http://www.independentrecording.net/irn/columns/gstep/ Column by Glen Stephan on the Independent Recording Network en-us Copyright 2012 Wed, 13 Jul 2011 12:00:00 PM EST IRN RSS FeedMakerPro http://www.rssboard.org/rss-specification webmaster@independentrecording.net http://www.independentrecording.net/irn/columns/gstep/index.php?id=93 http://www.independentrecording.net/irn/columns/gstep/index.php?id=93 In EnginEARing Part 6 we began our look at how the frequency chart can help us develop our listening skill by helping us to hear and understand certain frequency-based sonic characteristics and descriptions. Now we'll look at how that chart provides a significant, if somewhat indirect, clue as to the importance of musical arrangement and how directing our ear’s attention to that aspect of our music can often provide a key reason why some mixes work and sound better than others. Wed, 13 Jul 2011 12:00:00 PM EST http://www.independentrecording.net/irn/columns/gstep/index.php?id=91 http://www.independentrecording.net/irn/columns/gstep/index.php?id=91 Once we have gotten used to listening analytically to the sounds and music around us (Part 4) and to recognizing the frequencies of those sounds (Part 5), we are ready to take a little more in-depth look at the audible frequency spectrum, and the roles that the various frequency bands tend to play in what we hear. Tue, 03 May 2011 08:00:00 PM EST http://www.independentrecording.net/irn/columns/gstep/index.php?id=89 http://www.independentrecording.net/irn/columns/gstep/index.php?id=89 In Part 4, we got away from the studio, getting our ears used to listening in detail to the sounds of the world around us. Now we can take those basic critical listening skills back home to begin to learn the crafts of critical and analytical listening in the studio. First up: Name that frequency... Thu, 17 Feb 2011 06:00:00 PM EST http://www.independentrecording.net/irn/columns/gstep/index.php?id=88 http://www.independentrecording.net/irn/columns/gstep/index.php?id=88 So far in this series we’ve talked about how to listen to sound in its true aural colors without having our own biases unfairly tint our perceptions (Part 2, Part 3.) Now we can start to examine the art of listening to those un-tinted perceptions. Critical or analytical listening really means listening, and not just hearing. What’s the difference? The main difference is in just how much attention we are really paying to what we are hearing, and to just what details we are paying attention to. As we continue, we will talk about how to listen for the detail within our recordings and productions. We’ll learn to identify and listen to the various “dimensions” of our recording in which the various attributes such as frequency, depth of field and pan reside and on which we paint the aural pictures of our musical compositions. The first step in our journey to getting our critical and analytical ears brings us far away from our studios and away from the music of man. Thu, 17 Feb 2011 11:00:00 AM EST http://www.independentrecording.net/irn/columns/gstep/index.php?id=84 http://www.independentrecording.net/irn/columns/gstep/index.php?id=84 We have set up our new studio with care and detail. We have installed our favorite near field loudspeakers as our studio monitors and have set them up accordingly in a decent-sounding room, and are ready to start work. At what volume should we listen as we mix? Is there an ideal volume for working on our mixes? Fri, 06 Feb 2009 08:00:00 PM EST