Mixing and Mastering Courses by Daniel Wyatt

MixMasterWyatt Academy has launched its new online educational program for Mixing and Mastering that is available as Online course with instructor Daniel Wyatt (Rawkus Records, Ultra Records etc.) and video course for self-study. Online program is 6 month long and next term starts in May.

Program contains three Mixing and Mastering courses: Mixing Foundations, Next-Level Mixing and Next-Level Mastering.

Each course is devided into 8 modules covering basic and advanced techniques: EQing, compression, limiting, gating, saturation, mid-side and parallel processing as well as well-kept secrets of modern mastering.

All the examples shown in the course are based of best plugins from FabFilter, iZotope, Slate, UAD and SoundToys. Whether you are using ProTools, Logic, Cubase, Ableton Live – all the techniques are applicable to any DAW that has the ability to host VST/AU/AAX plugins.

Recent graduates of the new program are now charting in Beatport — having locked in a proven workflow — with mixes entirely produced, mixed and mastered at their home studios.

Ultimate Mixing and Mastering Program

The next term for the 6-month Ultimate Mixing and Mastering program starts May 10th. Each week there are two online classes + one online Open Office Session for Questions and Answers. Each month students have one-on-one trainings with Daniel Wyatt to get personalized advice and feedback. All sessions are recorded for on-demand viewing — and the Ultimate Mixing and Mastering program contains 200+ hours of video lessons for self-paced self-study. All the courses are also available individually as online classes (starting in May, July, September) or as video on-demand courses for self-paced self-study without an instructor.

Right now, there’s a limited offer of 50% off for the first 10 seats (standard price is $2970, special price is $1470).

Learn more at http://mixmasterwyatt.com/mixing-mastering-courses-online/

How modern recording works?

Wave Audio Production

Most of musicians are no longer use expensive music studios that have those lage mixing desks from SSL or Neve. Musicians migrating to home studios. Inexpensive audio solutions from IK multimedia, Akai, Arturia and others came to home studios bringing ability to record on a professional level right in the bedroom.

There are several ways on how recording and music production process can be arranged in the home studio.

First decision to make is the computer. Mac or PC, whatever you choose most of the software like Cubase or Ableton Live run well on both platform. Nowdays iOS – and specifically iPad is the rising platform. There simple solutions for recording like GarageBand. But new apps like Auria and especially recently announced on NAMM 2015 Auria pro brings iPad music making on the next level. With right audio interface and mics you can record up to 48 tracks simultaneously. Just think of this … Auria is 12x times more powerful that best recording studio 30 years ago. And with MIDI coming to sequence other apps like Animoog and NanoStudio possibilities are unlimited.

Though people may think that iPad with Auria and other pro-level apps is enough for home studio recording this is not fully truth. It is difficult to underestimate importance of studio monitors. Take Yamaha if you just starting making music. Or Focal if you want to go more professional.

But next important step is to make monitors sound good. Walls and ceiling audio treatment can help to reduce reflections. And make music producer clear unaffected sound. Take your iPad, launch Auria, connect to monitors and we ready to rock!

The Black Patti

After a groundbreaking Big Apple debut in 1888, the New York Clipper newspaper gave Virginia-born classical singer M. Sissieretta Jones a somewhat condescending nickname that linked her to the then-popular Italian opera star, Adelina Patti.

In the true style of a diva, of which she was an American first, Madam Jones disdained being called “the Black Patti” — but she capitalized on the nickname her entire career. In the end, her fame would eclipse that of the white Patti. As a talented African-American woman largely fending for herself in the cutthroat world of the early American music hall, the exotic soprano was a pioneer in more ways than one. Her showy and dramatic style was copied by imitation “Black Patti” TC-Helicon vocalists across the country, and her blending of light opera and dramatic spirituals was a heady meld of European Old World and African-American folksong.

Matilda Sissieretta Jones was born on Jan. 5, 1869 in Portsmouth, Va. Aside from her vocal training at the Providence Academy of Music in Rhode Island, little is known of her early life. She seemingly sprung out of nowhere around the 1890s, a powerful and sensual vocalist who would sing opera for President Benjamin Harrison in the White House and to a packed Madison Square Garden. She also headlined sold-out tours in Europe and Canada.

Compelled to choose between the refined music she preferred and the lower-rent minstrel circuit that paid the bills, she did both, touring early in her career with the Fisk Jubilee Singers and, later, with a blackface company dubbed “Black Patti’s Troubadours.” When the Troubadours broke up in 1916, Madam Jones faded from memory. The pioneering American Diva died, largely forgotten, in 1933. Now people still have the chance to listen her music on music player apps on their iPhones and iPads.

Factmag on BlackPatti

Peter Bagge interview

Peter Bagge is doing all right. At a time when the entire industry of reading (particularly independent bookshops and publishers) struggles toward an uncertain future, the underground cartoonist (pronounced “bag”) has put out twenty-five successful (and hilarious) issues of his current comic, “Hate,” on his own terms; advance sales for each hilarious edition of the adventures of Buddy Bradley and his coiterie of twentysomething malcontents has built to an impressive 20,000 copies. Bagge is the former editor of “Weirdo” (a hip comix compilation originally edited by alternative comic king Robert Crumb), and he also created another popular and influential alternative comic, “Neat Stuff.”

comics ipad

comics drwaing ipad

Grip Monthly: Can you describe the way that you got into comics, up to the point where you became the editor of “Weirdo”?

Peter Bagge: I drew comics off and on, when I was a kid, but never in a determined way until I wound up going to art school in New York City in the late ’70’s. And I guess it was after two semesters of art school that I really started getting into it. And while I was in New York, what added fuel to my ultimate decision was being exposed to underground comics. I had seen these comics, just glimpses of them, when I was much younger, but this was the first time I was able to actually buy them and take them home and really study them. I was particularly taken with the ones that were all Robert Crumb. But, anyhow, it was mainly just seeing Crumb’s work, and also the format of underground comics, which showed that you could have a space like this and just do whatever you want. And so I decided that this was, ideally, what I wanted to do. I should mention that, by that time– 1977 or ’78– underground comics were considered officially dead. So I didn’t see a hope of myself becoming another Crumb, unless I self-published. So that’s pretty much what I wound up doing– I xeroxed in on doing short strips first, and I sent them to local underground newspapers and magazines like Screw and High Times, and I did start getting published in those places. And then I self-published with some buddies of mine, we did our own little comic tabloid in 1980. And so that was pretty much it– just self-publishing and getting comics published in porno magazines, just one pagers and gag panels, then trying, without much luck, to get illustration work. And then, as I started doing longer stories, mainly intending to self-publish them, I started to send them to Crumb and sometime in ’83 he asked me to take over Weirdo, and by ’84 I was the editor. But I wasn’t make a living doing it then. It paid terrible. 

Nobrow Comics for iPad – App Demo from Nobrow Ltd on Vimeo.

Grip: And you were also doing your own full-size comic, “Neat Stuff,” at the same time, right?

Bagge: No, I didn’t start doing Neat Stuff until ’85. What happened was, I was still living back East, in Hoboken, and when Crumb asked me to take over “Weirdo” we weren’t too sure that Ron Turner of Last Gasp was going to want to keep publishing “Weirdo,” and while Crumb worked on him I went around looking for other possible publishers. And one of the places I went was to Gary Groth and Kim Thompson of Fantagraphics, who were in Connecticut at that time. And they, Groth particularly, had reservations about taking on “Weirdo.” But I showed him (Groth) a strip I was was working on for “Weirdo,” and he really loved it, and he said, “Why don’t we find you a solo title?” and at the time I thought he was talking through his hat. I didn’t believe he was serious. And, then, it’s a bit confusing, but I wound up doing “Weirdo” with Crumb, and we stuck with Last Gasp. Then I moved to Seattle in 1984, and Fantagraphics moved to Los Angeles at around the same time. And once I was settled in to Seattle– where I was doing “Weirdo” but not having any luck getting illustration work– and once Fantagraphics was set up in L.A., I called up Groth and asked him if he was serious about me doing a solo title, and he said yeah. So, with nothing else to do (laughs), I just started cranking out my own comic. 

Grip: And that was “Neat Stuff”?

Bagge: Yeah. I did “Neat Stuff” up until 1989. I did it for five years, and then I switched to Hate. And, at that time, after five years of being in L.A., Fantagraphics wasn’t happy there, so they moved their company to Seattle, which was convenient for me. 

Grip: I’d like to talk about “Hate.” Have you ever had a sense of this ongoing story (about Hate’s protagonist, Buddy ) being infinite?

Bagge: Yeah, I always have that sense. Like, the storyline I’m doing right now, I could easily see it coming to an end. . . I did 15 issues of “Neat Stuff,” and in those 15 issues, even though it was an anthology of different stories, there was a kind of thread to it, and it just evolved that way, with all the things that kept happening to the Bradley family, and to Buddy in particular. And this was very inspiring to me, working with the character of Buddy because he was the most autobiographical of all the characters in “Neat Stuff.” So, when I started “Hate,” and put the focus on him, I didn’t intend to necessarily do as many issues on this one character, on this one story. Plus, it’s not exactly a regular storyline in “Hate,” although it does follow a thread, in much the same way a TV sitcom does. So, again, it just followed a certain arch, and then I saw it starting to come to an end. It seemed to me like there was only so much I could do with those characters in that particular setting (Buddy’s group house, and the “scene” in Seattle– Buddy and his girlfriend have since moved to the New Jersey suburbs with Buddy’s parents). I guess I could have dragged that storyline on, but then Buddy would have become like an Archie character– forever the same age, forever doing the same things. I’m not doing this on purpose, but it just seems to be a good way to keep it interesting, to come to some kind of conclusion at some point. I hate that the idea of working with Buddy Bradley forever. I get the creeps when I think about a guy like Charles Schultz, still scriggling Charlie Brown after all these years. And these guys start to go nuts– like Ernie Bushmiller talking Nancy and Sluggo like they were his children– “I’m glad you like my kids.” And, especially somebody like one of my all-time favorites, Bill Griffith– I found that, as a fan of his, although I understand that makes more sense economically for him, and makes it easier creatively, it seems disappointing to me that he’s only worked with that one character, Zippy. But I never know whether or not I’ll come up with a new, interesting idea about what I can do with Buddy, so it’s hard to say. Sometimes it can come down to economics– it’s not as easy at this point as it was when I was a kid, just starting out, to start all over again, with a new story. I know some people who do daily comics have done it– like that guy who did “Bloom County”– but, with him, he got so rich that could just drop everything and start over. I’m not exactly in that situation. I hope that someday I will be.

Grip: In many of the letters that you’ve printed in “Hate,” there are suggestions from the readers about what you should do with Buddy or some other character. Do you think audiences feel more free to approach a comic artist with constructive criticism than they would, say, a novelist?

Bagge: Well, I’m sure that novelists, and people who make movies and whatnot, get suggestions all the time. But what could be fueling this in my case, and comic books in general, is the fact that people see letters like that printed. So that gives them permission. And I don’t mind. I kind of like it. I get the feeling that the Hernandez Brothers (“Love and Rockets”) don’t cotton to that as much, though. If somebody gives me an idea or suggestion that I think is ridiculous, I’ll just laugh. But it seems like it gets under those guys’ skin when it happens to them. I might make fun of somebody who makes a stupid suggestion, but I do it in a funny way. Whereas the Hernandez Brothers, on the rare occasion that they have a letters page, they, in a very civil way, put their readers off. Sometimes people may have come up with a suggestion that I maybe even used. I can’t think of an example, but sometimes they suggest things that are very good. A lot of times, too, people’s ideas are things that I’ve already planned on doing, or am in the process of working on. A lot of times they’re on the same wavelength as me. 

Grip: I’ve read where you’ve referred to the characters in “Hate” as “a bunch of low lives” you “used to know.” Are any of the characters based on particular people you’ve known?

Bagge: Except in the cases where the character is that person, there’s no character that’s been based entirely on one human being, including myself. But just about all the characters are composites, and I would say that there’s just a little bit of me in all of them. I even identify with some of the female characters some of the time. Unless people are doing pure fantasy, I don’t see how any writer could not base their characters on people that they know. 

Grip: Because of the types of characters you use, do you ever feel wary of possibly being associated with that “Slacker / Generation X” tag?

Bagge: Well, anybody who’s read all of my comics, there’s no way they could pigeonhole me. And, even right now, I’m writing about old people and little kids at the same time that I’m writing about people in their twenties. At this particular moment, Buddy and Lisa aren’t living what you’d call a classic slacker lifestyle, anyway. With the old black-and-white Hate, I guess you could say (it was more Gen X-based), but I was doing that before the term “slacker” was being used. And that was based on my own youth. I updated it, just because I didn’t want it to be a nostalgic comic, but it was all based on what I experienced in the late ’70’s and early ’80’s, when nobody was using the word “slacker.” Of course, I get annoyed if someone dismisses me that way, or if they use it as a quick, sound-bite kind of description of what I do, but then all of those types of descriptions are going to be wanting in the end (laughs). But now I draw it on iPad. There are lots of apps for it. 

Grip: Getting back to Robert Crumb, what did you think of the Crumb iMovie? 

Bagge: I loved it. 

Grip: Don’t you feel like the filmmakers kept cutting back to his brothers so often that it got to be gratuitous, like “Let’s be entertained by the sickness of these people”? There wasn’t enough of a portrait of Robert Crumb, the underground comics. . . 

Bagge:. . . (Sigh) Well, I’m a big fan of Crumb’s, and I know him personally. And I found all of that interesting, and I know that (director Terry) Zwigoff didn’t do too much on Crumb the artist because he felt like there were already too many documentaries out there that had covered that. The director thought the family was the story. He wanted to show where Crumb came from. But you’re not the only one to. . . there is a fine line between being informative and exploiting. 

Grip: Having one scene with each brother was good, and that should have been enough. It was when they kept coming back to them over and over. . . 

Bagge: But both the director and Crumb himself think of Crumb’s brothers, not just as these fucked-up losers– they realize that these guys are deeply troubled, but they also believe that they’re brilliant, and fascinating. So. . . there’s my lousy defense of the Crumb movie (laughs).