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The Representation of Women at Electronic Music Festivals
By Caro Churchill
As a female artist operating in this field of the music industry, I like to keep abreast of latest research. And a very interesting recent study shows how the land lies for women in the lucrative field of electronic music festivals. International support network and database Female Pressure consists of female DJs, Vjs, electronic musicians, sound artists, sound engineers, academics and other diverse professionals involved in the post club culture industry and vibrant scenes in most cities.
As a collective endeavour, active members of the Female Pressure network submitted statistics for festivals they were aware of. And then, collating all these findings, they produced a report and graphic representation clearly demonstrating their informal research using music faders and ven diagrams. Some countries fared better than others - the UK was not the best for gender representation with women making up ten per cent of the artists performing. And quite surprisingly perhaps, Germany did not fair much better despite the assumption that there are more female DJs and artists active especially in Berlin.
Overall, the study showed over eighty percent of festival artists were male and less than ten per cent were female - the rest were acts made of men and women. So what can be done about this? One solution put forward has been festivals representing only female artists. The aim of this would be to make a statement that there are many female artists out there that can entertain an audience. However there is an argument against this approach as this can still lead to separation and lack of integration in the male dominated rosters. There are wonderful examples of festivals and collectives that strive for a more representative and diverse offer of live and DJ acts - LEM festival in Barcelona was one of these though this sadly no longer exists.
Female Pressure have decided for this year to present an all female line up in Berlin to boldly highlight the quantity and quality of women working in the electronic music industry. Future festivals will however focus on aiming for a 50-50 male female ratio as increased female acts at electronic music festivals seems the most effective way forward. There are many interesting and most capable female live performers and DJs, one only has to use your favourite search engine to find this out. And more importantly audiences deserve a varied and reflective range of performances when they have invested in a ticket for an event.
Caro C is an independent electronic music producer and performer currently based in Manchester, UK. She is often asked about the under-representation of women in electronic music and audio engineering and contributes to research on this topic.
Caro C will perform at the first Perspectives Festival to be held in Berlin in September 2013.
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6 Warning Signs That You Don't Know the First Thing About EQ
By Bjorgvin Benediktsson
Especially if you're doing any of these things below.
1. You Move the Wrong Knobs
This is beginner's mistake number 1 but it's worth pointing out. If you're only moving the frequency knob without moving the gain knob, you're not EQ'ing. This is a terrible mistake to make, because you're actually doing nothing at all!
If the gain knob is at zero, then moving the frequency knob will gain you nothing, no pun intended. And don't laugh, I've seen this a few times with people who just don't know the first thing about what they're trying to accomplish.
2. You Don't Filter
Filtering is the first step in EQ'ing. It's like cleaning up the clutter before you can make your room nice. All instruments have frequency ranges that get in the way of other instruments in a mix.
Don't fear the filter, it's the best way to eliminate low-end buildup and clutter from instruments that don't need it. Filter out the low-end of the guitars to make the bass guitar fit, and get rid of the high-end when your instrument doesn't need it.
3. You Make Aggressive Boosts
Sometimes you really do need to boost frequencies to make that track pop, but don't go overboard. A 20 dB boost is just asking for trouble. When you boost, you're manipulating the phase relationship of the frequencies, introducing a lot more gain as well as potential noise to your tracks.
Use subtractive EQ instead, it's a much cleaner alternative. By subtracting the frequencies you don't want, you're subjectively boosting the frequencies that you want. For instance, cutting the lower-mids can achieve the same result as boosting the higher-mids. Don't boost aggressively. Be conservative and cut instead.
4. Your Cuts are Wide
A simple goal to live by is:
Broad Boosts, Narrow Cuts
When cutting frequencies, use a narrow Q. Think of subtractive EQ like a scalpel. You're taking away frequencies you don't like, but you have to be careful to not cut the vitals of the instrument.
5. Your Boosts are Narrow
Same thing as before, but in reverse. Narrow boosts sound very unnatural. A 20 dB boost with a very narrow Q will pinpoint that frequency and it will stick out like a sore thumb. Use broad boosts for a more flattering sound.
6. You Boost the Same Frequencies in 5 Different Instruments
This is a surefire way to make all the elements of a mix clash together, resulting in a cluttered and unclear mix. Think of it like a division problem. You have a set amount of apples, and you need to divide them among a set amount of people. Similarly, you have a set amount of instruments that you need to divide among the frequency spectrum. The kick-drum, bass guitar, acoustic and vocal can't all have a 12 dB boost at 4 kHz.
Find different frequencies that flatter each instrument individually, and spread them around. Also, if you're boosting a frequency in a certain instrument, then it's usually a good idea to cut in an instrument that occupies the same frequency range. Divide the frequencies evenly among instrument and achieve better separation and clarity in your mixes.
EQ Should Be Your Best Friend
The equalizer is one of the most powerful tools in your arsenal. But you can also completely screw up your mix if you don't know how to use it. I hope you weren't making many of these mistakes that I mentioned above, I know I've done plenty of them.
Bjorgvin Benediktsson is an audio engineer and writer. He is an Alumni from the SAE Institute and has been working in the audio industry since 2006. He has written about audio and music for blogs and magazines since 2006 and has published books on audio recording and mixing. He writes about music production on his blog. Check out more of his writing right here on Audio Issues
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Home Studio on a Budget
By John Rimmer
If you are are reading this then you are either planning on building a home studio or you already have started building one. Hopefully this guide will give you an idea as to some of the dos and don'ts when it comes to buying, building and using your studio and the hardware/software within it.
It is important to understand what you want to achieve before you start. Knowing what kind of music it is that you want to record before you start gives you a better understanding of what kind of space you're going to need and also the hardware and software that you may have to buy.
If you're wanting to record drums for example you will need quite a large room or outhouse. This will ideally be soundproofed (unless you have don't have any neighbours in which case it doesn't matter so much) which could cost quite a bit of money.
If you're just recording guitar and vocals or you just want to write some electronic music then no soundproofing will be required although you can buy products to improve the acoustics of your chosen room should you feel that the acoustics are not good enough. A couple of bass traps in the corner of your room can significantly reduce the natural reverb of the room and make it easier to record things. Bass traps will also make mixing and mastering a more enjoyable experience because you will be able to hear your speakers with more clarity.
Once you have chosen what room to use for your home studio and have established what kind of music that you will be writing and recording it's time to think about what kind of software and hardware you will need to purchase.
If you are using a microphone/ keyboard or guitar you will need to buy a recording interface. This is the piece of hardware that bridges the gap between you and your instrument and the software on the computer. You can buy many different recording interfaces each with different strengths and weaknesses so it's good to understand exactly what you want before you make this purchase. For example if you are only going to be recording vocals and guitar then you won't need a recording interface with 4-8 inputs because the max you will ever be using will be 2. Another important parameter to look at when choosing a recording interface is exactly what kind of latency it has. Some recording interfaces have firewire which offers virtually zero latency. Usually the more money you spend the better latency you're going to get.
Once you have bought your recording interface it's time to think about what software you're going to use. There are many products on the market with a wide variety of prices. Most musicians either use Cubase, Pro Tools, Logic, Fruity loops or Ableton Live. They all offer different things and some are better for certain styles of music than others. Fruity loops and ableton are better suited to electronic based music production and Cubase and Protools are better suited to live music recording.
Thankyou for reading this article, I hope you found it helpful. If you did find it useful I would ask you to take a small amount of your time to glance at our website. You can find more tutorials and downloads there.
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What We Need to Understand With Rock Music Today
By Martin Swan
Music keeps changing as time goes by. The rock music trends are borne to maintain a cultural influence depending on their era of formation. Many of the artists are becoming theatrical with many of the bands putting up a great show. Some of the groups have been around for many decades and so they stand to influence the current music trends. However, their influence on the current music depends on how well they continue providing great shows to their audiences, considering treads come and go.
The current music trends
Today, shock rock is proving to be the "big thing", making many of the rock groups to become exceedingly popular. Therefore, many of the audiences are becoming tired of gimmicks that are observed with some musicians. In fact, some of these musicians are losing the attention that is otherwise required for surviving in a competitive industry. Some of the buyers or listeners are overlooking the trends to find their own voices.
It has become easier to find the desired voice, because we live in a community that detects the right voice from the least appealing. Lyricists who offer the best in terms of song writing are also identified readily. Therefore, the future of rock music is likely to gravitate towards the humble beginning where people begin to appreciate the skill of writing good music. It will be more that presenting an image to the point of expressing one's talents and creativity. The society is asking for better, bigger and extreme talents. This offers a good way of ensuring the latest trends of rock music are being introduced.
The difference with the music
The current trends in rock music are not necessarily different from the performances in other eras, although many of the followers may choose to differ. When you consider the most recent trends of rock music, you stand to find a presentation that you enjoy. Many rock bands are sincere in their presentation while managing their theatrical. You will discover many more bands that choose to maintain their low profile; therefore, they get to be heard when they hit the top charts.
Some of the rock groups can be compared with the "Beetles" who captured the attention of the audience in the 70s. The latest rock music trends are seeking to capture the attention of the audience by offering great performances. Therefore, the recent trends stand to impact significantly the future generations.
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