Unit 9 - Task 4
After creating and mixing all the tracks, we organised their bounced MP3 tracks into a Logic file and sequenced them to create the EP.
Running Order/Listening Through:
As a group, we had to decided upon a running order together that we felt would capture the contrasts of our songs effectively whilst also ensuring that the songs did not clash jarringly in terms of genre, dynamics and so on. With each time we listened to it through, it grew closer to what we wanted; for instance, at one point we completely changed the order by putting the lo-fi song (which was previously last) at the beginning because we felt that the E.P should begin 'calmly' and then progress into more energetic songs. A variety of factors went into deciding the order in which the EP's tracks should be sequenced. It progresses through moods from the calmness of the lo-fi opening up to the dramatic Reckless.
WWW: We think that we have formulated an appropriate running order that captures the stylistic contrast of all our songs effectively. We believe this because the songs do not sound out of place next to each other.
EBI: I think we should have spaced out the instrumentals with the songs that have vocals on them so to provide even more contrast between songs. For example, we could have had a song with vocals and then an instrumental and then another song with vocals as this would have given each song a refreshing feel.
Levels/Dynamics:
Part of the mastering process is ensuring that all of the songs are at the same volume so that the E.P sounds professional and entails a fluid listening experience. Our aim was to ensure that all the songs were at the same volume. Ways in which we achieved this: firstly, we adjusted the faders in the mixer on Logic. The colour coding of the volume mixer in Logic allowed us to observe (as the EP played) the dynamic range of the songs by identifying peaks and troughs in the fader channel strip in order to better equalise levels. We decided that we wanted the songs to peak in the yellow area (-2.0 - 0.0 dB)
as this meant that the songs would not be too loud, so to peak, and would also not be too quiet (which could lead the listener to have to adjust the volume abnormally). We ultimately achieved this by studying the dynamic range of each song by listening through and identifying the highest peaks and lowest troughs and adjusting the faders knobs accordingly. We also used a limiter to help with dynamics which we will elaborate on later.
Transitions (Crossfades, Topping Tailing):
Topping and Tailing and Crossfades:
There are periods of silence between the fourth and fifth tracks, but most of the tracks start and end with transitions between each other; this is achieved through topping and tailing. The next track begins before the current one has ended. This connects the two songs sonically and makes them part of the larger work rather than separated. Crossfades are when as a song is transitioning to the next one, you add a fade out (which can either be reduction in dynamics or slow down in time) which helps to make transitions between songs smoother and more natural. We wanted to have a variety of transitions in our E.P, some including smooth and seamless transitions between songs and some including short breaks in sound before the next song begins. In cases where we wanted smooth transitions (rather than pauses in sound), we often utilised crossfades. For example, we utilised a fade out and fade in (cross-fade) when the song 'Powder' transitions into 'Reckless'. To do this we used the fade tool on Logic as our secondary tool. We did this by selecting it in the tool menu as our second tool and holding the command button which allowed for the use of the fade tool. We then used the fade tool to highlight the desired area and then adjusted the fade line accordingly. We managed to fade 'Powder' out and fade 'Reckless' in by making the fades play at the same (cross-fading) so that as one song was fading out the next one was fading in.
WWW: The transitions in our E.P are very smooth and stylistically appropriate due to our use of topping and tailing and crossfades. For example, the transition between 'Powder' and 'Reckless' is smooth and seemingness because of the fades that we used and because we topped and tailed 'Powder' so that the end could seamlessly transition to the next song.
EBI: I think we could have utilised cross fades more between transitions as this would have helped the songs to flow even better.
Markers:
When mastering, in order to help us stay organised and for us to work most effectively, we utilised markers so that we knew when certain events in a song were taking place. For example, when we wanted to add a fade out, in order to know when the next song began, we added a marker above the playhead so that we could move the audio files around whilst still knowing where we wanted new events (e.g. start of a new track) to take place.
Running Order/Listening Through:
As a group, we had to decided upon a running order together that we felt would capture the contrasts of our songs effectively whilst also ensuring that the songs did not clash jarringly in terms of genre, dynamics and so on. With each time we listened to it through, it grew closer to what we wanted; for instance, at one point we completely changed the order by putting the lo-fi song (which was previously last) at the beginning because we felt that the E.P should begin 'calmly' and then progress into more energetic songs. A variety of factors went into deciding the order in which the EP's tracks should be sequenced. It progresses through moods from the calmness of the lo-fi opening up to the dramatic Reckless.
WWW: We think that we have formulated an appropriate running order that captures the stylistic contrast of all our songs effectively. We believe this because the songs do not sound out of place next to each other.
EBI: I think we should have spaced out the instrumentals with the songs that have vocals on them so to provide even more contrast between songs. For example, we could have had a song with vocals and then an instrumental and then another song with vocals as this would have given each song a refreshing feel.
Levels/Dynamics:
Part of the mastering process is ensuring that all of the songs are at the same volume so that the E.P sounds professional and entails a fluid listening experience. Our aim was to ensure that all the songs were at the same volume. Ways in which we achieved this: firstly, we adjusted the faders in the mixer on Logic. The colour coding of the volume mixer in Logic allowed us to observe (as the EP played) the dynamic range of the songs by identifying peaks and troughs in the fader channel strip in order to better equalise levels. We decided that we wanted the songs to peak in the yellow area (-2.0 - 0.0 dB)
as this meant that the songs would not be too loud, so to peak, and would also not be too quiet (which could lead the listener to have to adjust the volume abnormally). We ultimately achieved this by studying the dynamic range of each song by listening through and identifying the highest peaks and lowest troughs and adjusting the faders knobs accordingly. We also used a limiter to help with dynamics which we will elaborate on later.
Transitions (Crossfades, Topping Tailing):
Topping and Tailing and Crossfades:
There are periods of silence between the fourth and fifth tracks, but most of the tracks start and end with transitions between each other; this is achieved through topping and tailing. The next track begins before the current one has ended. This connects the two songs sonically and makes them part of the larger work rather than separated. Crossfades are when as a song is transitioning to the next one, you add a fade out (which can either be reduction in dynamics or slow down in time) which helps to make transitions between songs smoother and more natural. We wanted to have a variety of transitions in our E.P, some including smooth and seamless transitions between songs and some including short breaks in sound before the next song begins. In cases where we wanted smooth transitions (rather than pauses in sound), we often utilised crossfades. For example, we utilised a fade out and fade in (cross-fade) when the song 'Powder' transitions into 'Reckless'. To do this we used the fade tool on Logic as our secondary tool. We did this by selecting it in the tool menu as our second tool and holding the command button which allowed for the use of the fade tool. We then used the fade tool to highlight the desired area and then adjusted the fade line accordingly. We managed to fade 'Powder' out and fade 'Reckless' in by making the fades play at the same (cross-fading) so that as one song was fading out the next one was fading in.
EBI: I think we could have utilised cross fades more between transitions as this would have helped the songs to flow even better.
Markers:
When mastering, in order to help us stay organised and for us to work most effectively, we utilised markers so that we knew when certain events in a song were taking place. For example, when we wanted to add a fade out, in order to know when the next song began, we added a marker above the playhead so that we could move the audio files around whilst still knowing where we wanted new events (e.g. start of a new track) to take place.
Frequency Characteristics:
There is a variety of frequencies across the EP. The opening lo-fi song, for instance, makes use of cut-off to achieve a retro sound by cutting off low frequencies; automation is used so that the song progresses from low frequencies being fully cut off to gradually introducing them. The use of latch automation instead of automatic lends a natural, authentic sound to this as because it operates on analog rather than digitally. The automation towards bass sets a precedent for the following song which has prominent bass guitar and later on low-pitched cellos. By the time we’ve reached ‘Reckless’, bass frequencies are a loud and essential part of the music. In this way we achieved a sense of progression in the EP which makes it more of a cohesive product as opposed to being just a collection of juxtaposing, unconnected tracks. Having a diversity of frequencies makes the listening experience more varied, and sequencing them in this way prevents the diversity from being jarring.
WWW:
We think that we achieved many moods and styles with this EP and part of that is down to a high level of variation in frequency. This variation could have made the EP sound disjointed, but the specific ordering we created as well as control of other variables like dynamics prevents this from occurring.
EBI:
We could have achieved this even better however by analysing frequencies across the selection of songs with EQ tools; instead we relied on our ears, which can be useful but is not always precise.
Processing:
To further assist with levels we added a limiter to the master track. This again prevented stark contrasts of dynamics between songs by asserting a threshold under which all sound must stay in the form of gain reduction. Although it is helpful to analyse and account for dynamics using tools like the colour-coded slider as well as our own intuition, employing a limiter ensures a level of technical precision to the equalising of levels that couldn’t be so well achieved manually with sliders, because it works by just applying a single number which everything must follow. This helps to achieve a consistently professional sound through.
WWW:
The use of gain reduction on the limiter ensured there were no peaks in any of our songs, keeping them comfortable to listen to whilst also allowing each song to be pushed to its zero level. When mastering the songs, our use of gain reduction allowed us to push our songs to their maximum level while still avoiding peaks. This achieves a level of consistency across the tracks.
EBI:
A compressor, which reduces the volume of loud sounds but also amplifies the volume of quiet sounds, might have been a more appropriate form of levels handling. This is because, rather than most songs being loud and so needing limiting, there is a variety of dynamics from rather quiet (especially if we include the crossfades) to rather loud which could have been better accommodated for by a compressor that deals with both of these extremes.
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