NonMos

Again, this is the staple for most modern music. When you listen to a slow jam, and the verse has a slick transition to a bridge or chorus, it is usually a 2-5-1. When you are listening to some cool, funky decending harmony sung by Earth, Wind and Fire, usually what is giving it that amazing sound is a modified 2-5 progression.

Here is an example of what I am talking about. This is a simple minor chord, followed by a 2-5-1 chord progression.

Example1

Now, here is that same progression, with a MK Rhodes and a beat behind it.

Example 2

Now, add a harp (playing only the notes in the 2-5-1 progression, just in a melody style), and you have a simple R&B beat.

Example 3

The 2-5-1 is made of the following:
A root major (the 1)
A minor chord (key #2 of the root, so if the chord you are resolving to is a G, the 2 chord is A minor)
A dominant (or some kind of modified version) of the 5 chord. In the above example, it would be a D chord.

I like the flat 7 - 2 - flat 3 - 5 voicing for the 2.

This is the toughest part of creating music, for obvious reasons. Interestingly, it is the part of today’s music scene that is the least developed. Compositional skill is totally underdeveloped these days, which is unfortunate. Most bedroom DJs have no idea how to even put together a simple two-five-one chord progression, which is the staple for almost every major composition in the modern era.

There are some great resources out there…you should get to the point where you can play at least a couple of the basics, such as the 2-5-1 chord progression. I’ll add some samples of what this sounds like later. Just trust me…these chords are everywhere, from Aretha Franklin to Usher,

A simple, free online piano tutorial

The determination of sound equipment (I include mics, preamps, speakers, and electronic instruments) is very much an art. Here are a few tips:

1) Preamp + Mic is a big decision. There are lots of great preamps and lots of great mics, but the combination of the two is also a large part of the sound quality. I recommend using a tube mic and a solid state preamp, or a condenser mic and a tube preamp. I have a Rode NTX tube mic and a Trident S40 preamp, and the sound quality is exceptional for voice. For instruments, you can get away with a small condenser mic.

2) You will want a keyboard controller with weighted keys. If you are serious about being a studio musician, you will eventually teach (or already know) quite a bit when it comes to the keys. You will outgrow a simple non-touch sensitive keyboard quickly. Avoid controllers with flat, “diving board” keys. It should at least look like a piano.

3) Don’t skimp on cables. Go heavy duty, monster for the important stuff, such as the mic to the preamp. There is a difference, believe me.

4) Studio monitors: Some people couldn’t give a crap, but it helps if you have good acoustics in your room to take advantage and buy some good speakers. It is important to have the speakers standing by themselves, with nothing above or to the sides of them…this changes the sound. The point of having studio speakers is to get a true sense of the balance of the mix, not get it to sound like the radio. Remember, stereos pump up the treble and bass substantially. It just needs to be balanced in the studio, i.e. nothing should overshadow anything else. Keeping the monitors standing by themselves keeps the sound integrity in tact.

More on this later.

Studio construction:
You don’t have to create a room that is perfectly soundproof, or reverb-free. A little natural reverb is fine. The biggest thing you want to minimize is quick changes to the background noise. If you are on a busy street, for example…a passing car will screw with your mix. However, if you have a computer in your room, and it has a constant buzzing sound, you can usually remove most of that background noise with a noise gate or some other filters.

It bothered me, however…just personal taste. I wanted the room as quiet as posisble. I bought a USB extension, and a very long firewire, and moved my computer to the adjacent room. The video monitor, keyboard and mouse are in the studio with the mics, but the computer is outside. It makes a little difference, but most importantly I feel better about it.

Another point: soundproofing foam is not soundproof…it is reverb canceling. Noise passes through it no problem…but on the walls of a studio is deadens the echo. Don’t buy a ton of this stuff…placing it in the corners of a studio, and a little bit around where the monitors are is usually enough. Like I said, a little natural reverb is fine. If the place echoes like a cave, however, invest in some foam.

Usually, the best soundproofing comes from thick walls and, if you have access, soundproofing board (you can get this at Home Depot…it is like a light, soft plywood, and it actually does work pretty well if nailed to doors or over windows.

Alright, there are a few things you need if you want to start recording your own stuff:
Start by buying a quality Apple computer.  This is, I repeat, where you START.  Don’t do anything else.  I recommend the G5 with the dual processor, and a minimum of 1Gb of memory.  This will set you back about $3K, so start saving.

Next, the software and interface.  The interface is what all the musical instruments you play/samplers you use will connect to.  I use the MOTU MKII 828.  It has 8 audio ins, plus 2 ins with preamps (but you will soon render these useless).  It connects to the computer via firewire, and that is fine.  The sound transmits well through this interface.  As for the software, you really have two choices:  Logic and ProTools.  Screw Cubase, it is crap.  So is Nuendo.  ProTools is the best option for the serious musician, but it is incredibly expensive and so are the plug-ins.  It also takes forever to boot…but overall it is the best.  Logic is great because it is made by Apple, and is very powerful for the price (like, 1/10 of a ProTools HD rig).  I use Logic, and have found it very capable.  With the right plug-ins, my engineer (who won a grammy for mastering) used it to mix my last CD and said it does everything his studio’s $50K worth of ProTools can do (for mixing, not mastering).  More on this later.

Finally, you need a good drum machine.  I know everyone loves BFD, but I had problems with it, so forget it.  Reason can do everything it can with the added bonus of great samples and very solid additional processors.  I’d break the bank on sound fills (Guitar Center or online), and fill it up.  Reason, with the right sounds and some understanding of how it all works, can come up with some impressive stuff.

Here are two examples:

Example 1

Example 2

Next, we’ll talk about sound equipment, and studio construction.

I take myself way too seriously sometimes…
You gotta know that if you want to do music for a living, you are probably going to get fucked. Like bad, anus-be-bleedin’ kinda fucked. This industry is like a meat grinder man. A meat grinder for your fuckin’ dreams.

Not that I’m bitter or anything. I just think it is a shame, cause there are some serious cats out there that should be heard, but aren’t. I’d personally rather work with some of those musicians than the guys doin’ it, cause you can’t fit in the damn room. Their egos are too fuckin’ big .

I’m gonna talk all things music here. I’ll probably be posting music, posting thoughts on music, how to put a studio together, how to make a beat, etc. Feel free to comment or email me and ask questions…I would say with a lot of confidence that I know enough cats to answer almost any question.

Here’s an example of me taking myself too fuckin’ serious. Enjoy.

An Introduction