Studio Noize is proud to feature London Bridgez as our first Spoken Word Artist. Her beauty is not only on the surface but it’s in the passion of her poetry. Her flow exudes lyrical light and purely defines the powerful substance of ‘spoken word’.
The writer and performer London Bridgez pushes the expectations of spoken word. “London” is her name. “Bridgez” represents what she does. She builds creative bridges between spoken word and music. Her stage performance is interactive, truly building a bridge between her words, the music and the audience. Her first single “Crushing You” produced by Daniel “Oph Kiltah” Watson from Deskbangahz production is a story of a secret crush told with a smooth blend of r&b vocals, rhythmic lyrics and a sultry instrumental.
London has performed her spoken word on the radio airwaves in Boston, New Hampshire, Chicago, and Nashville & Canada. London is an artist and activist who uses her poetry to educate audiences on Aids, violence against women and Cancer. Social justice related performance credits include Bayard Rustin Community Breakfast sponsored by the Aids Action Committee, a YWCA fundraiser to support a production of VDAY Lawrence, Queer Women of Color Week, Provincetown Women of Color Weekend and the Aids Walk Boston Opening Ceremonies.
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If you plan to master your tracks or have an outside mastering house master your recordings (hopefully you’ve chosen the latter), there are a few rules that apply to make the experience a marvelous one. I’ll start with the Don’ts first!
Don’ts
Don’t mix-down your tracks using the brick wall effect. As a matter of fact, disable it. Loudness should be applied during the mastering stage.
Don’t apply compression, maximizer’s, or limiting at the main stereo bus. Only use the effects needed to enhance the recording such as reverb, delays, etc within the tracks. Compression is okay in the mix as needed. However remember what’s there is what will still be there after the mastering process.
Don’t mixdown at a level above -3 db at the least. Allow headroom for your engineer. This allowance varies between engineers.
Don’t assume your mastering engineer can fix what you should have fixed in the mix.
Don’t send the ONLY copy of your mix to the mastering engineer.
Don’t think because you have your track mixed dead center, the mastering engineer can pan it into the field. Utilize your panning field and be creative on each song track.
Don’t drop in fades. More likely yours are not as nice as the mastering engineer will make them.
Do’s
Do keep an open communication with your prospective mastering engineer. He will tell you exactly what he needs from you.
Do make sure your recordings are free of microphone noise such as pops, bumping the mic, and or air before and at the end of the recordings. All wave files should have a nice clean start and end.
Do know that the most important process of the mastering stage is the mix-down. (read that again!)
Do be sure you know the list of file formats your mastering engineer will accept.
Do submit your tracks in the order you want them to be, and be sure you include exact spelling of titles, and other text content to be included.
Speaking of notes, do tell your mastering engineer everything you want and expect from the process. Provide CD’s of commercial music you’d like your product to model. Be very specific in any other notes you may have.
Do understand your mastering engineer can only work with what you have given him.
Do know there’s a HUGE difference between mixing a track and mastering it.
Do you know what ISRC’s are? iTunes usually requires them.
Any additional preparations you’d like to add?… drop me a comment! Happy Noize Makin’!
If you like this post or find it helpful, drop some noize in the comment section!
After keeping my eye on this program for quite sometime, and reading its competitive success, it’s time to give Cockos Reaper a test drive. This baby is going on my studio computer today and I may use it for a session I have scheduled later this month… of course after I go through and find all its jewels.
Not that I’m holding out on my now favorite DAW Cubase, I think it’s healthy to invade a little competition, plus Reaper first hand just looks so-dog-gone good, and from all the good noize I’ve heard, I’m geeked to give it a try, and more importantly – without any software crippling restrictions. I’ll keep you posted on my progress.
Here are a few specs and information taken from their website…
…REAPER’s no-compromises 64-bit audio engine and 64-bit end-to-end signal path offer the maximum in resolution and headroom. Unlimited track counts, total routing freedom, draggable sends, beat-based audio templates, sidechain support for any plugin – REAPER gives you both power and flexibility.
You can freely mix audio and MIDI routing, even within a single track. REAPER’s parameter modulation allows you to creatively sidechain midi and audio: drive your synth’s cutoff filter with an audio signal, or create midi triggers with an audio gate.
REAPER’s 4MB download is smaller than some web pages. It contains no multi-gigabyte library of someone else’s music, no crippled evaluation versions of a bunch of software somebody paid us to package, no arbitrary hardware or software restrictions and absolutely no invasive copy protection system… Read more and check out more of Reaper’s screenshots.
If you’ve tried it or using it or even plan to give it a shot, drop me a comment and let me know your thoughts.
This crooner makes no mistake in communicating his feelings through his music. His warm smoothness takes us back to when music was taken seriously by the hands of the creator and the depth of the vibe just made us ‘feel good.’
Derick Swinson was born in Las Vegas, Nevada. He was signed to A Train Records under an unnamed boy band project, and left the group to attend college and study musical theatre. With brief stints as background singer and dancer for a local hip hop artist, choreographer and teacher for a dance studio in Vegas, Derick’s heart called him back to his music as a solo artist.
Now free from a label contract, Derick has refreshed his views. “Sometime you reach a point in your life where you got to make music and make it for yourself… without the goal of it needing to be certain standard to please people,” says Derick.
As he has identified his own brand of soul, Derik appeases his fans of wanting more of his artistry as he continues his life journey.
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How many times have we seen or heard someone in the music realm whether they are a producer, singer, rapper, manager, promoter, etc. say ‘Google me’ as a means of marketing and or promoting themselves?
Regardless of the origin of this saying as some believe it originated from a song… obviously this has become the norm. Well, see here’s the deal… and on the flip-side of the coin… Go Google Yourself!
Nah, really! and do it often! Utilize that information to continue to build. Monitor your online communication in how it’s making or breaking you. What can you do more or less of? Build an impressive press-kit and write a biography that illustrates how your music makes us want more of you. Do you have a website? I mean one that effectively promotes what your artistry is all about? Are you interacting with others that do what you do? Leave landmarks on the web. Impressive ones! What makes you stand apart from the rest?! That’s the key question!
Instead of taking the lazy approach of inviting others to Google you… take your music more serious and find a smart way to invite others in your world. If you are relevant (all that) on the web, a Google invitation isn’t necessary! It’s what people do anyway if they are interested in knowing more about you!
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