Music Production Studies

First, let's take a look at our mixing console EQ section. This is the EQ setting we're gonna copy on the EQ plugin:

Now, go to Reaper and insert the ReaEQ plugin:

First thing we're going to do is to copy the high-pass filter, as shown in the picture below. It's a High Pass type and in this case this is fixed at 75Hz:

Now let's start copying from the lowest frequency to the highest. Note that the "Low" knob is a Low Shelf type that works on a fixed frequency at 80Hz and it can go from -15 to +15 dB. So, let's copy that:

At the Low Mid and High Mid section we have a different situation. We have to choose how many dB we want to boost or attenuate (-15 to +15) and we also have to choose on which frequency this is going to work. In the low mid section in this example, it can be from 100Hz to 2kHz (2000Hz) so I chose to let it on 400Hz. I also chose "Band" for the EQ type. That means it's going to change only the frequencies around 400Hz:

For High Mid we take the same procedure used on Low Mid. Select the frequency you want it to act on, then "Band" as the EQ type. Note that on our mixing console it ranges from 400Hz to 8kHz and that I chose 3kHz:

By default ReaEQ give us 4 bands to work with. Since we've already used all, we have to add a new one. It can be done clicking on "Add band" button:

The "High" section is a High Shelf type EQ fixed at 12kHz (12000Hz). Let's copy it:

Now that we have our EQ configured, we can start playing with each channel's gain. Note that we've not touched the gain until now. The gain fader is where we're going to cut or boost the frequencies. Here is an example with the gain for all frequencies set:

There is another fader I had not mentioned before and it's time to start playing with it too. This is the "Bandwidth (oct)" (bandwidth octave) fader, that means "how many dBs per octave would you like to cut or boost". You should adjust it along with the gain fader to match the equalization you want.

Finally, to save the preset you must click on the plus "+" sign, click on Save Preset on the menu that appears, choose a significant name and then click OK. Done!

In Reaper 4.x you can access the virtual keyboard by typing Alt+B or from the View menu:

When the Virtual MIDI Keyboard is active, you can then play on your PC keyboard as if it was a "musical" keyboard (with its obvious limitations).

Here is the Virtual MIDI Keyboard open (along with the excelent Zebralette plugin):

    The problem is even if you pin the virtual keyboard window "Always on top", when you click on another window (for instance when you click on the plugin window to try another preset or make some tweak on its knobs) the virtual keyboard loses focus, so you have to click on its window again to be able to play on the PC keyboard. 

This is so annoying.

  The solution is very simple but it's a little bit hidden: Just right-click on the bottom (or the title bar on the top, not on the keys) of the virtual keyboard window and check "Send all keyboard input to Virtual MIDI keyboard".

Now you'll be able to use the virtual keyboard if you click on another window and even if it has "Always on top" turned off.

Let's go! I like to group the modes by types, as below:

  The 3 major modes (scales with a major 3rd):

The 3 minor modes (scales with a minor 3rd):

And finally, there is a half-diminished mode. I like to think about it as a "special" type mode, with a different structure, that's why I put it apart from the others:

  Let's go a little deeper in each group:

  Major modes

All the 3 modes have almost the same structure. Their only difference occurs at the IV and VII degrees. (Would it be a coincidence that these are exactly the 2 "missing" degrees on the major pentatonic scale?)

How I think about this group:

Lydian is a major scale (Ionian) with a raised 4 (#IV).

Mixolydian is a major scale (Ionian) with a lowered 7 (bVII)

- Note: A chord that has a major 3rd and a minor 7th is called "dominant".

  Minor modes

All the 3 modes in this group also have a similar structure. Their only difference occurs at the II and VI degrees. (Would it be a coincidence that these are exactly the 2 "missing" degrees in the minor pentatonic scale?)

Here's how I think about this group:

Dorian is an Aeolian with a raised 6 (natural VI if we think about the major scale)

Phrygian is an Aeolian with a lowered 2 (bII)

  Half-Diminished mode

I think about this mode apart from the others because it seems more logical for me:

Locrian is a mode with ALL degrees lowered, except IV

This sounds way better for me, but you can also think:

Locrian is a Phrygian with a lowered 5 (bV)

My home studio is almost totally inside my computer.  It’s a small room with no acoustic treatment, so and all the recording, editing, and mixing process occurs “in the box”, into my computer.

My sound card is a Delta 44, from M-Audio.

Since my soundcard doesn’t have external controls, I prefer connecting my guitar to a mixer, then the mixer’s main output goes to the soundcard input, as you can see in the image below:

  Connecting this way allows me to bring the signal sent from my guitar to the line level using the gain stage of my mixer:

Delta 44 sound card has a control panel where I can also change the gain among other configuration, but it’s better sending the signal already "ready" and don’t mess with it again. If you change the gain (boosting or atenuating) multiple times over the signal flow, you can add noise or even some distortion to the signal. That would not be cool.

Delta 44's control panel

Once the signal was sent to my sound card, it’s time for the built-in Analog-to-Digital converter to take action and transform the electric impulses of my guitar into digital information, which is then finally sent to my DAW (Digital Audio Workspace). The DAW I use is Reaper:

Since we’re recording without an amplifier, the sound recorded is not so amazing. It’s something I use to call “plastic sound”. Here is where the amp simulator plugin takes place. It’s a kind of plugin that simulates an amplifier and makes your guitar sound really better. I use Guitar Rig, its a fantastic amp simulator, but there’s a lot of other plugins available.

Guitar Rig panel on Reaper

Here is a comparative video I made to show the difference between the clean guitar and using an amp simulator (in this case, Guitar Rig):

  After recorded and while recording, we must be able to hear what’s been recorded. The inverse process occurs here: The DAW sends the digital information back to my sound card, which then sends this signal through it’s outputs to my home stereo (I'm going to talk about that soon). An adapter plug is needed to connect my RCA cable to the TS/TSR outputs of my sound card, and then my stereo reproduces the recorded information through it’s speakers:

    As I mentioned above, I don’t own a pair of professional studio monitors and use my home stereo for monitoring audio. On the other hand, these speakers have a really good quality, and I’m already used to it’s sound, so I know how the recording will sound at all.

It’s important to say that I flat my stereo equalizer, bass boost and so. This way I'm able to get the cleanest sound I could.