Reasoning about art
“The poet belongs to the form, and the content to the history and reality of his people” (Belinsky; compare Glinka: “The people compose music, we only arrange it”). Consequently, the…

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Physics of sound
This text is optional. Especially for those people who are not going to seriously work with sound, but want only in their free time to play the synthesizer and make…

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Music and hypnotic state
Hypnosis (Greek hypnos — dream) An altered state of consciousness characterized by a narrowing of its volume and presumably sharp focus on the content of the suggestion. Hypnosis occurs as…

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shadow of doubt

Reflections on the younger generation of DJs

Have you ever thought about what catches you in electronic music and vice versa, why does it sometimes seem boring and uninteresting to you? On the other hand, have you ever thought about why you write (if you write) music, want to become a DJ, strive for popularity? Most likely, everyone will give some answer to these questions. I would like to tell you what some of these answers may lead to.

So the question is: why do you want to become a DJ?
Probably the most common answer will be similar to the lines from an advertisement of some DJ school: Continue reading

A well-recorded play

When I was recording my first album, the mix itself sounded great, but neither the band nor the song were. Everyone who listened to him agreed with this – and at first these people did not separate the mix from the music at all.
Most people think the same way and do not make certain differences between the individual parts, the totality of which is music. Be that as it may, an engineer will most often make comments on certain aspects of the recording, the music itself, and information. If we are talking with a producer, then, as a rule, he is responsible for the details of the recording. But more often than not, an engineer plays this role. However, the producer himself is heavily dependent on the opinions and criticisms of the engineer. Continue reading

Frequencies to Remember

Classically, the sound spectrum is divided into three parts: low, medium and high frequencies. The frequency limits, although not everyone agrees with this, can be defined as follows: low from 10 Hz to 200 Hz, medium from 200 Hz to 5 kHz, and from 5 kHz – high. For a more precise definition, let’s divide these three parts into smaller ones and consider them separately.

1) Low bass (from 10 Hz to 80 Hz) – these are the lowest notes from which the room resonates, and the wires begin to hum. If your sound reproducing equipment does not reproduce these frequencies, you should feel the loss of saturation and depth of sound. Naturally, when recording and mixing, the loss of these frequencies will cause the same effect.

2) Upper basses (from 80 Hz to 200 Hz) are the top notes of bass instruments and the lowest notes of Continue reading

A look from inside. About VST Tools
This article reveals the idea of ​​creating VST synthesizers, the understanding of which is lacking for musicians, especially those who are constantly looking for more and more new synthesizers and…

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Which track is better. New or good old?
In her famous quote, the great Coco Chanel wanted to say that there are hobbies that capture the minds of society in a wave, but then quickly fade away. But…

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Which track is better. New or good old?
In her famous quote, the great Coco Chanel wanted to say that there are hobbies that capture the minds of society in a wave, but then quickly fade away. But…

...

about mastering
Most people are well aware of the process of recording music at a concert or in a studio. You record individual fragments or individual performance on tape. Ultimately, all of…

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