, refining the touch, phrasing and rubato, character, ornamentation, interpretation and style, and performing.

Let Music Books Plus help you find the right resources to advance your skills. Order online TODAY or call 1-800-265-8481.lang_lang2

Want a BIGGER sound?

5 MIC PLACEMENTS

Sometimes when recording, microphone placement can seem either too difficult or way too easy. As with most things in life, it’s really somewhere in the middle, but sometimes it’s not very easy to get there. Here’s an excerpt from the Recording Engineer’s Handbook 3rd edition that shows 5 simple miking techniques that will help you get a bigger and more accurate sound.
811mUP7GxNL“Before you start swapping gear, know that the three most important factors in getting the sound you want are mic position, mic position and mic position. Get the instrument to make the sound you want to record first, then use the cover-your-ears technique to find the sweet spot, position the mic, then listen. Remember that if you can’t hear it, you can’t record it. Don’t be afraid to repeat as much as necessary, or to experiment if you’re not getting the results you want.

That said, the following are some general issues and techniques to consider before placing a mic:

  1. One of the reasons for close-miking is to avoid leakage into other mics, which means that the engineer can have more flexibility later in balancing the ensemble in the mix. That said, give the mic as much distance from the source as possible in order to let the sound develop, and be captured, naturally.
  2. Mics can’t effectively be placed by sight until you have experience with the player, the room you’re recording in, the mics you’re using, and the signal path. If at least one of these elements is unknown, at least some experimentation is in order until the best placement is found. It’s okay to start from a place that you know has worked in the past, but be prepared to experiment with the placement a bit since each instrument and situation is different.
  3. If the reflections of the room are important to the final sound, start with any mics that are used to pick up the room first, then add the mics that act as support to the room mics.
  4. From 200Hz to 600Hz is where the proximity effect often shows up and is one reason why many engineers continually cut EQ in this range. If many directional microphones are being used in a close fashion, they will all be subject to proximity effect. and you should expect a buildup of this frequency range in the mix as a result.
  5. One way to capture a larger than life sound is by recording a sound that is softer than the recording will most likely be played back. For electric guitars for instance, sometimes a small 5 watt amp into an 8 inch speaker can sound larger than a cranked full Marshall stack.

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Remember that it still comes down to what you’re hearing rather than what you’re looking at, but these 5 steps will help you get your sound in the ballpark quickly and easily.

 

This weekend, we’re showing our customers a little LOVE.

JOIN US THIS WEEKEND for the VALENTINE’S WEEKEND SALE from MUSIC BOOKS PLUS and SAVE 25%vdaymarketing1

Happy Valentine’s Weekend from Music Books Plus! To celebrate we are offering our customers 25% off ALL items featured at www.musicbooksplus.com
Use Coupon Code: valentine at checkout and the 25%* Discount will be automatically applied to all orders placed from now to midnight Monday, February 16th.

What is Intellectual Property Law?

headeIntellectual property law headerWhat is intellectual property? Why is it so relevant in today’s entertainment industry? How do you acquire intellectual property rights?

What is the difference between copyright, trademarks and patents and industrial designs? How long do these rights last? music lawDo you have to register your rights? This seminar will shed light on these and other questions. Spend an hour with Paul Sanderson, the author of “Musicians and the law Canada to be enlightened regarding intellectual property rights.

Paul Sanderson will be speaking at the following events:

February 11, 2015

Queen’s University Faculty of Law

Sports & Entertainment Conference 2015

Kingston, Ontario

February 20, 2015

Commons Institute Conference

The Entertainment Law Informer

Bond Place Hotel, Toronto, Ontario

 

February 29, 2015

Halifax, Nova Scotia

Artists’ Legal Information Society (ALIS) presents:

On the Edge of Now

Emerging Trends in Entertainment, Digital and IP Law

February 27-28, 2015

Halifax, Nova Scotia

http://nsalis.com/

 

March 13 & 14, 2015

Canadian Disc Jockey Association Conference

Downtown Hilton Hotel – March 13 to 15, 2015

Friday, March 13th – 4:45 to 6 p.m. – Legal Panel

Saturday, March 14th – 10 a.m. to 11 a.m. – Guest speaker

Busting Some Soundproofing Myths

BUSTING SOUNDPROOFING MYTHS_WEB

tsbh_250Before you can look at some accepted ways to improve your isolation, it’s important to look at all the things that won’t work first. This excerpt from The Studio Builder’s Handbook (written with Dennis Moody) contains a list of various materials that you’ll often see attached to the walls of a space in hopes of increasing the isolation. The problem is that they won’t help very much at all.

Mattresses – There are so many things wrong with this that it’s hard to know where to start. Sure mattresses are made up of a lot of soft material, but it’s not the right kind for sound absorption, won’t affect the low frequencies at all (which are what causes most of the the isolation problems), accumulates mold and moisture, and makes nice homes for rodents and other unwanted critters. Plus, it’s pretty difficult to get enough of them to cover a room, and they take up so much space for so little benefit in return.

Egg Crates – Egg crates are light porous cardboard and do absolutely nothing for soundproofing. They can act as a sound diffusor at higher frequencies, but the bandwidth is so limited that they’re virtually useless there as well. Plus, they’re highly flammable! It’s difficult to find enough of them to cover a room, but frankly, even using one is too many.

Carpet – Carpet attached to the wall is another product that will affect the sound of the room yet do nothing in the way of soundproofing since it doesn’t affect the low frequencies, which are the ones that you’ve got to control for good isolation. Carpet has exactly the same problem as mattresses in that it will begin to smell over time. Old or new carpet makes no difference, except that older carpet will smell more.

Foam Rubber – Foam rubber does have some acoustical absorption properties, but once again will do very little for the low frequencies that will cause all of your problems with the neighbors. It’s can be as expensive as materials with real acoustic control properties, degrades over time, and will burn like crazy if given the chance.

Rubber – Floor matts, mouse pads, neoprene, or any other variation of rubber will do very little to stop sound coming or going from your room. Once again, it’s much cheaper to buy proper acoustic materials that are easier to work with, but they won’t help your isolation problem either.

Wall Cellulose – Pumping cellulose insulation into walls can make a slight difference, but it’s marginal since there are much more effective ways to improve the isolation that are much cheaper. It can be helpful if used along with some other techniques that we’ll soon go over, but isn’t particularly effective by itself.

Fiberglass Insulation – Common fiberglass insulation once again has little ability to stop enough of the low frequencies that bug your neighbors, although, like with blown cellulose, it can be useful in conjunction with other techniques. Just pinning it to the wall won’t help though, but it will affect the acoustics of the room. It’s also a skin and eye irritant, takes up a lot of space, and the dust can be hazardous to your lungs when left exposed. As you’ll soon see, there’s a much better way to use fiberglass for acoustic control (although it still won’t help with isolation much).

Plywood Panels – It’s true that plywood panels provide mass and mass is what’s needed to stop sound transmission (especially the low frequencies), but the problem is that wood transfers sound too well so the construction technique used is crucial. Not only that, if the panels are too thin they’ll resonate and vibrate, causing an even bigger problem.

Particle Board – See plywood panels.

Bales Of Hay – Unless you live out in the country, it’s unlikely that hay bales are much of an option, but they actually do work. The problem is that they take up a lot of usable space, make a nice home for critters, and are a major fire hazard. Not recommended

Acoustic Foam – Acoustic foam is helpful in controlling the acoustics within a room, but it does nothing to stop sound transmission and is expensive to boot. Acoustic foam doesn’t even begin to affect the offending low frequencies, and using too much just makes the room seem dead and uncomfortable. There are much cheaper ways to achieve a better result.

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Understand that all of these materials will have at least some affect on the sound of the room (which is covered in another chapter of the book), but will do almost nothing by themselves to help improve your isolation.

 

Perfect Pitch: A misunderstood phenomenon

perfect pitch for BLOG

Perfect pitch – also called absolute pitch – has been a source of endless fascination for hundreds of years. The ability to recognize musical tones with no reference is often viewed as a kind of magical power, a gift that only a select few musicians are born with, a skill that cannot be learned. But perfect pitch is largely a misunderstood phenomenon.

Generally, absolute pitch implies some or all of the following abilities, achieved without a reference tone:

  • Identify by name individual pitches (e.g. A, B, C) played on various instruments.
  • Name the key of a given piece of tonal music.
  • Reproduce a piece of tonal music in the correct key days after hearing it.
  • Identify and name all the tones of a given chord or other tonal mass.
  • Accurately sing a named pitch.
  • Name the pitches of common everyday sounds such as car horns and alarms.

PerfectPitchMeth for blogOur “Book of the Month”, Hal Leonard Perfect Pitch Method is designed to help you develop a sense of perfect pitch. Start out the New Year with focus and determination. This book is designed to help you develop a sense of perfect pitch. In the process, your overall musicianship will benefit and you’ll start listening to music on a deeper level and getting more satisfaction from it. Many of the lessons include three separate drills. You can do just one and save the others for later, or all three at the same time.

Take your time, advancing to the next session only when you’re satisfied with your results on the previous session. Pretty soon, you’ll notice a marked improvement in your pitch acuity!

Hal Leonard Perfect Pitch Method is a musician’s guide to recognizing pitches by ear – Order today at www.musicbooksplus.com

15 Steps To A Better Mix

15 steps to a better mixBy Bobby Owsinski

Audio mixing is one of the most interesting of all operations when completing a recording. For the rare few it’s purely intuitive and comes out great without much thought, but for most everyone else, it’s an operation in which you only get better by comparison and repetition.

7156078_origMany musicians and beginning engineers will often flail on a mix, trying everything with wild abandon and no focus, or not trying anything at all. It really helps if you have a process, and this excerpt from the latest 3rd edition of The Mixing Engineer’s Handbook provides just that.

“Mixing is a nebulous art in that most musicians and engineers learn more by feel and listening than being taught. As a result, a number of important items in a mix can be easily overlooked, and these can mean the difference between a mix that sounds polished and professional and one that sounds amateurish. Here’s a checklist of items that can help you think in a little more detail about your mix and tighten it up as a result.

  1. Does your mix have dynamic contrast? Does it build as the song goes along? Are different instruments, sounds or lines added or muted in different sections?
  2. Does your mix have a focal point? Is the mix centered around the instrument or vocal that’s the most important?
  3. Does your mix sound noisy? Have you eliminated any count-offs, guitar amp noises, bad edits, and breaths that stand out? Each one may not seem like much, but their effect is cumulative.
  4. Does your mix lack clarity or punch? Can you distinguish every instrument? Does the rhythm section sound great by itself? Is the balance between bass, kick and snare correct?
  5. Does your mix sound distant? Try decreasing the level of the reverb and effects, starting first with the wettest, then working your way to the least wet.
  6. Can your hear ever lyric? Every word must be heard. Tweak the automation if you’re using it; automate the track if you’re not.
  7. Can your hear every note being played? If solos or signature lines are being masked, automate the track to hear every note, or tweak the automation until you can.
  8. Are the sounds dull or uninteresting? Are generic synth patches or predictable guitar or keyboard sounds being used? Try modifying them with an effect.
  9. Does the song groove? Does it feel as good as your favorite song? Is the instrument or instruments that supplies the groove loud enough?
  10. What’s the direction of the song? Should it be close and intimate or big and loud? if your current direction isn’t working, try the opposite.
  11. Are you compressing too much? Does the mix feel squashed? Is it fatiguing to listen to? Is all the life gone? Decrease the mix buss compression first. Decrease the main instrument or vocal compression next. Decrease the rhythm section compression next. Decrease the compression on everything else lastly.
  12. Are you EQing too much? Is it too bright or too big? Decrease the upper midrange EQ on the vocals, guitars, loops and snare. Decrease the low frequency EQ on the bass and kick.
  13. Are your fades too tight? Does the beginning or ending of the song sound clipped? Adjust the fades until the attack transient of the notes are distinct.
  14. Did you do alternate mixes? Did you do at least an instrumental-only mix?
  15. Did you document the keeper mixes? Are all files properly named? Are you sure which file is the master? Have you made a backup?bobby owsinski 2

An interesting mix is all in the details and those take time to sort out. Working through each one of these steps may take a while, but the end result can definitely be worth it.”

You are on Reddit right?

Written by Matt Voyno, co-author of The New Rockstar Philosophy. Matt Voyno and co-author, Roshan Hoover are two of the music industry’s leading thinkers about artist strategy in digital world. Their ideas have resonated with musicians around the world and have inspired them to embrace change.

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The social news site gets over 4.4 billion page veiws per month with 62.3 million unique visitors and the average user stays on the site for 16 minutes! That’s an insane amount of eyes and ears for you to share your music with. But how?

 

If you’ve always wanted to join the conversation now is as good a time as any to start because The New Rockstar Philosophy has found the 13 places you can share your music on Reddit.

*IMPORTANT: Remember Reddit is a community. That means that people respect others who CONTRIBUTE something to the community. You need to be willing to comment, adding your thoughts, experiences, and opinions to whatever subreddit you are joining. Like in real life, people are MORE WILLING to help those who have given something already. You get it right? Great.

Top 14 Places To Share Your Music on Reddit. (In no specific order because you should try them all)

  1. /r/Rate My Band – On all submissions you must comment on at least three other posts before submitting. This is for EVERY submission, not just your first. You have 24 hours from the time you hit “submit” to place a comment on your post with links to each of your critiques or your post will be DELETED
  2. /r/Songwriters – Community for all things songwriting related. Feel free to share your original songs or anything songwriting related.
  3. /r/SongwritersCircle – This is a heavily moderated subreddit where songwriters can receive constructive criticism on their songs and are expected to offer other songwriters the same courtesy.
  4. /r/This Is Our Music – This subreddit is for posting your own music for others to listen and critique.
  5. /r/Young Bands –  You may only post if you are or personally know an unsigned band. Along with videos of the bands, you may post questions on what you need help with. You should put either [CRITIQUE] or [HELP] or simply [FEEDBACK] at the beginning of the post accordingly.
  6. /r/Listen to This – A place to discover music by new or overlooked artists. Not a place to bury music you don’t like. Keep an open mind, try something new, and you will discover something great.
  7. /r/We Are The Music Makers – WeAreTheMusicMakers (WATMM) is the subreddit for hobbyists, professional musicians, and enthusiasts to discuss topics like music composition, production, theory, and business. Questions are encouraged regardless of how basic or advanced they are, but please, no memes!
  8. /r/Shameless Plug – Showcase your song, project, album or anything else you’ve been working hard on for the rest of Reddit to check out.
  9. /r/Acoustic Originals – A place where you can recieve some promotion and constructive criticism of your work. Also relevant – Songwriters
  10. /r/I covered a song – A place to show off your covers of other artists’ music; Be it complete impersonation or your own interpretation.
  11. /r/music in the making – This is a subreddit for musicians to collaborate on each other’s projects by sharing sound files.
  12. /r/radioreddit – Is the subreddit for the radio reddit online streaming radio station featuring original music by thousands of redditors.You can upload your original music for airplay at http://www.radioreddit.com/uploading
  13. /r/TheseAreOurAlbums, a subreddit to promote albums released by redditors, and to listen to albums released by redditors.
  14. /r/Rate My Music Video – Throw up your music videos for constructive feedback

The great thing about Reddit is the community.  You will get feedback from people. Perhaps not always the most useful feedback but you will have more people exposed to your music. So do not wait, throw your tracks on some of the subreddits above because who knows who is listening.”matt and roshan banner