Cathedral clip mid range

I started with the clip (on track 3) which I spent the most time equalizing. It has more complex melodies and a good mix of high, mid, and low. This is also the one which has the bass ‘heart beat”. I decided that the other clips would work around it to thicken the melody and widen it. I started with panning. I zoomed way in and listened. one triangle would span the length of one pitch and then the next triangle would span the following pitch. In other words the sound would swell from centre to the left ear and back to the centre for one pitch and then the same on the right ear for the lower pitch that followed. I used really exaggerated panning and volume in the last section of the sound piece that created a lot of swelling and motion. These cathedral clips have their own rhythm and melody and I didn’t want to loose that, rather accentuate it. The panning is half as wide and the volume is 3/4 plus I wanted the volume to be even more gradual and smooth so the volume is not triangles. I started from a visual frame work in terms of the relationship between the yellow and blue lines and then I would listen back and make practical adjustments before continuing the pattern through the whole clip.


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When I was in oxford circus the environment was overwhelming.. so many people, lights, images, sounds, and the steady pulse of products moving from racks to cashiers to the streets. It’s an exciting commotion but also something numbing. the whole thing feels like a great big distraction. the sensory overload makes one feel primal and vulnerable at the same time.

Making this track has been a test of my concentration. because I’ve only had a week to make it the pressure has really helped as I have no choice but to let go of distractions. As soon as I really started I realized how hard it is to deeply concentrate. getting to know the sound and really listening as well as getting to know my ‘practice’, or technique composition decisions ext. This is my meditation in  a sense.

I wanted to make something ambient but I didn’t know if I could. Now having made something which I can play back and which has that ambient effect I can hear all the meditation that went into it being expressed in a condensed more accessible way. When listening to a short track all you have to do is surrender to the journey but when the meditation is creating instead of listening there is a certain friction or struggle involved.


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A, B, C

I took a different approach to equalizing after watching Manj play with the 30 band. We had quite a nerdy moment talking about how amazing equalizers are. His suggestions reminded me of the way Dave introduced me to the whole editing process. It is so much about listening. I remember when Dave and I recorded the first songs I wrote and I would watch him mix and set up the mics. There were so many times when he would show me certain things and I would be embarrassed because I couldn’t hear them. These sessions were all about learning how to listen not how to edit. only now am I beginning to be able to make decisions which are based more on what I hear.

I took one of the “cathedral” clips and equalized it as explained in an earlier post. I realized when wanting to re-equalize them that I lost the original so it became a process where one clip was equalized 3 times. The two lowest fq on this version are a bass that is very unique to the other melodic sounds running through the clip. it’s rhythmic. I wanted to accentuate the bass even more but the only way I have figured out how to do it so far is by adding a tube-modeled compressor (blissful bass).

In order to base my decision making on sound I took all the fq down to zero and then put each one up at a time listening, then put it back down. After doing this once through all 30 fq I put one up and added another, listening for some time how they sound together at different intensities.. aka playing with their relationship then added another fq ect. when adding a fq in I start at zero and gradually work my way up. with 30 bands it took me about an hour on the first one and a bit less time on the other two as I felt I didn’t have the time to put the same amount of detail into the other clips and also that sometimes the un-calculated decisions are actually the most interesting.

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understanding electromagnetic radiation

Electromagnetic radiation (EM radiation or EMR) is the radiant energy released by certain electromagnetic processes. Visible light is one type of electromagnetic radiation; other familiar forms are invisible to the human eye, such as radio waves, infrared light and X-rays.

The air is a fluid. Our ears vibrate from the air vibration of the soundwave. If a wave is moving through the air at an audible frequency, once the amplitude / volume is above the threshold of our hearing would we hear it?
According to Wikipedia, “Soundwaves are not electromagnetic radiation. At the lower end of the electromagnetic spectrum, about 20 Hz to about 20 kHz, are frequencies that might be considered in the audio range. However, electromagnetic waves cannot be directly perceived by human ears. Sound waves are the oscillating compression of molecules. To be heard, electromagnetic radiation must be converted to pressure waves of the fluid in which the ear is located (whether the fluid is air, water or something else).”…
understanding electromagnetic radiation