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russ long's guide to nashville recording
Description
Russ Long's Guide to Nashville Recording.
Watch veteran engineer Russ Long as he records five Nashville studio musicians. This training DVD includes EQ close-ups, mix techniques, and a DVD-ROM containing all the 24 bit
audio files.
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russ long,professional musician,full sail,music,guitar,drums,
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how to get a record deal,
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Watch veteran engineer Russ Long as he records five Nashville studio musicians. This training DVD includes EQ close-ups, mix techniques, and a DVD-ROM containing all the 24 bit
audio files.
protools,recording,audio engineer,recording instruction,recording instructional dvd,audio engineering school,
russ long,professional musician,full sail,music,guitar,drums,
how to record,record deal,
how to get a record deal,
a&
r reps,recording studio
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Date
Jun 13, 2005
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Link ID
8794
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Intonation Study:
Experiments in interval perception often reveal an astonishingly wide range of acceptability as far as mistuning is concerned. Mistunings of 20–40 cents seem to be acceptable in adjustment or evaluation tasks, yet this wide range of tolerance towards intonation deviation contrasts with the demands made on the intonation skills of expert musicians. Within the framework of a top-down approach, it is hypothesized that expert musicians use all acoustical cues available, such as timbre or musical context, in order to achieve optimal task adaptation and therefore are able to adapt to different tuning systems to a significant degree. On this hypothesis, it was decided to carry out an experiment which includes a "realistic" musical setting. The experimental conditions of this study used the paradigm of controlled varied condition with a 2 (tuning systems) * 2 (players) * 5 (renditions) * 5 (interval categories) design. Two professional musicians (trumpet players) were chosen as subjects to play the missing upper voice of a 4-part sound-example whilst listening via headphones to the remaining 3 parts in adaptive just intonation (JI) and equal temperament (ET). An analysis of variance showed a non-significant difference between the mean deviation of intonation in the two systems used. The results revealed a mean deviation of 4.9 cents in the ET condition (sd = 6.5) and 6.7 cents in the JI condition (sd = 8.1) and no significant differences were found between players. Results are based on the assumption of an unconscious "always the same" strategy, which means that the same intonation is employed for ET and JI versions. This overall tendency is interpreted as a "burn in"-effect and is the consequence of long term intonation practice in ET. Additionally, a factor analysis revealed four components which determine intonation patterns: these are the "major third factor", the "minor third and partials factor", the "instrumental tuning factor" and the "octave-minor seventh factor". To summarize, even in expert musicians, intonation is not determined by abstract tuning systems but is the result of an interaction among compositional features, the acoustic of the particular musical instrument and deviation patterns in specific intervals ...
Experiments in interval perception often reveal an astonishingly wide range of acceptability as far as mistuning is concerned. Mistunings of 20–40 cents seem to be acceptable in adjustment or evaluation tasks, yet this wide range of tolerance towards intonation deviation contrasts with the demands made on the intonation skills of expert musicians. Within the framework of a top-down approach, it is hypothesized that expert musicians use all acoustical cues available, such as timbre or musical context, in order to achieve optimal task adaptation and therefore are able to adapt to different tuning systems to a significant degree. On this hypothesis, it was decided to carry out an experiment which includes a "realistic" musical setting. The experimental conditions of this study used the paradigm of controlled varied condition with a 2 (tuning systems) * 2 (players) * 5 (renditions) * 5 (interval categories) design. Two professional musicians (trumpet players) were chosen as subjects to play the missing upper voice of a 4-part sound-example whilst listening via headphones to the remaining 3 parts in adaptive just intonation (JI) and equal temperament (ET). An analysis of variance showed a non-significant difference between the mean deviation of intonation in the two systems used. The results revealed a mean deviation of 4.9 cents in the ET condition (sd = 6.5) and 6.7 cents in the JI condition (sd = 8.1) and no significant differences were found between players. Results are based on the assumption of an unconscious "always the same" strategy, which means that the same intonation is employed for ET and JI versions. This overall tendency is interpreted as a "burn in"-effect and is the consequence of long term intonation practice in ET. Additionally, a factor analysis revealed four components which determine intonation patterns: these are the "major third factor", the "minor third and partials factor", the "instrumental tuning factor" and the "octave-minor seventh factor". To summarize, even in expert musicians, intonation is not determined by abstract tuning systems but is the result of an interaction among compositional features, the acoustic of the particular musical instrument and deviation patterns in specific intervals ...
Category:
2. sagittal
Sagittal:
The word "sagittal" (pronounced "SAJ-i-tl") means "arrow-like". Think of Sagittarius the archer; the centaur with bow and arrow that the ancients saw in the night sky.
The Sagittal notation system is a comprehensive system for notating musical pitch in all possible scales and tunings - a universal set of microtonal accidentals, equally suited to extended just intonation, equal divisions of the octave (or of any other interval), or any of the non-just non-equal "middle path" tunings or temperaments. It is called Sagittal because, you guessed it, it uses various arrow-like symbols, pointing up or down to indicate raising or lowering of pitch.
Sagittal was developed by George Secor and myself, with a major early contribution from Gene Ward Smith, and in cooperation with many others on the Yahoo Groups tuning and tuning-math. ... Or at least that's how it seemed to me at the time.
We would like to thank the following for their suggestions and/or encouragement during the development of the Sagittal notation system so far, (in alphabetical order): Gabor Bernath, Graham Breed, Paul Erlich, Mark Gould, Kraig Grady, Aaron Hunt, Marc Jones, Carl Lumma, Herman Miller, Alison Monteith, Joe Monzo, Ted Mook, Manuel Op de Coul, Joseph Pehrson, Johnny Reinhard, Joel Rodrigues, Klaus Schmirler, Margo Schulter, Samara Secor, Gene Ward Smith, Dan Stearns, Jon Szanto, Robert Walker, Robert Wendell and Danny Wier ...
The word "sagittal" (pronounced "SAJ-i-tl") means "arrow-like". Think of Sagittarius the archer; the centaur with bow and arrow that the ancients saw in the night sky.
The Sagittal notation system is a comprehensive system for notating musical pitch in all possible scales and tunings - a universal set of microtonal accidentals, equally suited to extended just intonation, equal divisions of the octave (or of any other interval), or any of the non-just non-equal "middle path" tunings or temperaments. It is called Sagittal because, you guessed it, it uses various arrow-like symbols, pointing up or down to indicate raising or lowering of pitch.
Sagittal was developed by George Secor and myself, with a major early contribution from Gene Ward Smith, and in cooperation with many others on the Yahoo Groups tuning and tuning-math. ... Or at least that's how it seemed to me at the time.
We would like to thank the following for their suggestions and/or encouragement during the development of the Sagittal notation system so far, (in alphabetical order): Gabor Bernath, Graham Breed, Paul Erlich, Mark Gould, Kraig Grady, Aaron Hunt, Marc Jones, Carl Lumma, Herman Miller, Alison Monteith, Joe Monzo, Ted Mook, Manuel Op de Coul, Joseph Pehrson, Johnny Reinhard, Joel Rodrigues, Klaus Schmirler, Margo Schulter, Samara Secor, Gene Ward Smith, Dan Stearns, Jon Szanto, Robert Walker, Robert Wendell and Danny Wier ...
Category:
Russ Long's Guide to Nashville Recording.
Watch veteran engineer Russ Long as he records five Nashville studio musicians. This training DVD includes EQ close-ups, mix techniques, and a DVD-ROM containing all the 24 bit
audio files.
protools,recording,audio engineer,recording instruction,recording instructional dvd,audio engineering school,
russ long,professional musician,full sail,music,guitar,drums,
how to record,record deal,
how to get a record deal,
a&
r reps,recording studio
Watch veteran engineer Russ Long as he records five Nashville studio musicians. This training DVD includes EQ close-ups, mix techniques, and a DVD-ROM containing all the 24 bit
audio files.
protools,recording,audio engineer,recording instruction,recording instructional dvd,audio engineering school,
russ long,professional musician,full sail,music,guitar,drums,
how to record,record deal,
how to get a record deal,
a&
r reps,recording studio
Category:
Hexachords, solmization, and musica ficta.
Foreword: Why learn hexachords?
When I asked Margo Schulter to write an article explaining medieval hexachords and the issues underlying their application in performance, one of my primary motivations was obvious: In order to understand how medieval music was constructed and performed, in order to determine what in modern notation become required accidentals, one must understand hexachords. From the time Guido d'Arezzo developed the hexachord syllables (ut, re, mi, fa, sol, la) in his Epistola de ignoto cantu (c.1029-33), following closely upon his magnum theoretical opus Micrologus (c.1025-32), they became the basis of Western musical education and persisted as such until the dawn of the modern era. For someone accustomed to modern musical notation, hexachords may seem to be so much baggage, begging a question: Isn't the practical modern musician better off ignoring them, leaving to scholars the arcane task of supplying accidentals in modern editions?
When evaluating what may seem to be the convoluted & quaint aspects of Guido's system of hexachords and solmization (whether Guido himself supplied the incipits which would make his syllables a proper solmization system is an open question), the reader should be mindful of three facts: 1) It was Guido who developed and described staff notation in Micrologus; 2) Guido's contemporary fame was first as a teacher with an unprecedented ability to teach chants quickly; and, 3) Solmization systems of various kinds are found around the world. It is only too easy to view the hexachord system as a pointless medieval exercise in sophistry, as the debate regarding angels on the head of a pin or the endless syllogisms of Peter of Spain replaced today by a few simple rules of logic. Yet, it was first of all the sheer practical relevance of the system which demanded its introduction. If Guido could envision the staff, an innovation we certainly feel no need to mock, might not we grant him the benefit of the doubt when it comes to hexachords as a concomitant of his system? Moreover, can we profitably use hexachords today?...
Foreword: Why learn hexachords?
When I asked Margo Schulter to write an article explaining medieval hexachords and the issues underlying their application in performance, one of my primary motivations was obvious: In order to understand how medieval music was constructed and performed, in order to determine what in modern notation become required accidentals, one must understand hexachords. From the time Guido d'Arezzo developed the hexachord syllables (ut, re, mi, fa, sol, la) in his Epistola de ignoto cantu (c.1029-33), following closely upon his magnum theoretical opus Micrologus (c.1025-32), they became the basis of Western musical education and persisted as such until the dawn of the modern era. For someone accustomed to modern musical notation, hexachords may seem to be so much baggage, begging a question: Isn't the practical modern musician better off ignoring them, leaving to scholars the arcane task of supplying accidentals in modern editions?
When evaluating what may seem to be the convoluted & quaint aspects of Guido's system of hexachords and solmization (whether Guido himself supplied the incipits which would make his syllables a proper solmization system is an open question), the reader should be mindful of three facts: 1) It was Guido who developed and described staff notation in Micrologus; 2) Guido's contemporary fame was first as a teacher with an unprecedented ability to teach chants quickly; and, 3) Solmization systems of various kinds are found around the world. It is only too easy to view the hexachord system as a pointless medieval exercise in sophistry, as the debate regarding angels on the head of a pin or the endless syllogisms of Peter of Spain replaced today by a few simple rules of logic. Yet, it was first of all the sheer practical relevance of the system which demanded its introduction. If Guido could envision the staff, an innovation we certainly feel no need to mock, might not we grant him the benefit of the doubt when it comes to hexachords as a concomitant of his system? Moreover, can we profitably use hexachords today?...
Category:
the quartertone question,
harmonic coincidence charts,
names of notes in the series of fifths, name of notes in the series of major thirds, list of intervals relevant to the theory of tuning,
musical pitches of some english vowel resonances, xenharmonics, relative importance of some equal temperaments, 24 notes of 1/4-comma meantone, visual analogy for temperament, 15 tone scale system....
harmonic coincidence charts,
names of notes in the series of fifths, name of notes in the series of major thirds, list of intervals relevant to the theory of tuning,
musical pitches of some english vowel resonances, xenharmonics, relative importance of some equal temperaments, 24 notes of 1/4-comma meantone, visual analogy for temperament, 15 tone scale system....
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