J Dilla's Simple Complex Production Techniques
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J Dilla's Simple Complex Production Techniques

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Re-cover of falling in love by Teen Suicide (American Pleasure Club) - UNIT 3
During the process of recording and editing my re-cover, I found myself focusing more on the right guitar recording to use as I had many recorded with different effects on and pedals used, some being raw and some having heavy delay and reverb. The original features a lot of reverb and delay to the vocals and guitar, so I took that into account while making my song. In the post edit process, I mainly used reverb, delay and pitch shift. For the vocals, I fine tuned them to make them smoother (this proved to be a bad idea). For the guitar, my vocals and ukuele I used Oxford reverb and MDSP 4020 Retro EQ. In the intro, I used a preset âthick airâ to give a more subtle lo-fi effect as the âtelephoneâ preset felt too harsh for the intro and that is why it sounds different to the rest of the guitar. I wanted to layer the guitar at the outro so it sounded full, but all the other recordings didnât sound good layered with the main guitar so I took a leap of faith and duplicated the outro and added lots of delay and reverb onto it so it sounded somewhat echoed. While I didnât quite achieve the effect I wanted it still sounded full and can be distinguised when listening to the song (I also faded the beginning and end to the audio so it wasnât too abrupt). For the ukuele, I listened to the song without any effects on the uke and decided it didnât sound right, so I used some reverb and small amount of delay onto it so it fit with the feel of the rest of the song, as well as my vocals. I tried to smoothen them out by pitch shifting it one semitone higher as the original is very high, as well as fine tuning them and adding some reverb too. On the main vocals, I didnât add any effects other than pitch shift which I believe was a bad idea on my part, they already had a small amount effects made by a pedal during recording and I thought they sounded amazing without but I wish now I had added some reverb to it as I dont believe they donât sound how I actually want it but other than that it sounds good. The pitch shift also made the main vocals jagged and almost glitchy sounding, which showing others my song they pointed it out, which could add towards the effect or pull away from it.
Lastly, after the intro and the outro, I took a part of a guitar recording which was self oscillation from the reverb pedal which mimics the sound of self oscillation when using an analog delay (self oscillation occurs when the effect on the sound starts to interact with itself). In the original, there was a sound similar to it and to recreate, as I found it nice to slide into the first verse, I used a part of a guitar recording, adding delay and fading in and out. I personally really like it and think it sounds very close to the original.
Emulation of Sweet Dreams by Eurythmics - UNIT 3
With our vocals, we recorded the main a few times in order to recreate the mutlilayered affect of which Stewart and Lennoxâs original featured. With no vocal affects they sounded boring, as they were missing the depth that Lennoxâs vocals had. We found out that Eurythmics used a TEAC 8 reel tape and a Soundcraft 200b mixing console (which helped make the console popular) that gave the track itâs sound. In order to recreate this, we used AIR Spring Reverb to the vocals to give the same affect of the original as well as Reel tape saturation so the whole song sounds like it was recorded on a tape reel, as the original was. In my role, I cut up and edited the vocals, layering and making sure everything was kept in time. I added some reverb to some vocals and also oversaw the recording of the vocals to make sure I was singing right and that I was comfortable in what I was doing.
I Be Geniusen Stuff - Screenwriting 101
Colombian producer residing in New York. House/Moombahton/Trap/Dubstep. Hitting Hard!! Promos/Bookings [email protected]
This Colombian producer breakdowns various Moombahton production techniques ranging from percussion leads and bass sounds. Below is a link to one of the videos. A lot of inspiration gained.
Referenc
KapoMusicTutorials (2013) Ableton live 9 Moombahton tutorials 1: The drums. Available at: https://www.youtube.com/watch?v=oJhlfNW0gUk (Accessed: 5 January 2017)

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Meliora by Ghost: Production Techniques
Performance equipment used: 4 guitars for writing, 2 gibson sgâs, 1 1962 gibson Les Paul and a Fender Telecaster, Orange OR100 Guitar Amp Head, Orange PPC412AD Angled Speaker Cabinet
Production equipment used: Carl Martin Pro Power, Neve 8068 Mixing Console, Practal Audio Systems MFc-101 MIDI Foot Controller
Production Technique: Each guitar was played through 3 different amps, totalling 12 amps, which gave a spaced out feel, which became the âspiritâ introduction. Swedish Producer Klas Ahlund was bought in, despite his work with pop artists such as Katy Perry and Britney Spears
Hardware/Software process: large use of chorus on the guitars for space age feel/sci-fi feel, one mic to record 3 amps creates a feel of ambienceÂ
Refences:
http://www.guitarworld.com/famous-monsters-nameless-ghoul-talks-ghosts-new-album-meliora-and-staying-anonymous/25087?page=1
http://loudwire.com/nameless-ghoul-ghost-talks-meliora-more/
A few random thoughts on acting in general (and method acting in particular)
Apropos of nothing, I was thinking today about acting, specifically method acting, and how some people get it... just... so wrong. So here are a few big thoughts on the subject, as a producer who has acted and seen many an acting class he thought was bullshit.
In my opinion, Stella Adler -- and not Lee Strasberg, fuck him -- was right. Sense memory is not a matter of finitely recalling past emotion. The correct use of sense memory is suggesting to the imagination: putting yourself in the context of the new, imagined situation and letting yourself react fully as yourself in the fantasy situation, like kids who play make-believe to the utmost and then some. After finally getting emotional method technique to work for me, at the moment of it working (and introspecting finitely), thatâs whatâs happening in the moment when the technique works. Iâm not back in a prior reality from my life, but reacting in the moment to the new situation as though it were part of my life.
Stanislavskyâs Russians were first superbly trained externally; they were not mumbling Americans who canât project, have no vocal or external technique, and are ignorant of literature and of history. Unless you are first superbly trained externally, which is perhaps more important than internal technique, any internal technique you use is worthless, and especially so if you mumble into your shoulder and have no knowledge of historical period, or rhythm, or what poetry or genre is.
To just ask you to âbe real,â or to âbe yourself,â is 100% bullshit. Not all characters are you. You have not experienced everything. Maybe sometimes you internalize something youâve seen, like at an effective movie youâve viewed when, for a few minutes after the film, you walk out thinking and feeling within the rhythm/world/zeitgeist of the movie you have just seen. But, not to bring reality into it or anything, thatâs about the maximum one can stretch. To simply ask someone to be real and bring the reality of their own life as the main objective of acting is a snake oil scheme to make money selling acting lessons. If one bases their class enrollment on talent and/or reasoned likelihood of success? Theyâre gonna have a very small class. If the goal is to be ârealâ? Theyâve just set a goal anyone can fulfill; I mean, weâre all real. Weâre not fuckinâ papier-mâchĂŠ. And that means they can take everyone into their acting class, and sell lessons to anyone they want. And then they tell you, âOh yeah, sure, youâve progressed, youâre so much more real. But you can get more real if you take another class, it starts at about $1,500?â Itâs all about making moolah, people. Think about it.
Method acting as taught is false in many ways. Big one I can think of off the top of my head: Reality is boring. It is repetitive and mundane. If all youâre doing is being âreal,â thatâs what youâre giving us. The reality of the stage, on the other hand, is curated, carefully selected and edited and shaped to be exciting; the scale of time is different, usually approximately two hours to realityâs twenty-four.
Acting is not learned in a class. Yeah, I said it. Iâm gonna say it again: Acting is not learned in a class. Unless one is very young and needs to learn the absolute basics, acting classes in themselves are a useless, false environment. It does not prepare you for the reality of acting. One example: a real life audience is random and fresh every time; in an acting class, your audience is the same classmates who show up week after week. Acting is not learned in a class. (One could say the same of directing or writing as well.) Acting is learned by apprenticing/interning, by doing and observing, like a trade such as being a jeweler or a blacksmith. How do you learn to act? You act, and more specifically, you note the audienceâs or onlookerâs reaction. Do they fall asleep or throw tomatoes at you? Better not do what you just did the next night. Do they respond in a manner where they laugh or theyâre touched or you have a real breakthrough? Good work -- keep it up, build, expand on that. Trial and error, boys, girls, non-binaries, and everything in between, itâs all trial and error.
Acting lessons and acting classes which are useless? They cost you thousands of dollars. Interning with working professionals? Costs you nothing. I had a better resume, was working more, and was more in demand than the vast majority of the acting teachers I knew by the time I was 19.
And last but not least, to all you rappers out there who want to diversify into acting: if you can rap clearly, distinctly, and with volume, you can speak clearly, distinctly, and with volume. If you can speak clearly, distinctly, and with volume, youâve already mastered the first acting lesson. Go get âem, tiger! (Or tigress, whatever you may be.)
Print based media production techniques and technology
Woodcut Definition: a print made from a block of wood which is widely used for illustrations in books.
Second century A.D., when paper had evolved in the Chinese mainland; this made the stamping devices emerge into wood blocks
Sixth century A.D., woodcut came to Japan from China
The earliest woodcut design has been etched back to before 220 A.D.
14th century was when woodcut started to unfold
15th century, woodcut began to grow and appear in illustrated books
17th century, woodcut became more developed
Advantages: calms you down, relieving. Much simpler than intaglio or lithography. Only low pressure is needed to make a print. Disadvantages: demands increased which would make it hard to get all the equipment. If the lines were too thin, the wood would crumble.Screen Process