Showing posts with label production. Show all posts
Showing posts with label production. Show all posts

Wednesday, February 22, 2017

Tree Planter Training 18 - Maximizing Productivity

Although this blog is predominantly focused on my music and DJ’ing career, I also want to share some information about my other career:  Canadian Reforestation.

The information in this post is part of a training series from the Replant.ca website.  More information can be found at this link:



I’ll put the text and audio download link from this training module below, but let’s start with the YouTube video for the module:




Section 18 - “Maximizing Productivity”

In this section, we'll give you some tips to maximize your productivity on the blocks.  Of course, you shouldn't worry about productivity and hitting big numbers until you get the basics down, namely planting acceptable quality and making it home safely for dinner each night.  We'll talk about efficient planting techniques, and efficient work strategies.  We'll also talk about how to stay organized, and how to stay focused.  In the end, it'll mean more money in the bank for you.


Maintaining a high level of Health and Safety is a requirement of good productivity.  If you're injured or sick, your productivity will decrease.  You might even miss some days of work, which cuts into your paycheque and leaves your crew short a planter.  Eat well, sleep well, and practice techniques that minimize the chance of musculoskeletal injuries.  Wear and use the right gear.  Understand typical planting risks and hazards and how to avoid them.  Remember that you have a legal responsibility to practice reasonably safe behavior.

While it's tempting to try to compete in productivity with the experienced planters, remember that they've already mastered their quality and know how to keep themselves and those around them safe.  Once you become competent in terms of safety and quality, productivity will start to rise naturally, and your foreman will feel comfortable with giving you tips to reach higher daily numbers.


Staying Organized

Never underestimate the effect that being organized can have on your productivity and earnings.  Don't be lazy - be organized.  As a planter, making sure you're informed and ready to go at the beginning of each day makes a big difference to how productive you are.

Here are some helpful ways to stay on top of your organization:
- Remember this phrase:  "Boots, bags, shovel, water, lunch."  Every morning, before you get into the truck, do a visual inspection to make sure you have all five of these items.
- Always fill your water jug at night.  It helps you avoid a lineup, and on cold camp mornings, the water lines might be frozen, so you might be out of luck.
- Repair or replace any worn or torn gear as soon as you notice it.  Don't wait until the end of the shift to do something that you could do this evening.
- Know the weather forecast and potential site conditions for the next day, so you can organize any clothing or special gear in the evening.  Don't leave it for morning.
- Know the contract specs.  If you don't, or if you forget, ask your foreman.
- Know what to do in an emergency.  Run through scenarios in your head.  Know where to find emergency contact information, and how to work things like VHF radios and satellite phones.  Always know what radio channel to use to call for help.  Assume that your foreman, the person who is normally in charge, is the one who is hurt and unconscious.  Your foreman should verbally test you once in a while on a drive home from the block, by giving a potential disaster scenario and asking you to walk through all the steps that need to be taken in that situation.
- Keep track of your tallies every day.  Write them down in a diary along with information such as prices, block numbers, who you were working with, what the weather was like, and any other notable information that can help jog your memory about things that happened that day.


Efficient Planting Techniques

Highballers move fluidly through the block, always positioning themselves correctly to complete the next anticipated task, and seldom doing only one thing at a time.  They know how to move through the land and plant with minimal strain on their bodies, and minimal energy wasted.

Planting has many steps:  bagging up, looking for naturals, looking for a good microsite, moving to it, screefing (if needed), driving the shovel into the ground, opening the hole, inserting a seedling, closing the hole, flagging (if needed), looking for trees, and doing it all over, again and again and again.  Each of these steps takes time.  You're capable of trimming a bit of time off each of these steps, sometimes by combining a couple of tasks together.  Even just a second or two saved each time that you plant a tree adds up if you repeat something a hundred thousand times in a summer.

Here are some techniques to help you maximize your productivity:
- Always plan ahead.  Be looking for the spot for your next tree as soon as your current tree is in the ground.  Eventually, you'll get to a point where you're skilled enough to always be planning out the next two or three trees ahead of you.
- Learn to plant ambidextrously.  Sometimes, the best microsite is in a spot which is awkward to deal with in your normal planting stance, but if you're able to quickly reverse your shovel hand, you might find that spot easier to deal with.  If I had to give one single piece of planting advice to new planters, it would be to learn to plant ambi.
- Sometimes, being lazy is not a bad thing.  If you pick a microsite that's easy to plant in and still meets requirements, that's smarter than putting more effort into a more difficult microsite.  I guess that rather than saying it's good to be lazy, I should say that it's smart to be efficient.  In both situations, the goal is to conserve energy.
- Use the spacing tolerance to your advantage.  Don't aim for perfect spacing.  Aim for perfect AVERAGE spacing, but be willing to fluctuate by a foot or so to find the best spots.
- Practice movements and approaches that conserve energy.  Don't bend over twice for one tree.
- Always think of ways to multi-task, such as grabbing a seedling while you're in the process of walking to the next spot.
- Always plant the back of your piece first, but don't dead-walk in to start at the back!  Plant your way in.
- Learn about piece management techniques to make your approach to planting more efficient, and to minimize inefficient things like dead-walking.


Efficient Work Strategies

Get an early start.  Being organized and prepared really helps you.  A strong morning start is psychologically powerful.  You'll feel good about your production right from the start, instead of trying to psych yourself up to catch up to where you thought you should have been.  The afternoon heat and fatigue will slow you down, so the morning plant is really important in achieving high production.

Area planting involves the proper spacing of trees on one small portion of your assigned piece at a time.  This approach works best for fragmented pieces or blocks where there's an abundance of slash, rock outcrops, large stumps, or other obstacles, since you can choose the most efficient path from tree to tree within your small area.  Note where you are and what you have covered, then, after you've planted that area, mentally mark off another small patch to plant, with full coverage in mind.

Line planting is straightforward and requires less thought than area planting.  As a first-year planter, this is the approach that you should take while you're learning to plant.  It's best suited to clear ground and open areas.  Don't automatically think that because you hear vets talking about area planting, that line planting is not always efficient.  In clear, straightforward ground, line planting is usually more efficient than area planting.  Area planting really only becomes quite useful when you're on difficult blocks with lots of slash.  Of course, as a first-year planter, you'll think that all your blocks are difficult, but chances are high that you'll be working on fairly simple ground when you're a rookie.

Try to keep a steady pace.  If you take numerous very short breaks of a minute or so during the day, to allow yourself to catch your breath or take a small drink of water, it's much better than taking one extended break.  This is especially important on cold days, because moving around keeps you warm.  A long break, or eating a lot of food at once, tends to make you feel sluggish.  Many planters use their bagging-up time as their break, and may not even stop to eat, either pacing around as they grab a quick sandwich, or eating while they're bagging up.

If you're a new planter, or just new to a contract or different block, encourage prompt feedback from your foreman or checker.  The sooner you're aware of any adjustments required to meet the quality standards, the less risk there is of a significant number of planting faults, and the faster you'll be able to establish a productive planting rhythm with confidence.

Bagging up should be done efficiently, as a lot of time can be wasted here.  Save the socializing for camp.  Make sure you have the appropriate mix of species in your bag.  Eat or drink while you bag up.


Staying Focused

Some planters find that a certain relaxed mental attitude is helpful in maintaining efficiency on the job.  They see planting as a type of meditation, and they do what's called "zoning out."  Some people find that repetitive thoughts, like a song that's stuck in your head, or counting, can help you keep focused.  Other planters strive to actively maintain a strong focus on the task at hand, and try to avoid letting themselves get distracted by anything other than the trees that need to be planted.  Although you don't necessarily have to have such an intense focus, what you don't want is for your mind to wander aimlessly and have your movements follow suit.  You need to be constantly aware of your surroundings, of the other trees and obstacles around you, where you'll put your shovel next, and how to be as efficient as possible.  Ideally, you're thinking about the next spot or next few spots to be planted.  This helps you cover the ground needed, without working yourself into a corner that requires back-tracking.  Back-tracking is a waste of time.  Dead-walking is a waste of time.

Productive planters are not only moving quickly, they're also incredibly aware of their surroundings.  They make numerous decisions, in fractions of a second, to make the most of the time taken while moving between planting spots.  They use ribbon, natural boundaries, and terrain, to keep track of areas that haven't been planted yet.  They avoid areas that have already been planted.


Even the most optimistic of planters will sometimes have a bad day, where it's almost impossible to self-motivate yourself.  On a day like that, even if you don't feel like planting, you'll have to learn to force yourself to keep working.  No matter how slow you're planting, it's faster than sitting at the cache.  You may as well face the fact that no matter how miserable you are, you're going to be stuck on the block for ten hours.  You may as well make some money while you're there.




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Here’s an Audio version of this material, in case you want to listen while you’re driving, running, at work, or otherwise unable to read or watch video:




Click on the down-arrow icon in the upper right corner of the SoundCloud widget to download the mp3.


Once again, for further information about this series of tree planter training information, visit:



I encourage you to share this information with anyone else who might be interested.  Thanks for your interest and support!

-          Jonathan “Scooter” Clark





Wednesday, February 15, 2017

Side-Chaining and Ghost Notes Tutorial

I have another tutorial video for you.  This video is the last in a series of videos that Urban Francis and I put together, as a techno production project for a track called Hijack.

The track was produced in Ableton Live, and we have all of our Ableton project files available as a free download from Dropbox.

In this specific video, we wanted to explain what was going on with the Side-chain compression.  Eventually, the two of us are going to do a very detailed and complex set of tutorials about compression and side-chaining.  They’re very complicated and moderately advanced topics, and they take a little while to learn to do properly.  However, because we have some side-chaining happening in the Hijack project, we decided that it would be smart to give a brief overview, so any producers who are moderately familiar with Ableton would understand exactly what we’re doing here.

Here's a link to the video:



If you don’t understand what compression is, let’s start there, even though it’s a pretty complex topic.  I tried to do an explanation in my Mastering & Marketing Your DJ Mix video on YouTube, starting at the 21 minute mark.  It’s worth a watch, because of the graphic visuals.  However, let me also try to explain it here.

 A lot of people, when they hear about compression, they get the idea that compression makes things louder.  That’s incorrect.  Compression by itself does not raise the level of an audio signal.  There are several different settings in a compressor, but the main ones are this:

Threshold Value – this is the signal level above which audio is being affected.

Ratio – tells how much the portion of the audio that is above the threshold is getting squished.

Now obviously, if the audio is getting squished, then the audio is getting pushed down from its original volume to a lower volume.  So why, when people talk about compression, do 99% of them think that the audio is getting louder?  That’s a great question, and it’s something that a lot of people don’t understand properly.  First, you need to understand that compression BY ITSELF does not make the volume louder, it reduces the volume.

Now, let’s be honest – in the fight for volume to gain prominence in the listening space, very few people want to reduce the volume of their productions.  So that’s where another setting commonly associated with compression comes into play.  That setting is the make-up gain.

After compression is done, if a producer applies make-up gain to the compressed audio, it brings the volume back up.  A producer may set the make-up gain to the exact amount to bring the peak of the volume back up to where it was before the audio was compressed.  Sounds like a rather useless practice, doesn’t it?  Drop the volume, then raise the volume.

But the key thing is that when the volume is compressed, it is NOT dropped in a linear manner.  Louder parts are dropped more than quieter parts.  Hence the reason that I said that the audio gets squished.  Therefore, the audio now has a narrower dynamic range than before.  The peaks and valleys in the amplitude are not as significant; the changes from the loud parts to the soft parts are less significant.

Since the peak of the volume is unchanged from the original, once the makeup gain was applied, and since the dynamic range from loudest to softest is reduced, this means that the AVERAGE volume of the processed audio is louder.  And that’s the source of the misconception that compressed audio is always louder.  Compressed audio definitely has a narrower dynamic range.  If it is louder, that is only because makeup gain has also been applied.


Side-chaining

Moving on to Side-chaining, the way that side-chaining works, is that you’re taking a signal from somewhere else, and you’re analyzing that signal, and you’re using the analysis of the side-chain signal to control the compressor’s actions on whatever other audio is being compressed.  So in other word’s, the compressor’s actions are being dictated by the energy of the side-chain signal (side-chain audio source) that’s being fed into the compressor.

Remember that the signal that’s being fed into the compressor (the side-chain signal) may have nothing at all to do with the audio that you’re processing.  And also, remember that you don’t have to have a signal being fed into the side-chain.  If you don’t have a side-chain signal, the compressor just works at a steady set of values while it’s processing audio.  Essentially, a side-chain compressor without a side-chain signal is just … a regular compressor.

Ok, so imagine this.  Let’s pretend that the signal that is coming in to the side-chain input of the compressor is some sort of signal that is steady and repeating.  High energy/amplitude (lots of signal) alternating with low energy/amplitude (quiet).  A good example might be a repeating kick drum.  If you keep hitting a kick drum in a steady pattern regularly, then the “signal” (amplitude) is essentially a constantly repeating on/off/on/off/on/off/on/off pattern.  If this signal is what is controlling the compressor, then you’re basically turning the compressor on/off/on/off/on/off/on/off in the same timing and pattern.

Many producers DO use a kick drum as a side-chain signal, so that a side-chain compressor keeps turning on and off in time with the kick drum.  The compressor may be processing just about anything else while it keeps turning on and off.  Maybe it’s processing a synth line.  Maybe it’s processing a background pad.  Doesn’t matter.  It’s compressing some sort of audio, and it’s turning on and off in time with the beating of the kick drum, since the kick drum is being used as the side-chain signal.

A producer can use the kick drum from the track they’re working on, as the side-chain.  But they don’t have to.  They could use a different kick drum track as the signal.  And that other kick drum which is being used as a side-chain signal to the compressor does NOT necessarily have to be audible to listeners of the track.  So a producer could easily have two kick drum tracks in their song:  one that is audible that the audience can hear, and a second one that is not audible to listeners, but which is being used as a side-chain signal.

Why bother using two different kicks?  Maybe the producer wants a signal with a fast release for the side-chain (to turn the compressor off quickly), but doesn’t want the listeners to hear a kick that has a fast release.  Or maybe the muted side-chain kick needs to act as a side-chain signal during parts of the song where there is no kick drum playing.

If a producer brings an extra kick drum (or any other type of instrument or midi notes) into a side-chain compressor, but that audio/midi side-chain signal is not audible as part of the project, the side-chain audio signal is called a ghost signal, or ghost notes.

Using a side-chain to turn your compressor on and off allows you to compress audio when needed, to allow for a different part to shine through a mix, but does not compress the audio at other times.  This gives the producer a lot of flexibility.  It’s much better than if the producer’s only option was to permanently decrease the volume of other parts of the mix.

An advantage of using ghost notes or a muted side-chain signal is that you can have it turn the compressor on and off in any pattern or timing that’s convenient to you.

An advantage of using a regular audio source within the song (one that the listeners hear) as a side-chain signal to affect another track is that the timing may be perfect for your needs.  For example, if you need a kick drum to cut through a synth line, you can play the audio of the kick, and you can simultaneously route that auto into the side-chain of a compressor that cuts the volume of the synth, allowing the audio version of the kick to cut through the mix.


By the way, if you want to see the project that we used as the basis for this tutorial, here's the music video (yes, the full project files for this track are available as a free Ableton or stems download):







I'm Jonathan Clark, known online as DJ Bolivia.  Do you want to learn more about DJ'ing and music production?  If so, visit:



If you happen to enjoy techno tracks, most of my tracks are available as free downloads from this link:



Thanks so much for visit, and for your support!  I really appreciate the fan base that I've been able to build up over the years.

Also, if you want to visit any of my other sites, here are a few links:
    YouTube:  youtube.com/djbolivia
    SoundCloud:  soundcloud.com/djbolivia
    Blogger:  djbolivia.blogspot.com
    Main Site:  www.djbolivia.ca

Sunday, July 24, 2016

"Courage" Remix Contest Entries

I recently sponsored a remix contest for a track called "Courage" that Urban Francis and I put together.  We were overwhelmed by a flood of entries for the contest!  We had more than a hundred entries, which was a LOT more than we expected.  Narrowing down a final winner was pretty difficult.  Here's what we did:

Urban Francis picked about fifty of his preferred tracks, and we shared those with eight of our friends who are music producers or DJ's.  Each of those eight friends got to pick two tracks out of the group.  One track would become a finalist, and another was a "noteworthy entry" that didn't make it as a finalist, but which our panel judge felt deserved more exposure.  We then pitted the eight finalists against each other to come up with a final winner.

 




In judging a winner, the judging panel looked at a number of factors, but mostly the following four considerations:

1. Creativity - Any genre was acceptable, and we were really pleased with the variety that we got!
2. Professional Sounding Production - Does the remix sound like it's ready for professional mastering?
3. Identifiable - Does the remix have some identifiable elements of at least one of the original mixes, either vocal samples and/or melody lines or chord progressions?
4. Playability - Is the track a suitable choice for a DJ or radio programmer to include in a set or a show?


The final winner that was picked was a mix by Lazarus, of New York.  We'll feature it first in this post.  But we also wanted to share the other tracks submitted by the other seven finalists, and the eight noteworthy entries that were picked, so we're including SoundCloud links in the this post to all of these sixteen tracks.  All of these are downloadable, so feel free to grab copies and share them with your friends.


WINNING ENTRY

Lazarus (New York)
  SoundCloud:  www.soundcloud.com/lazarus




FINALISTS
(In no particular order)



Nelson D (Sao Paulo, Brazil)
  SoundCloud:  www.soundcloud.com/nelson-d
  Facebook:  www.facebook.com/Nelson-D-423492404398619




Paul Why (United Kingdom)




Xudeus (Sweden)
  Soundcloud:  www.soundcloud.com/xudeus




Faith (Italy)




DaanDee (Ukraine)
  SoundCloud:  www.soundcloud.com/daandeemusic




Brahmox (India)
  SoundCloud:  www.soundcloud.com/thereal-brahmox




Jackson Laframboise (Canada)




NOTEWORTHY ENTRIES

XY!RO (country unknown)
  SoundCloud:  www.soundcloud.com/xyiro




Tribal Heart (Czech Republic)
  SoundCloud:  www.soundcloud.com/tribalheart




Tightrops (France)




Split Armada (Estonia)
  Facebook:  www.facebook.com/splitwert
  SoundCloud:  www.soundcloud.com/splitarmada




Splashed (Portugal)
  SoundCloud:  www.soundcloud.com/splashedmusic
  Facebook:  www.facebook.com/iamsplashed




Eduard Fawkes (Hungary)
  SoundCloud:  www.soundcloud.com/eduardfawkes




Aspasia P (Germany)
  SoundCloud:  www.soundcloud.com/aspasia-p




Karl Parker (Sweden)
  SoundCloud:  www.soundcloud.com/karlparker
  Twitter:  www.soundcloud.com/karlparker




MORE INTERESTING ENTRIES
(Here a few of the other entries that we liked)

























And Here Are The Original Mixes








You can also grab copies of all of these tracks (and of our original Ableton project files for this track) from our public Dropbox folder at this link:



You can also see a number of YouTube videos explaining our production of the original project by visiting this link:




I have to give a huge thanks, on behalf of myself and Francis, to everyone who submitted entries.  Above and beyond the sixteen tracks that we've featured above, I've already heard a number of really professional sounding other entries, and it's obvious that a lot of participants put a lot of time and effort into making their productions.  There were a lot of entries, including some that aren't featured above, that could arguably be judged winners!

I'm currently doing forestry work in the Canadian bush, so I haven't had much time to be heavily involved in this contest.  However, I have a few weeks of downtime in early August, and my first goal is to listen to every single track that was submitted, and I'll be sharing a few more of the remixes in our Dropbox folder at that time.

Thanks for your interest in this remix contest!





I'm Jonathan Clark, known online as DJ Bolivia.  Do you want to learn more about DJ'ing and music production?  If so, visit:



If you happen to enjoy techno tracks, most of my tracks are available as free downloads from this link:



Thanks so much for visit, and for your support!  I really appreciate the fan base that I've been able to build up over the years.

Also, if you want to visit any of my other sites, here are a few links:
    YouTube:  youtube.com/djbolivia
    SoundCloud:  soundcloud.com/djbolivia
    Blogger:  djbolivia.blogspot.com
    Main Site:  www.djbolivia.ca

Sunday, February 28, 2016

Remix Contest: "Courage"

July 24th, 2016:  This remix contest is now closed.  Visit the following link to see the results:

     http://djbolivia.blogspot.ca/2016/07/courage-remix-contest-entries.html


 



Original Post of February 28th, 2016:

I recently finished producing a track with Urban Francis called "Courage."  The track was a progressive house track with a bit of an electro feel in some ways.  We filmed a series of tutorial videos about the track, which you can see at this link.

In addition, we posted the entire Ableton 9.5 project files online in my public dropbox account, and also posted a full set of stems there in a separate file.  Those are available as free downloads to anyone who wants to grab them to experiment with.

We are currently hosting a remix contest for this track.  I'm personally sponsoring the contest with a prize of $300 (in Canadian dollars) for the winning track.  That amount can be paid to the winner (in Canadian funds) as long as you have paypal.  If the winner is a Canadian resident, I'm also willing to mail a cheque if you don't use paypal.

In addition, a number of other randomly selected entries will be showcased on my website, in this blog post, on our SoundCloud accounts, and through other internet media, along with the contact info and/or a promo website for the producers of those remixes (if you want to share such info).

Before we get into the rules and info on how to enter, here's a link to our Instrumental and "Alpha Magnetic Spectrometer" versions of this track, in case you're not familiar with the track yet:









Rules & Terms & Conditions:


1.  You may share your remixes freely on any internet sites, in any file type(s), both before and after the closing date of the contest, as long as you name your remix according to the following convention:  Bolivia & Urban Francis (YOUR NAME Remix).

2.  You should not attempt to register your remix with a professional label or publisher (due to potential copyright content clashes, which I'll explain at the end of this post).  So if you share your remix with the world, you'll have to do it through your own personal publishing efforts.

3.  Your remix can be any genre at all, of your choosing.  Obviously, it will be easier to produce your remix in a style similar to the existing original, ie. some sort of house or techno derivative.

4.  You may submit up to two separate entries.

5.  There is no restriction on the length of your submission(s), although we expect that the majority of submissions will probably be between 4 and 8 minutes in length.  Having a submission that is shorter or longer than that range will not handicap you when it comes to judging.

6.  The deadline for entries is 11:59pm (Atlantic Standard Time Zone) on June 30th, 2016.  All judging will take place and winners will be announced within this post by July 15th, 2016.

7.  This contest is open worldwide where permitted, to entrants who have reached the age of majority in their country of residence.  Persons under the age of majority who create a remix may submit their entry through a parent or legal guardian as proxy.

8.  Notwithstanding the above, this contest is void in jurisdictions where prohibited by law.

9.  The prize for the contest winner will be $300 in Canadian dollars.  The Canadian dollar is currently weak, and is worth less than the US dollar.  This amount can be paid to the winner as long as you have Paypal or Interac Email Transfer capabilities.  If the winner is a Canadian resident, I'm also willing to mail a cheque if you don't use Paypal or Interac Email Banking.  I will not send a cheque or use any other type of money transfer service to non-Canadian residents.  The recipient of the winning prize is solely responsible for reporting and submitting any relevant income taxes that might apply to your prize money in your country of residence.  Canadian residents will not enjoy any preference in judging.  We want this to be a global contest.  Having said this, we do expect a number of Canadian entrants, so it's possible that the winner could be a Canadian.  Just rest assured that we definitely won't discriminate against non-Canadians!  The majority of the winners of our past remix contests have been non-Canadians.

10.  Judging will be done by a panel of judges including Urban Francis and other associate producer friends.  The judges' decision will be based upon the quality of music, production values used in making the remix, and possibly also on how innovative the remix is.  The judges' decision will be final, and the judges will not provide feedback on why they chose the specific winning track above any other specific track.

11.  You may share your remix publicly before the contest is over.  However, the popularity of any shared remixes will not influence the judges' decision.  The winner will be decided based upon the judges' perception of the quality of the submissions, not based upon a popularity contest.

12.  Your remix may include any of the vocal/sample material (Kelly's vocals, or the NASA samples) that you find in the remix or stems folders, or you may omit those materials.  You may produce an instrumental version if you want, or you can add new vocal/sample material of your own.  You may also include new sounds/instrumentation of your own.  However, please do not include ANY samples or vocals that have been copyrighted elsewhere by another artist.  Any entries containing someone else's copyrighted content will be disqualified.  Any new samples, loops, or other audio materials incorporated into your remix must be royalty-free or exclusively designed by the remixer.

13.  Musicians or producers who are under an exclusive contract with a record label are ineligible.

14.  No purchase is necessary to enter or win this contest.  In fact, there is nothing that you can buy.  However, by entering this promotion contest, you agree that any costs that you incur in creating your remix are solely your own responsibility.

15.  Any potential copyright or other intellectual property rights that may potentially vest in your remix will be granted to Bolivia (Jonathan Clark) and Urban Francis (Francis Cormier).  Note that this is simply to avoid legal complications, and we do not intend to attempt to sell copies of your remixes.

16.  It is expressly agreed that no payment is due to the participants for the production of your remixes.  Only one winner will receive a monetary prize.

17.  By providing your entry details to us, you confirm that you would like to enter the promotion contest and that you agree to be bound by these rules, terms, and conditions, ethics rules applicable on the internet, applicable laws and regulations, and all legislation applicable in your jurisdiction of residence.

18.  Your remix must not contain any illegal, obscene, racist, defamatory, or sexual material, or any material likely to offend any person or any material likely to infringe upon any person's rights of privacy.  The judges reserve the right to disqualify any entries based upon these or any other criteria.  Entrants represent and warrant that their comments or public publishing do not contain any harmful, offensive, or inappropriate content, or any other communications which might defame, disparage or reflect adversely upon the promoters or our goods/services.

19.  We reserve the right to disqualify any submissions that we believe to be the work of other producers.

20.  The winning prize is non-transferable.

21.  We accept no responsibility for entries lost, damaged or delayed, or for any inability to submit entries as a result of computer services, systems, software and/or server failure, error, interruption, defect or delay or any other technical malfunction, including problems with internet connectivity and/or filtering or content by any social media platform.  Entries which are late, incomplete, corrupt, garbled, inaccessible/blocked, bulk, automated, ineligible, suspected as fraudulent, do not comply with the rules & terms & conditions, or which in our sole discretion affect the validity or operation of this promotion contest will not be accepted and are void.

22.  Except to the extent that they may not be excluded by law, no representations, warranties, terms or conditions that are not expressly stated in these rules & terms & conditions apply to this promotion contest.  We share no liability for any injuries, loss, or damage of any kind arising from or in connection with participation in this promotion (including any damage to entrants' or to any other persons' computer relating to or resulting from participation in, or downloading of any materials or software in connection with this promotion contest), or acceptance, use, misuse, or non-use of any prizes.

23.  We reserve the right to edit and/or augment the rules & terms & conditions at any point throughout the duration of this contest, in case we think of something that we forgot to mention.

Phew.  That was exhausting.


To Enter:


1.  Send a link to your track via email to Urban Francis in an uncompressed audio format, ie. WAV or AIFF format.  The best way to do this is probably to put it into a Dropbox account (you can get one for free if you don't already have one) and share the link to the file with Urban Francis.  If this isn't possible, you can find other services that would allow you to host and share your file.  But to be honest, Dropbox is probably the best and easiest by far.  An alternative would be to get a free Soundcloud account (if you don't already have one) and upload the file there, and enable downloads, then send that link to Urban Francis.

2.  You should not send your project/session files.

3.  You can produce your remix in the DAW or Audio Editor of your choice.  We'd like to know which DAW you used, but that's mostly just out of curiousity.  Also, although we haven't decided this yet, we might pick a couple of especially good entries to feature in our public dropbox (your entire project files) IF you're willing to do that.  But you don't have to, and that won't affect how we judge the entries.  Again, don't send us your full project/session files.  For now, just tell us which editor you used.

4.  We must have the following information:
     - Your full name.
     - Your producer alias, if you have one.
     - What country you're from.
     - Your email address (if unspecified, we'll assume that it's the one that you use to enter).

5.  You can optionally include a photo with your entry.  This is not mandatory, and won't affect your chances of winning.  We'll only use this if you're the winner and if you happen to want a photo published.

6.  You can optionally include a background graphic with your entry.  This is not mandatory, and won't affect your chances of winning.  If you send one, we'll use this to embed in the audio in case we share your remix.  You don't have to do any graphics work with titling; we'll take care of all that.  And if your submission is one of the five non-winning submissions that we pick randomly to feature, we'll use that graphic in the mp3's, soundcloud links, and so on.  If you don't want to include a graphic, no problem - we'll pick one for you.  If you decide to include a graphic though, make sure it's at least 1200x1200 pixels in resolution.

7.  In the event that your submission is randomly selected to be shared by us to a wider distribution, it would be helpful for you to tell us (when you enter) whether or not you want to share any promotional details with your remix.  Details must be limited to one email address and/or up to four website links (soundcloud, facebook, etc.).

8.  Urban Francis will reply to all submissions to confirm that they have been received.  If you don't get a submission confirmation email, please send a second email which is TEXT ONLY to specify that you sent a submission.  That way, if your original email (with links and/or attachments) got redirected to spam/trash, we can look for it.


The email address to send entries to is:

fcormier27@gmail.com




Again, to find more information about the original track, plus links to all of the videos that we have on YouTube to explain our original Ableton 9.5 project files, visit the following link:



Good luck with your remixing.  And if you can think of any remix or production-oriented message boards where you could share the link to this post, I'd appreciate it.  Thanks!



Note:  We have copyrighted and registered the original work with SOCAN, the Canadian music licensing agency.  Although we are not pursuing copyright claims if the content is posted online, you should be careful if you do a remix and give it to a label that tries to enforce copyright claims on your own remix.  Since we've already registered the work, we'd be able to prove that we hold the original copyright.  In other words, make sure you don't get into a situation where you sell your remix to a label who then tries to use content-matching algorithms at services such as YouTube and Soundcloud to monetize remixes of your remix.  If such a content-match occurred with our original track (which is on both of those services, and other services) then you'd have a lot of hassle trying to remove your track from the system.  However, this shouldn't be an issue if you share your own mixes freely on YouTube, Soundcloud, and other platforms.  It would only be if you tried to share through a label that was trying to collect publishing royalties that you'd run into an issue.








I'm Jonathan Clark, known online as DJ Bolivia.  Do you want to learn more about DJ'ing and music production?  If so, visit:



If you happen to enjoy techno tracks, most of my tracks are available as free downloads from this link:



Thanks so much for visit, and for your support!  I really appreciate the fan base that I've been able to build up over the years.

Also, if you want to visit any of my other sites, here are a few links:
    YouTube:  youtube.com/djbolivia
    SoundCloud:  soundcloud.com/djbolivia
    Blogger:  djbolivia.blogspot.com
    Main Site:  www.djbolivia.ca

Thursday, January 28, 2016

Learn to Produce Music - "Courage" Progressive House Tutorial Series (Ableton Live)

I recently did a collaboration with Urban Francis to create a comprehensive video tutorial series about the production of a progressive house track. The track is called "Courage." We've made the entire project file available for everyone as a free download! We're encouraging producers to remix and share our track freely. To find more information about the music production in Ableton, go to this link:



For the "Courage" track, I'm going to start by providing an index of clickable links to all of the content in the five videos, so you can find certain sections faster if you're referring back to the videos for additional review.
 
 



Here is the clickable index. Click on the timing numbers down the left side, and it will open the relevant video at the correct starting time.


Part 1 of 5 - General Overview of the "Courage" Progressive House Track

00:00 - Introduction. What's this about?
04:13 - Overview of the scope of the project.
10:40 - Introduction to Urban Francis.
14:58 - Permission to remix and share the track.
21:59 - Technical notes: OS, DAW, plug-ins.
26:43 - Making elements stand out within your mix.
34:26 - Overview of the track in Ableton's arrangement view.


Part 2 of 5 - The Rhythm Section: Kicks, Snares/Claps, Hi Hats

00:00 - Introduction.
02:02 - Play through of full track.
09:54 - Overall overview of all drum instruments.
18:47 - The importance of variety in your track. Make it evolve.
21:25 - Overview of kick drum group.
26:00 - Effects chains and processing of kicks.
38:32 - Overview of snares/claps group.
41:32 - Effects chains and processing of snares/claps.
43:12 - Overview of hi hats group.
49:51 - Effects chains and processing of hi hats.


Part 3 of 5 - The Bass Tracks, Pianos, and Guitars

00:00 - Introduction.
01:46 - Overview of the bass lines.
08:55 - Effects chains and processing of the bass.
17:58 - How to resample a part.
32:51 - Examination of the piano/keys.
39:36 - Overview of the guitars.
43:45 - Effects chains and processing of the guitars.
46:50 - Audio effect racks and key mapping.
49:36 - Recording automation in real time.
50:55 - Editing automation by hand.


Part 4 of 5 - Chords, Melody, Pads, Vocals, and Effects

00:00 - Introduction.
01:45 - Overview of the chords/melody group.
09:14 - Effects chains and processing of the chords/melody.
12:33 - Adding a "track delay" timing offset.
17:26 - Overview of the pads and effects.
23:06 - Effects chains and processing of the chords/melody.
30:11 - Overview of the vocals.
38:55 - Automation inside a clip vs. on a track/channel.
40:16 - Slicing a sample to MIDI notes.


Part 5 of 5 - The Send/Returns, Master Track, and Tips for Producers

00:00 - Introduction.
01:35 - Details about all of the sends/returns.
17:58 - Overview of the master track.
23:22 - Exporting a final mixed-down audio track.
27:25 - Tips for producers.
32:52 - Using group folders for project volume control.
38:47 - Five subjects that upcoming producers must understand.
46:52 - Final thoughts.
49:14 - Contacting Urban Francis about collaborations.



Here are links to various versions of the track on SoundCloud. All may be downloaded and shared freely:








The full project files for this track, along with a comprehensive stems & samples folder and other material for producers/remixers, can be downloaded from my DropBox account at: djbolivia.ca/dropbox

If you remix a version of this track, we hereby give you permission to share it freely (in a non-commercial sense) on all of your social media and other websites, with no restrictions, as long as you name and share the track using the following filename format:

Bolivia & Urban Francis - Courage (YOUR NAME remix)


For commercial applications (ie. release on commercial CD compilations, placement in television/film), please contact us to arrange licensing. For release of your remixes on paid sites such as Beatport, Amazon, we'll probably allow you to earn the money off your remixes, but we'd like to be contacted about it first to confirm this, so we know which labels are distributing remixes and what the remixes sound like.



If you find these tutorials to be useful, we'd really appreciate if you could please share this post with other producers, or share my full list of tutorial and other music-related videos from djbolivia.ca/videos. Thanks for watching!











I'm Jonathan Clark, known online as DJ Bolivia.  Do you want to learn more about DJ'ing and music production?  If so, visit:



If you happen to enjoy techno tracks, most of my tracks are available as free downloads from this link:



Thanks so much for visit, and for your support!  I really appreciate the fan base that I've been able to build up over the years.

Also, if you want to visit any of my other sites, here are a few links:
    YouTube:  youtube.com/djbolivia
    SoundCloud:  soundcloud.com/djbolivia
    Blogger:  djbolivia.blogspot.com
    Main Site:  www.djbolivia.ca

Sunday, January 17, 2016

Collaborating with Remote Artists

In today's world of bedroom studios and global collaboration, it's not uncommon to find musicians working with friends who are based in other towns or cities, or even in distant countries.

If you're a producer who has a friend in another location, and you'd like them to record some instrument or vocal tracks for one of your projects, the process is not that difficult.  However, it can be intimidating for a musician who has never tried it before.  This video should help.

In the video, I've tried to explain how a musician with a basic (but good quality) portable audio recorder can lay down some tracks for a producer, check on a laptop that the recording levels were appropriate (using free software called Audacity), and then share the audio files with a producer using Dropbox or a similar service.

The target audience for this video is producers who need to coach musicians through the process of creating and sharing such a recording, and for musicians who want to record their instrumental or vocal performances to be used in professional-sounding music.  Total run-time on the video is about forty minutes.








I'm Jonathan Clark, known online as DJ Bolivia.  To see the rest of the tutorials in my Audio Recording series, visit:




Thanks so much for visit, and for your support!  I really appreciate the fan base that I've been able to build up over the years.

Also, if you want to visit any of my other sites, here are a few links:
    YouTube:  youtube.com/djbolivia
    SoundCloud:  soundcloud.com/djbolivia
    Blogger:  djbolivia.blogspot.com
    Main Site:  www.djbolivia.ca

Sunday, January 10, 2016

Detailed Clickable Index for Jamstix Drum Software Tutorials

About a year ago, I put together a series of four videos teaching people the basics and some moderately in-depth tricks about using the Jamstix drum production software, produced by Rayzoon. I had a request in the Jamstix forums to create a clickable index, so I went through the four videos this evening and created an index.

If you're looking for all of the Jamstix videos and my notes, visit:  djbolivia.ca/jamstix

 
Part 1 of 4 - Jamstix, an Easy Way to Create Drum Tracks

00:00 - Introduction to myself and to my tutorial channel.
02:45 - Who is Jamstix for? What does it do?
10:38 - A simple demo, and a basic sample song.
14:57 - Intended uses. Why use Jamstix instead of a different drum production package?
21:09 - Slightly technical stuff, plus DAW's and plug-ins.
24:10 - How it works. General concepts, the brain, drum modules, more DAW stuff.
34:25 - Controlling the brain. And overview of styles and drummers.
39:46 - Understanding songs, parts, and bars.
42:58 - How does Jamstix compose? The groove layer, the aspect layer, and the fill layer.
50:31 - Three ways to approach composition.
52:38 - A quick overview of the Jamstix User Interface, plus a basic screen tour.


Part 2 of 4 - Covering All the Basic Operations

00:00 - Introduction, topics in this part of the series.
02:41 - A few quick notes about Cubase.
07:23 - Using the Song Builder: Presets, or build your own. Picking the style, drummer, kit, and song layout.
22:38 - Simple routing to an external drum module (ie. Addictive, BFD, EZDrummer).
25:34 - Song Sheet, part 1: An in-depth examination.
33:48 - Drum Kits: An in-depth examination.
42:08 - Setting output routings (this is in the middle of the drum kits section).
42:57 - Back to the drum kit in-depth examination.
46:50 - Editing a piece of your drum kit.
48:50 - The Mixer: An in-depth examination.
52:55 - Using an external MIDI controller.


Part 3 of 4 - Intermediate and Advanced Editing

00:00 - Introduction, topics in this part of the series.
05:43 - A few quick notes about the using Reaper as a DAW or Audio Editor.
08:15 - Reaper set-up and technical notes.
11:51 - The Transport: An in-depth examination.
21:54 - Dragging and dropping MIDI data from a previous performance into your DAW.
25:29 - Using live loops while performing in real-time.
28:08 - Song Sheet, part 2: More stuff that I missed earlier, including bars and parts.
35:56 - The Brain, part 1: An in-depth examination.


Part 4 of 4 - Options, the Bar Editor, and Final Thoughts

00:00 - Introduction, topics in this part of the series.
01:07 - A few notes about using Ableton Live, and a few cool tricks.
09:28 - Brain Controls, part 2: More in-depth stuff.
12:48 - Bar Editor: An in-depth examination.
27:23 - Style and Drummer models, and the Brain's approach to composition.
30:55 - The Options Menu.
36:20 - Time Signature changes.
37:51 - Jamming along with audio.
38:57 - Using Restore Points.
39:40 - My final thoughts and comments.


Alright, that should help some people out. 






I'm Jonathan Clark, known online as DJ Bolivia.  Do you want to learn more about DJ'ing and music production?  If so, visit:



If you happen to enjoy techno tracks, most of my tracks are available as free downloads from this link:



Thanks so much for visit, and for your support!  I really appreciate the fan base that I've been able to build up over the years.

Also, if you want to visit any of my other sites, here are a few links:
    YouTube:  youtube.com/djbolivia
    SoundCloud:  soundcloud.com/djbolivia
    Blogger:  djbolivia.blogspot.com
    Main Site:  www.djbolivia.ca

Sunday, January 11, 2015

Jamstix Software - Part 2 of 4 - Covering All the Basic Operations

This is the second in a series of four tutorials about the Jamstix drum track creation software.  However, before I go any further, I made massive updates to my website in early 2024.  All of my Jamstix info is available there too, and I'd recommend that you move over there, unless you like the format of my blog better.  The info on my website is more up-to-date.  Here's the link:






 



Jamstix is pretty amazing, as I have already said in the first video in this series.  After I'm done this series, I'll do a set of videos where I create two complete songs from scratch.  If you want to see the way I work, you'll be able to watch just as if you were sitting beside me at the computer.  But first, let's start to go into more depth with the software now that you know what it's all about.  We'll begin by taking a closer look at the Song Wizard.

In case you'd rather just watch the full video that matches this blog post, here it is.  I used Cubase as the host in this part of the tutorial:




The Song Builder

Ok, so when you first open Jamstix within your host, you'll see the "Song" section of the upper right side main menu.  On the left side, you'll see a ton of choices of "Quick Start" songs.  There's a lot of variety there, based on different music styles mixed with various drummer personalities.  Some examples:
- Twelve bar blues
- Disco track using "Chad" (probably Chad Smith of the Red Hot Chili Peppers?)
- Generic jam sessions
- Jamcussion songs
- Motown using "Phil" (probably Phil Collins of Genesis)
- Reggae with Stewart (probably Stewart Copeland of The Police)
- Standard song
- Lots of others

Let me just interrupt my own train of thought for a second to mention Jamcussion.  It's not available in the most basic version of Jamstix, but it's in a lot of the other more comprehensive versions.  Basically, it's a percussion add-on.  Think of latin instruments, hand drums, etc., all the sort of rhythm section instruments that aren't part of a normal drum kit.  If you are using Jamcussion, it runs in conjunction with (but sort of as a separate unique identity to) the main drum kit.

On the right side of the Main Menu you'll see the Song Builder.  This lets you set the rules.  Start with laying out the structure in terms of parts.  Each part has a unique initial.  Here's a list:
- I = Intro
- V = Verse
- P = Prechorus
- C = Chorus
- B = Bridge
- D = Drum Solo
- S = Solo
- E = Ending

I'm hoping that the next version of Jamstix adds some extra choices, such as a Silent section, Breakdown, and Refrain.  But those aren't critical, there are ways to emulate all of those concepts.  As it stands now, you can easily make anything work.  You might have to get a bit creative, ie. for a Verse/Refrain song, you might want to build it as Verse/Chorus.  That doesn't matter.  You can adjust the lengths of each part no matter what you call them.  As Shakespeare once said, "What's in a name?"

Next comes the Style.  It may say "8th Rock" as a default.  Go in and explore some of your own choices.  I have the full "Studio" version of Jamstix, so I have a lot of extra styls and drummers and expansion paks.  In total, I currently have 510 different styles in 28 different groups.  Some of the 28 groups include:  Afro-Cuban, blues, funk, breakbeat, electronic, gospel, drum & bass, metal, march, Motown, country, R&B, surf, and others.

Click on the little black triangle that appears to the left of some of the styles, and you will see a bunch of sub-categories.  For example, under "rock" I have eleven different sub-categories.  Under "country," I have eight.  Under "other world rhythms," I have Beguine, Bolero, Middle Eastern, and Tango.  And finally, under Jamstix 1 (the legacy styles) I have what looks like a couple hundred different styles.  After you choose a style, you can click on the default button to the right to set it as your default, if you want.  Once you've picked a style, don't forget to press "Load" to load the samples into the player.

Next, you can pick your drummer.  The default is probably "James Stix," the usual Jamstix default.  I have a couple dozen other drummers who, as I alluded to in the last video, have first names that match a lot of famous drummers.  I'm pretty sure that I know who over half of them are, and I'll put my list of guesses at the bottom of this blog post.  There's probably a full list online somewhere.

In addition to the named drummers, there are a couple of special presets.  For example, "Latino" specializes in Latin flavours.  "Machine" is used in electronic styles where a more "drum machine like" behavior is desired, by disabling the limb transition time logic and avoiding timing or power variations.  There's also  a "Silent" drummer who doesn't create or modify any notes (this is good when you're hand editing a part that's already laid down).  There's a player description on the right side of the drummer panel to give you some feedback about the style of each drummer.  Again, once you've picked your drummer, don't forget to click on the "Load" button.

The next item you can pick is the kit.  When I did the demo song for the previous video, I stuck with the default, the Standard Rock Kit.  However, since I have the Studio version of Jamstix 3, I actually have 146 different kits to pick from.  Again, there are broad categories on the left side, including kits to match a lot of the "Style" choices we've already covered.  But you don't have to match a kit to its style.  You could pair a New Orleans Jazz kit with a Drum and Bass style if you want.  And of course, many of the styles have a black triangle beside them which you can click to see a list of sub-styles.  If you're looking at using a kit style that has sub-styles, you must actually pick which sub-style you're going to use.  For example, you can't just pick "drum and bass" as a generic kit style, without deciding on which particular sub-style you'll use.

A couple of the kits are special.  You'll see kit categories for Additive Drums, BFD, and Toontrack (EZDrummer).  If you look at the kit contents on the right side of the window, you'll notice that these say "MIDI output only," whereas all the other kits listed info to show where the audio samples will come from, and perhaps some description of the piece of kit.  The reason these say "MIDI output only" is because they are default routings.  You don't get the sound of BFD, etc., unless you happen to own that particular third-party drum module software or sound bank.  However, they're good to have, because if you do own Addictive or BFD or EZDrummer, this is a perfect quick way to route the Jamstix MIDI out to your other drum module and take advantage of the high quality samples.

Once you've picked the kit you want to use, make sure you click on the "Load" button on the lower right, to load it into the player and return you to the Song Builder menu.

If you have a version of Jamstix that includes the Jamcussion expansion, you'll also need to pick a Style, Drummer, and Kit for your Jamcussion sounds.  Remember that Jamcussion, if you have it, is a hand percussion based rhythm section that can accompany your main kit, or even play alone without a kit.  Picking the Style, Drummer, and Kit of the Jamcussion section is done exactly the same way as picking the Style, Drummer, and Kit of the main drum kit, although of course this is hand percussion based, so all the styles and drummers and kits are different.  You may want to experiment a lot here to find a Jamcussion kit that sounds appropriate with the main kit you picked.  Or then again, you may not.

I know that I said earlier that it's easy to put together a song really quickly, but I just showed you a lot of complicated choices.  Don't worry, you'll quickly start getting used to the choices of Styles, Drummers, and Kits available, and it won't feel like you're dealing with much.  And worse case, if you're confused at the start, you can just ignore it all and use the defaults.

We're just about finished creating your first song.  You just need to pick how many bars you'll have in a standard verse in your song, and how many in a standard chorus.  After you do that, click on the "Create A Song" button, and look over at your Song Sheet editor window on the left.  Your song should now be all laid out for you.


Song Sheet

At this point, you might want to make some minor tweaks in your song.  Do you need to change the number of bars in any of your parts?  You can double-click on the part's name (or anywhere else on the line) and it comes up with a list of things you can edit.  You can rename the part, change the number of bars in the part, or change the number of repetitions.  You can also change the time signature if you enable this in Options, but remember that Jamstix still syncs to the tempo of your host.

There are a couple other columns on your song sheet that you can play with if you want.  The RF column stands for Repeating Fill.  If this is checked, Jamstix plays a fill whenever the part is repeated.  The TF is Transition Fill, and if checked, a fill gets played on the last bar of the part.  The TRG column deals with trigger keys for Live Loop mode.  I'll talk about that in one of the other videos, it isn't important for most users.


Drum Kit

Ok, so now that we've gone through the Song Sheet, let's take a closer look at the kit we've picked.  Click on the kit tab up to the right in the Main Menu area.  I already demonstrated in the last video that you can click on different parts of the kit to preview different drums.  Also, because most of them have multiple articulations (sounds), you can hear different sounds depending on exactly where on the graphic you clicked.  This is slightly tied to a way of letting you preview MIDI velocity variations.  I'm going to try to avoid getting deeply into MIDI here, but the short version, if you don't understand MIDI, is that as you have higher "velocities" for notes or hits, the audio volume will probably also increase, and the type of sound of the hit can also change.  For example, a low velocity hit on a ride cymbal might be fairly quiet and sound like a light pinging sound with reverb, whereas a heavy velocity will probably be louder and might sound more like a "clunk" when it hits.

Depending on your kit, you may see other things like jam blocks, shakers, eggs, cowbell, tambourine, chimes, etc., spread out on the visual display around your kit.  Try clicking on some of them to preview them (this only works if the song is playing in the host).

If your song is playing, parts of the kit will light up as they're hit.  Watching a performance from overhead as your song plays is a good education in itself.  If you want to single out a specific part of your kit to see its effect on the performance in progress, you have two useful options.  You can hold Ctrl and left-click on that piece and it will be solo'd, while the rest of the kit is muted.  If you do a Shift-click, the piece is muted while the rest is solo'd.  These key commands are presumably different in the Mac version.

If you turn off the lock button, you can move pieces of the kit around.  I mentioned this in the first video.  If you pull a piece of the kit away slightly, the drummer will be less inclined to use it.  Pull it too far out of his reach and he will stop using it completely.  Rearranging the layout of the kit can affect the drummer's performance.

The dice icon is also interesting.  Click on it and the main kit will be rearranged somewhat, both in terms of layout and exact drums present, depending on what's available.  Go ahead and try it.  It can't hurt.

Up to the top left of the graphic of the kit, you'll see a drop-down tab beside the kit name.  Check it out.  Here's where you can adjust output routings if your host allows it.  Many hosts allow for up to eight separate outputs, although right now, Pro Tools is limited to a single stereo master out.  Be aware, as the manual states, you might have to configure your host to support multiple audio outputs or else you'll only hear the sounds going to the first output.  This depends on which host you're using.  If this all sounds like Greek to you, don't worry – the default value is for it to just work without any adjustments.

There are also a number of options in this menu for sending audio or MIDI output.  Hopefully they're fairly self-explanatory.

The closed hi-hat variations menu lets you affect how much variety you'll get in the high hats, which can impact the realism of the performance.  Directly underneath that, you can turn position based dampening on or off.

Resetting the visual kit arrangement doesn't seem to affect a kit generated from the dice, but if you pulled an individual piece of the kit away manually, this returns everything to an optimal placement.

Finally, the Key Map options are related to MIDI, which a lot of people won't worry about.  I'll skip those for now, but if you're really experienced with MIDI, the Key Map is the assignment list as a tabbed text file.

Next, try to right-click on part of the kit.  Now you have the option to remove the piece you clicked on, change its sound, or add another piece to the kit.  Try playing with some changes to your kit.  There are tons of options.  Remove a piece, change a couple, and add something else.  You'll find that there are tons of choices and its fun and easy to make big changes.  If you like what you've created, there's a save button in the upper right.  If you don't like what you've created, click on the "Load" button (or double-click the kit name over to the left) to bring up a new kit on screen.

Open the kit list again by clicking Load.  You'll see a couple of options under the list of kit contents:

- Lock Outputs locks the current output assignments so they won't be changed if you load a new kit.

- Lock Mixer locks the mixer settings from being changed by a new kit.

- Keys Only will mean that Jamstix only loads key assignments and not sounds or mixer settings.  This is for advanced users.

Finally, there is a "Filter" box at the bottom of the window.  This box lets you control what gets loaded when you load a new kit.  This is handy for lots of creative kit composition.  Maybe you like most of your current kit except for the cymbals.  Click on "Cymbals Only" to load cymbals from another kit while leaving the rest untouched.


Editing The Kit

To edit part of your kit, click on one of the pieces.  That piece can be changed with the kit editor down below.  You can click on the name to load a different sound.  You can change the volume, pan, ambiance, dampening, or tuning of that piece of the kit.  You can change MIDI parameters, if you're comfortable with advanced MIDI use and routing. 

On the right side is a velocity scaling graph.  Again, this section is only going to be useful for advanced users.  If you're being fed external MIDI that's playing through your kit and it's all at lower velocities than you'd prefer, you can use this to raise velocity levels in a linear scale or some sort of compressed or expanded curve.  You can also scale velocities down this way.  There's a lot of flexibility to get your MIDI data in to a useful band/range.  The Min and Max buttons are similar here, you can set Min and Max levels and incoming data will scale in that range.


Mixer

Next, let's jump over to the Mixer tab of the Main Menu.  You'll see that it's an eight channel mixer.  If you change the number of outputs you're using, you'll have to totally shut down then re-load your host, since audio outputs are set during the opening of your host when VST plug-ins are loaded. Also, remember that in the current version with AAX compatibility, Pro Tools is limited to a single master out.

Let me cover the features of the mixer in point form:

- The drop-down tab at the upper left lets you load or save mixer settings.

- When you start out, the EQ button is depressed and you have low/mid/high EQ knobs beside each channel slider.

- Click on the Comp knob and the EQ knobs will get switched out for four knobs controlling compressor settings.  If you know how a compressor works, they'll make sense.  From top to bottom, they control your threshold, attack, release, and wet/dry mix.  The blue button turns the compressor on and off.

- Click on the Echo knob and your compressor controls will be replaced by delay controls.  Top to bottom, the three knobs control feedback, low pass filter, and wet/dry mix.  The delay is also synchronized to the host's tempo.  So the 8th means eight note delay.  Click on it to see a list of choices, down to 48th note.  The –C- below it means that the delay is centered, but it can be changed to a slow or fast pan if you want.

- The Flip Stereo toggle changes audio from drummer's to audience perspective.

- Downmix puts all outputs to channel 1.

- The AMB To Last toggle will direct all ambient effects to the highest output channel.

- If MIDI Only is enabled, audio samples are unloaded and MIDI just routes to the host or to a drum module.

- The AMB knob controls the overall ambiance level for the currently selected drum or Jamcussion kit.

- DMP controls the dampening of the room's simulated ambient sound.

- WID adjusts the stereo panning of the kit.  All the way left is mono, all the way right is full width stereo.


MIDI Remote Control

I've tried to avoid getting into MIDI in this video, to keep it simple for people who don't need to play with MIDI.  But some of you may know that separate from MIDI note data, you can use what's called a MIDI controller to adjust controls in your software more easily than doing everything with a mouse.

If you don't understand what a MIDI controller does, you should.  You don't need an indepth knowledge of MIDI to understand or use one!  First, remember that it's called a MIDI controller primarily because it's using MIDI in the background as a communications system to control stuff.  So it's less technical than you might have expected.  It did a comprehensive video about MIDI controllers not long ago.  I really recommend that you check it out to understand exactly what a MIDI controller is capable of.



Anyway, the point of this is that you can control all of the mixer controls simultaneously using a MIDI controller.  This is so much easier and more powerful than trying to use a mouse!  Of course, if you're comfortable with automation, you can also automate controls by drawing or recording envelopes.  So much power.  Strap yourself in and feel the G's.


Conclusion

You may have questions about the software.  Rayzoon has an active and useful online support forum.


Go to their website and click on the forums link.  I can also try to answer questions on YouTube, but remember that I spend nine months of each year living in a remote forestry work camp with practically no internet.  I'll answer eventually, but you'll get a MUCH faster response on Rayzoon's forums.


PS – the Drummers

I promised a list of my guesses about who some of the drummers are modeled upon …

Animal, from The Muppets
Carter Beauford – Dave Matthews Band
Charlie Watts – Rolling Stones
John Bonham – Led Zeppelin
Phil Collins – Genesis
Roger Taylor – Queen
Stewart Copeland – The Police
Mark Brzezicki – The Cult
Danny Carey – Tool
Lars Ulrich – Metallica
Chad Smith – Red Hot Chili Peppers
Keith Moon – The Whoe
Tony Thompson – Power Station
Will Champion – Coldplay

However, as Jamstix points out, "Drummer models are fictional and not endorsed by actual drummers with the same first name."


By the way, I've created a clickable index for the whole series, so if you've watched everything but you want to review a certain section, this might come in useful. CLICK HERE to go to that index.




I'm Jonathan Clark, known online as DJ Bolivia.  Do you want to learn more about DJ'ing and music production?  If so, visit:



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