Interesting Density #plugin from #SoundParticles
If you want to create interesting textures and harmonies.

Really interesting for me to hear that. It is true, at first we need to think of what we want to get and every song is different and needs different approach.
Going to watch it now :) There are 2 series as I have seen

https://www.waves.com/golden-rules-for-mixing-with-a-vision

#Education

Great tool (app) Explorer for managing your multi-channel samples and files. And it is for free 😎 I was surprised, we love #FreedomMusic here at #PublMe .

https://soundparticles.com/products/explorer

https://www.youtube.com/watch?v=iW2XnKdInVI

#SoundParticles #spatialaudio #free

Perfect easily understandable video to find out how to make your vocals just sit right in a mix and be big and nice.

There could be an EQ also, but instead there were several different sounding compressors in chain. And it is good as well as adding a parallel bus for not getting the phase shifts and not getting the vocals tonal balance changed.

#vocals #Mixing #HowTo

RECORDING, MIXING AND DISTRIBUTING IMMERSIVE MUSIC
Immersive Audio, a once-in-a-generation, format-shifting technology platform that debuted a decade ago in sound for film and television, is now blowing through the music and recording industries. Studios are being redesigned, manufacturers are adding dimensional-sound feature sets, engineers are rethinking their miking schemes, and mixers are enjoying a burst of creativity as they explore the possibilities of presenting music in a true three-dimensional sound field.

#SoundParticles #coupon #events #Immersive

https://www.swipetips.com/how-to-send-a-link-to-a-discord-profile/ = howto.
Add your user profile Discord link (in Edit Profile) in Space and get the cool button to call and send DMs. You can add your Telegram link as well.

#FAQ #Space #PublMe

How to spot and label Secondary Dominants. Music Theory / Tonal Harmony LessonIf you’re taking a harmony course, you’ve certainly come across the concept of secondary dominants and endless exercises, where you’re given a piece of sheet music in which you have to label all the secondary dominants.

Well, today I’m going to give you a simple trick to spot and label secondary dominants. We won’t get into secondary neapolitan 6th chords or augmented 6th chords. Just secondary V and viio chords. And also, for simplicity, we will only look at pieces in major keys.

Watch this lesson in video format

Step 1: Find the key of the piece

To do that you just need to look at the key signature. If it has no accidentals, you’re in the key of C major.

If the key signature has sharps, then the key is a note a half step above the last sharp.

So, here the last sharp is a G#, and a half step above G# is A. So this piece is in the key of A major. Basically, the last sharp is the leading tone of the key.

And the last sharp in this piece, is A#. So this is in the key of B.

If the key signature has flats then the key is the second to last flat.

So here, the second to last is an Eb, then this is in Eb major.

This one is in Ab major.

If there’s only one flat, then it’s in the key of F major.

Step 2: Draw a circle of fifths in the key of the piece.

Yes! It is essential that you know the circle of fifths. It will save you tons of time when studying any music theory related topic. And to put a circle of fifths in a key, just draw the standard circle of fifths in C, and then turn it around until the note that represents the tonic of the key is at the top.

So, that is the circle in C major. Let’s say we have a piece in G major – with one sharp in the key signature. Then, all we have to do is rotate the circle counter-clockwise once, to get the G at the top, and we have a circle of fifths in the key of G major.

Or if we’re in Bb major – with two flats  – we rotate the circle yet again until the Bb is at the top. And we have a circle of fifths in the key of Bb.

Step 3: Draw a straight line from the 11 o’clock position across the circle, to the 5 o’clock position.

All the notes to the right are the diatonic notes. These are the notes of your major scale in that key. So this circle is in the key of C, and these notes are in the C major scale.

Here’s the circle in G major. So these are the notes in the G major scale.

And here’s the circle in Bb major, and these are the notes in the key of Bb.

Just make sure to use the correct accidentals. Don’t mix flats with sharps!

Step 4: Label the notes as degrees.

So, C is the I, D is the ii, E is the iii, F is the IV, G is the five, A is the vi, and B is the vii. The cool thing is that these labels are the same for every key.

In the key of G, G is the I and, D is the V and, A is the ii, and so on…

So, once you know where these labels go, you’ll never have to change them ever again.

Step 5: Write the leading tones for each diatonic note.

The leading tone is a half step below the note. So the leading tone for C is B. The leading tone for G is F#, and the leading tone for D is C#. You get the idea… And for the IV chord — the one at 11 o’clock — we’re gonna write the leading tone of the I, lowered by a half step. So, we turn the B under the C, into a Bb that goes under the F.

If the circle was in the key of G we would do the exact same thing. The leading tone for G is F#, for D is C#, and so on… And the only exception is for the IV chord. For this chord, you are always going to pair the root of this chord with the b7 of the key that you’re in. Not the leading tone! The leading tone of the IV chord is already in the key. So, it won’t show as an accidental in the score. But the b7 of the key will appear as an accidental.

So for C – the IV, at 11 o’clock – we change this F# to an F natural, lowering it by a half step. Now we have an accidental to look for, that will help us identify something that is targeting the IV.

In the key of Bb, we have an A as the leading tone for Bb then, E is the leading tone for F. Then, a B natural for C, and so on… Remember, the leading tone is always a half step below the target. And for the IV chord (Eb), we take this A, and lower it a half step to Ab.

That’s it!With this information you are ready to spot and label any secondary dominant in a piece of music.

If you come across an accidental that isn’t paired with one of your diatonic notes,you’re probably dealing with a more advanced secondary function.

So let me show you how easy it is to use this new enhanced circle of fifths.

Here I have a measure from Beethoven’s Sonata Opus 14 No.2, and the one sharp in the key signature tells me that we’re in the key of G major.

We have a couple of accidentals, and they are sharps. These are great candidates to potentially be secondary dominants. The first one is a G#. So, we look at our new and improved circle of fifths, and we look for a leading tone that’s a G#.

And of course, we find it there! G# is the leading tone to A. So this is almost certainly a secondary dominant that targets an A chord in the key of G. A is the ii in G major, so you can assume with confidence that this is going to be a secondary of ii.

Now, it could be the V/ii, or the V7/ii, or the viio/ii, or the viio7/ii. The only thing you have to do, to figure this out, is to see if the next note in the circle – moving clockwise – appears in the chord. That would be an E, in our case.

That’s because the next note in the circle is always the V of the previous note. Remember, this is the circle of fifths. So, is there an E in this chord? Yes!

So it’s either a V/ii or a V7/ii. And there’s a D. So, that means this is an E7. So this is a V7/ii. Of course, it’s an inversion, because the lowest note is not an E. It’s a G#. So we write V65/ii. 65 because G# to E is a 6th, and G# to D is a 5th.

Then we see a C#.

Probably another leading tone: C#, the leading tone to D. And D is the V. So we already know this is a secondary of V. Now, is it a viio, or is it a V? To figure it out, we look for an a the next note in the circle after D.

In other words, the V of D. If the A is there, then it’s a V of D. If it’s not, it’s a viio of D. And there it is!

An A in the bass. So this is a V of D. If there’s a G then it’s an A7 the V7. If not, then it’s a simple a triad – the V. And the G is there.

So this is an A7, which we can label with confidence as a V7/V.

In the video we show two more examples from Beethoven’s Pathetic Sonata and Chopin’s Valse Brillante.

We’ve prepared a PDF with the enhanced circle of fifths in all keys, which you can download right now if you’re an exclusive access member.

And if you’re not a member, you can become one by clicking on this link: Join Exclusive Access to download this pdf, along with all the other exclusive content that we publish on a regular basis.

What is the #metaverse ? #FAQ

https://academy.binance.com/en/articles/what-is-the-metaverse

https://www.youtube.com/watch?v=rLrZdahhCCE

#Education on Room #Acoustics video for your home studio

Thanks for sharing to #Dontcrack 😎

https://musicx.substack.com/p/-why-the-2020s-are-the-decade-of
#Community #future #trends #Music #MusicIndustry

What is HI-FI sound?

The term Hi-Fi is an abbreviation of High Fidelity. The main function is to reproduce sound over the entire audible frequency range with very little distortion of the original signal. To convey the full accuracy of the sound, special equipment is needed. It would seem that it is expensive and inaccessible, but now there is a lot of equipment with HI-FI technology in different price categories.

And what about the listeners? Now HI-FI is being actively introduced into music services, so it's enough just to subscribe and enjoy music in high quality!

#Music #HighFidelity #MusicTechnology #MusicNews #Sound #Listening

Harmonix keeps innovating, with lasting impactEvery holiday season, a popular new video game causes a disproportionate amount of hype, anticipation, and last-minute shopping. But few of those games offer an entirely new way to play. Even fewer have ripple effects that reach far beyond the gaming universe.

When Guitar Hero was released in 2005, challenging players to hit notes to classic rock songs on guitar-like controllers, it grew from a holiday hit to a cultural phenomenon that taught a new generation to love rock ‘n’ roll music. Along the way, it showed the video game industry the power of innovative, music-based games.

Guitar Hero and the related Rock Band franchise were developed by Harmonix Music Systems, which formed more than 25 years ago in MIT’s Media Lab when a pair of friends began using technology to help people interact with music. Since then, it has released more than a dozen games that have helped millions of people experience the thrill of making music.

“The thing that we’ve always tried to accomplish is to innovate in music gameplay,” says Eran Egozy ’93, SM ’95, a professor of the practice in music and theater arts at MIT who co-founded the company with Alex Rigopulos ’92, SM ’94. “That’s what the company is constantly trying to do — creating new kinds of compelling music experiences.”

To further that mission, Harmonix became a part of industry giant Epic Games last month. It’s a major milestone for a company that has watched its games go from small passion projects to ubiquitous sources of expression and fun.

Egozy has seen Harmonix games on famous bands’ tour buses, in the offices of tech giants like Google, at bars hosting “Rock Band nights,” and being portrayed in popular TV shows. Most importantly, he’s heard from music teachers who say the games inspired kids to play real instruments.

In fact, Egozy just heard from his son’s school principal that the reason he plays the drums is because of Rock Band.

“That’s probably the most gratifying part,” says Egozy, who plays the clarinet professionally. “Of course, we had great hopes and aspirations when we started the company, but we didn’t think we would actually make such a big impact. We’ve been totally surprised.”

Mission-driven beginnings

As an undergraduate at MIT, Egozy majored in electrical engineering and computer science and minored in music. But he never thought about combining computers and music until he participated in the Undergraduate Research Opportunities Program under then-graduate student Michael Hawley in the Media Lab.

The experience inspired Egozy to pursue his master’s degree at the Media Lab’s Opera of the Future group, led by Tod Machover, where he began building software that generated music based on intuitive controls. He also met Rigopulos at the Media Lab, who quickly became a friend and collaborator.

“Alex had this idea: Wouldn’t it be cool if we took a joystick that’s a more friendly interface and used it to drive the parameters of our generative music system?” Egozy recalls.

The joystick-based system immediately became one of the most popular demos at the Media Lab, leading the pair to participate in the MIT $10K Entrepreneurship Competition (the MIT $100K today).

“I think MIT imbued me with a sense that there’s no point in trying to do something that someone’s already done,” Egozy says. “If you’re going to work on something, try to do something inventive. That’s a pervasive attitude all around MIT, not just at the Media Lab.”

As graduation arrived, Egozy and Rigopulos knew they wanted to continue working on the system, but they doubted they could find a company that would pay them to do it. Out of that simple logic, Harmonix was born.

The founders spent the next four years working on the technology, which led to a product called Axe that Egozy describes as a “total flop.” They also built a system for Disney at the Epcot amusement park and tried to integrate their software with karaoke machines in Japan.

“We sustained multiple failures trying to figure out what our business was, and it took us quite a while to discover the way to satisfy our mission, which is to let everyone in the world experience the joy of making music. As it turns out, that was through video games,” Egozy says.

The company’s first several video games were not huge hits, but by iterating on the core platform, Harmonix was able to steadily improve on the design and gameplay.

As a result, when it came time to make Guitar Hero around 2005, the founders had music, graphics, and design systems they knew could work with unique controllers.

Egozy describes Guitar Hero as a relatively low-budget project within Harmonix. The company had two games in development at the time, and the Guitar Hero team was the smaller one. It was also a quick turnaround: They finished Guitar Hero in about nine months.

Through its other releases, the Harmonix team had been trained to expect most of its sales to come in the weeks leading up to the Christmas holiday and then for sales to essentially stop. With Guitar Hero, the game sold incredibly quickly — so quickly that retailers immediately wanted more, and the company making the guitar controllers had to multiply their orders with manufacturers.

But what really surprised the founders was that January’s sales surpassed December’s. … Then February’s surpassed January’s. In fact, month after month, the sales graph looked like nothing Harmonix’s team of 45 people had ever seen before.

“It was mostly shock and disbelief within Harmonix,” Egozy says. “We just adored making Guitar Hero. It was the game we always wanted to make. Everyone at Harmonix was somehow involved in music. The company had a band room just so people could go and jam. And so the fact that it also sold really well was extremely gratifying — and very unexpected.”

Things moved quickly for Harmonix after that. Work on Guitar Hero 2 began immediately. Guitar Hero got taken over by Activision, and Harmonix was acquired by MTV Networks for a number of years. Harmonix went on to develop the Rock Band franchise, which brought players together to perform the lead guitar, bass, keyboard, drums, and vocals of popular songs.

“That was really wonderful because it was about a group effort,” Egozy says. “Rock Band was social in the sense that everyone’s together in the same room playing music together, not competitively, but working toward a common goal.”

An ongoing legacy

Over the last decade, Harmonix has continued to explore new modes of music gameplay with releases such as SingSpace, which offers a social karaoke experience, and Fuser, a DJ-inspired game that lets users mix and match different tracks. The company also released Rock Band VR, which makes players feel like they’re on stage in front of a live audience.

These days Egozy, who’s been on the board since he became a full-time professor at MIT in 2014, teaches 21M.385/6.185 (Interactive Music Systems), a class that combines computer science, interaction design, and music. “It’s the class I wish I had as an undergrad here at MIT,” Egozy says.

And every semester, the class takes a tour of the Harmonix office. He’s often told it’s students’ favorite part of class.

“I'm really proud of what we were able to do, and I’m still surprised and humbled by the cultural impact we had,” Egozy says. “There is a generation of kids that grew up playing these games that learned about all this music from the ’70s and ’80s. I’m really happy we were able to expose kids to all that great music.”