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Discussion in 'Trumpet Discussion' started by Matthew Cruice, Sep 19, 2015.
Enjoyed - Thanks.
Very nice - I've just listened to three of your videos and need to be careful as I'm supposed to be watching the clock for some veg roasting in the oven and this is keeping me from the kitchen!
I wonder if you could describe the kit you use to make the videos? Or in particular to record and mix the sound? Are the backing tracks special ones for playing with?
Yea, a part-time job does leave you with a lot of time haha. I like multitracks because of all the sounds coming together, and it also helps mask certain issues I may have (articulation isn't my strong point) that are heard more easily in some of my solo videos. Interesting what you said about covering only one ear with the headphones. I've heard that before, but I typically cover both ears because I want to be completely immersed in the music. Sometimes I have to lower the volume of my backing tracks so I can even hear myself play. Maybe I should just cover one ear. Sometimes I kind of like the backing track to be the star while I'm just along for the ride.
Thanks! Here is the equipment I use:
-Acoustica Mixcraft 6
-Behringer Xenyx 302 Mixer
-CAD 2200 Microphone with pop filter
-Sony Movie Studio Platinum 13
I also use a green screen kit from amazon that I use for the visuals. As far as backing tracks go, I get them either from youtube or iTunes, depending on who has the better backing track. For a video like the "Jurassic Park" one I did, I typically play along with the original song from the soundtrack, and then once everything is in place I delete the soundtrack song from my music program so just my trumpet sounds remain.
When we play, it should NEVER sound like we are following. That is what happens when both ears are covered. It sounds like your timing was jumping between the playback track and your inner pulse. That can screw clues for breathing/attack up. We inhale, and exactly at the point where we switch between in- and exhale, we have to articulate. If you are having issues with that, you need to focus on it for a while to develop the habit. When you are playing, you have a different function than when you are listening/enjoying.
I thought it was pretty neat
Just to be sure, are you saying that a person typically drags behind the backing track when both ears are covered? That does happen to me, so I have to anticipate the beat a bit more, but I like hearing the backing track very clearly so I can play along with it, and I feed off of it as well musically. Wouldn't it be harder to follow the track if you can't hear it as well since it's going through only one ear?
Well done, Matthew, you've produced something very worthwhile there and managed to arouse the interest of some old jaded hacks here (not easily done!)
well, let's examine the situation: When we play pure acoustically, the bell actually lets some sound pass through, so we have a very "immediate" feedback. If we record our sound, feed it into the mix with other recorded voices there is a factor called latency that delays what we hear. How much it is delayed is a function of the analog digital converter, computer processing and the software used to record. When we do multitrack recording, most computers need time to put the signal together. The delay is not "seconds", but it is enough to disturb an automated process like breathing or articulation. Add to that, the delay of hearing something and responding to it and you have an idea about what is going on. Having one ear on "immediate" helps one stay more in sync with the instrument.
Yes, we have to practice multitracking. That does not mean that we hear the mix worse, it means that we practice until we get the hang of it (for some one ear is better than the other). For professional recording, click tracks are used. This is a "metronome" track and is a very good way to have something absolute to play to. Behind the click track there is usually some kind of mix to orientate.
You basically hit the nail on the head with the expression "play along". Serious recording does not mean "play along" rather create at the same time.
I recognize the difficulty of what you have done to include syncing and editing the tracks. This is a huge amount of work… well done!
A vast majority of this is outstanding playing, you asked for pointers so I shall brave the backlash to offer some thoughts.
This is all very next level stuff. None of this is said without acknowledging the incredible amount of ability you show here.
To line up your entrances in the beginning of the piece consider a click track, as there were entrances that were not accurate.
There are obvious intonation issues in the introduction. This is a challenging moment to be sure, however this is the difference between good and great. At 0:40 through 0:49 intonation issues are pronounced and pitch finally settles in at 0:51
The theme and forte sections sound quite good. 2:43 intonation once again is suspect in the melody. This section is soft playing like others with pronounced pitch problems and suffers from intonation that might be a result of a lack of proper support. Soft playing requires as much support if not more as loud.
It appears that you played each track straight through, if this is the case great job and nice endurance. You might consider doing a project; if you haven’t already where you lay down a scratch melody track then record your bass lines. Then do your best to build it from the bottom to the top with the scratch track as a reference to see if this helps pitch. Once this is done consider going back in and correction anything you hear that is not perfect or near perfect (within the context of capability) to include the melody track if and where needed. This will make you listen extremely critically to play back for the smallest discrepancy. Eliminate the reverb during playback to hear the naked truth.
Working with headphones is a challenge in of itself; this might be part of your pitch issues. Work outside the headphones on the piece and check for intonation. Hear the intervals between each note and the overarching melody that exists in each part.
As this was an A capella example (without backing track) I listened to another A capella track of yours and discovered similar intonation issues. In the beginning of your Dogs of War video the first 2 notes (E to A)do not have clean attacks. The result is the first interval is not quite a forth. This can be a treacherous interval as can a fifth. Go back and nail these first 2 notes. This is the first impression and if it is not nails, well… 0:28-0:29 C# below the staff is not where it needs to be and the hand off to the C natural that follows in the melody is not seamless. The pitch center is back as you reach the following B natural 2 notes later. At 1:16 the D 4th line to the A 2nd space again is not a perfect 4th. The D sounds okay but when you go to the A it starts low and you bring it up. This tells me you are not hearing this note before you play it. Catch these spots and fix them. 2:38 attack on the Ab/G# below the staff go back and fix that; it is super exposed. Work on pitch and attacks to learn to center them.
You might consider this exercise: Arban’s first section #47 play each note as a stand-alone attack. Play each note as a staccato eighth followed by an eight rest and a quarter rest. (Basically an eight note on 1 and 3 if you will). Attack exhale breathe in and execute the next attack, exhale and execute the next and so on. This will help with centering clean attacks. Do this at different volumes and speeds. This approach can be applied to the, “Studies on the Intervals” section as well. In each case hear the next note and know where it is.
Again great stuff don’t get me wrong.
The reality out in YouTube land is that the bar is very high and you will be compared to likes of this.
Keep posting and keep improving!