A recent client of mine was working with a CD Duplication/Replication company and received some less than accurate information.  So when the client received their CD proof and noticed that the .cda files weren’t named, he called and asked — is it really impossible to rename .cda files?

The short answer is, yes — it is impossible.

First, a little more of the story.  The client told me that on commercial CDs he owned, he could see track data and artist names, but not on his proof.  I asked which operating system he was using and explained that it would seem to be drawn from the operating system’s way of displaying CD information, which could be from extracting CD-Text or by accessing an online database.  He said that he thought commercial CDs would show up with their song names as .cda file names despite the operating system considering the way they were showing up in his file explorer.

I have created many commercial CDs for popular artists, but I thought it would be best to fully explore the details and make them available here.

Most commercial audio CDs conform to the Redbook standard, so they can be compatible with CD players.  The CD-DA format is actually capable of more than the standard allows, so we’ll be talking about CD-DA instead of just the more restricted Redbook Standard.

The CD-DA format was created by Sony and Phillips somtime between 1978 and 1980, based on research that may have taken place as early as 1969.  CDs created with CD-DA (Audio CDs) use PCM (Pulse Code Modulation) data that is not contained in any file the way we think of computer files.  Even the way the data is embedded into a CD-DA is different than computer hard drives and disks.  CD-DA data is organized in a continuous spiral, like a vinyl album, instead of organized into sectors that computer hard drives use, which look more like a pizza.

Windows (and DOS beforehand) has used the FAT, FAT16, FAT32, FAT64 and NTFS file systems, among others.  Long ago Macs used the Macintosh File System and most recently Mac OS X uses the HFS Plus file system.  Computer file systems and the CD-DA format are quite different.  So when looking at a CD-DA (Audio CD) on any computer, there must be some interpretation by the operating system or software.

So where do the .cda files come from?  Well actually, the .cda file don’t even exist on the CD!  The .cda files are created by your computer’s CD driver to represent the data that it scans from the CD.  The .cda files are your computer’s interpretation of the information on the disc.

Renaming the .cda files is impossible, because they doesn’t exist on the CD.  The only metadata information on CD-DA/Audio CDs are the CD-Text and ISRC codes embedded into the CD.  Different operating systems and software draw upon this data in various ways, including using the ISRC codes to access online databases to show useful song information, instead of plainly named “trackx.cda” files.

Basically, you can’t rename .cda files, the only thing you can do is make sure your CD-Text and ISRC codes are embedded into your CD.  If you use Stonebridge Mastering’s Digital Publishing Standard you will be sure to have completed all of the details necessary for a commerical CD release.

The Virtual Studio Technology (VST) interface was first released by Steinberg in 1996.  It is a a set of C++ classes based around an underlying C API.

There are now several ports available so that VSTs can be created with many languages.

Hiring Tips

Without programming experience?  Hiring a programmer may be the very best option.

Programmers will often have many offers, so ideas presented to them should concisely explain why the concept would be interesting to them.  It’s likely they will not find ideas as groundbreaking as the person who conceives them and it is often very difficult to find a programmer without offering payment.  To prove you are not wasting their time, information about the payment and proof that the payment is forthcoming and the funds are available should be considered when thinking of approaching a programmer.

Searching Google for “Freelance Programmer”, or looking on Craigslist, with the knowledge in this post in mind can help in the search.

Got programming experience?  Not scared to buckle down and learn something new?  This article will help you.

Choosing A Language

There are several languages that can be used to create VSTs:

• C++
• Delphi
• Java
• .NET
• Faust

The original Steinberg SDK is for C++, although there are ports available that make VST programming possible in Delphi, Java and .NET.

Faust is a language specifically for writing audio applications with the intention of making it simpler.  Faust will allow you to use block diagrams and other tools to create C++ code for signal processing.

C++ Frameworks

Many commercial and open-source VSTs are written using the JUCE C++ framework instead of direct calls to the VST SDK.  JUCE can be used in a way that allows for multi-format (VST, AU, RTAS) binaries to be built from a single codebase.  Also, Jucer is a component of JUCE that allows for visual approach for the design and editing of GUIs.

Another, somewhat less popular VST C++ framework is IPlug.

Language, Ports, Frameworks and Software Development Kit:

Steinberg Software Development Kit (SDK):

• http://www.steinberg.net/en/company/developer.html

C++:

• Apple C++
• Bloodshed Dev-C++
• Borland C++
• Cygwin (GNU C++)
• Digital Mars C++
• DJ Delorie’s C++ development system for DOS/Windows (GNU C++)
• GNU CC source
• IBM C++
• Intel C++ for non-commercial development
• Microsoft Visual C++ 2010 Express edition
• MINGW – “Minimalist GNU for Windows”
• Sun Studio
• The LLVM Compiler Infrastructure

Delphi:

• http://www.embarcadero.com/products/delphi
• Previous versions of Delphi are available around the Internet
• Delphi VST Port:  http://www.axiworld.be/vst.html

Java:

• http://www.oracle.com/technetwork/java/index.html
• Java VST Port:  http://jvstwrapper.sourceforge.net/

.NET:

• http://msdn.microsoft.com/en-us/netframework/default.aspx
• .NET VST Port ( Noise):  http://code.google.com/p/noisevst/downloads/list
• .NET VST Port (VST.NET):  http://vstnet.codeplex.com/

Faust:

• http://faust.grame.fr/index.php

Resources

A few more resources for VST Developers:

• http://www.tobybear.de/
• http://learnvst.wordpress.com/
• http://ernsthot.blogspot.com/2009/03/c-vst-plugin-development-links.html

Most of the posts here are about in-depth topics.  This one, not so much.

The full range of each musical instrument below was captured with each note being played for precisely the same duration.  We have been using these recordings and spectrograms to create a product we plan to release soon and decided to make these images available for viewing.  Enjoy!

All rights in and to the images below are reserved.  More information at the bottom of this page.

All of the images above were created by, and are property of Gebre Waddell of Stonebridge Mastering and all rights are reserved.  Any and all licensing, purchase or use of these images in any way is prohibited without express consent, in writing, by the creator and owner, Gebre Waddell.

At the time that this is being posted, there appeared to be no chart, table or spreadsheet available on the Internet which showed all of the notes for the full range of human hearing.

The 12-TET Equal Temperament is a musical system of tuning.  In this system, the same ratio exists between each of 12 semitones.

The chart/table below shows each of the Helmholtz musical notes (A-G) in Hertz for the entire range of human hearing, as well as below and above this range.

If you would like the table below in Excel format (with the 12-TET calculation of absolute frequencies derived by an embedded and copyable formula), then click here to download.

This chart may also be searched for as frequency chart, equal temperament, sound frequencies, note frequency, frequency hertz, or  bass frequencies, audio frequencies, notes frequencies, piano frequencies, pitch frequencies tone frequency chart or as an audio frequency table.

If you enjoy this post, please consider taking a look at our mastering studio.  You can also link to it from your blog or forum posting.

SIDECHAIN COMPRESSION AND BASS DUCKING

INTRODUCTION

In this post we will discuss the fundamentals of sidechain compression: what it is, how it works, when it’s used and why it can be a remarkably creative approach to solving problems in your low-end.

WHAT IS SIDECHAIN COMPRESSION AND BASS DUCKING?

Sidechain compression in its simplest form is using one audio source to trigger the compression of another audio source. For example, imagine you have a bass guitar track and a kick track that are very similar in their frequency range, and when played together one is either swallowed up by the other or the overall low end just becomes too messy due to phase interference. Well, if you were to put a compressor with a sidechain feature onto the bass track and feed your kick drum into that compressor’s sidechain input, then essentially every time the kick drum kicks you can set the bass track compressor to duck the bass out of the way (compress it by a few dB), allowing the kick drum through without phase interference. This approach is commonly referred to as bass ducking and it’s a popular method of production in modern Dance and Hip Hop music.

Here’s an example of the bass ducking technique being used by a modern House producer. Notice at 00:31 how every time the bass and kick line up in rhythm that the bass note is “ducked” out the way.

http://www.youtube.com/watch?v=O2jj3YbgX_w&feature=related

SIDECHAIN COMPRESSION AS AN EFFECT

Another similar approach to sidechain compression widely used in House music is what is popularly referred to as the “push and pull” effect. Essentially, this is the same technique as bass ducking, only the kick drum is now being used to duck out various other elements in the mix, such as pads, synths, vocals, etc. This creates a pumping effect that is often used side by side with bass ducking in modern dance tracks.

Here is an excellent example of sidechain compression technique being used on specific elements to create a push and pull effect. It’s most obvious use is right at 2:00:

http://www.youtube.com/watch?v=zK1mLIeXwsQ

HOW TO USE SIDECHAIN COMPRESSION IN YOUR DAW

Now that you know how sidechain compression works and some of its applications, we’ve provided links to video instructions on how to achieve sidechain compression within your personal digital audio workstation (DAW). Keep in mind however, that not every DAW may support side chaining and many DAWs will not come stocked with a compressor plugin that includes an added sidechain feature; so you may be required to purchase one. In the unlikely case that your DAW does not support side chaining there are a few third party compressor plugins that offer solutions to that, such as dB Audioware’s sidechain compressor:

http://www.db-audioware.com/sidechain-compressor.html

VIDEO LINKS

Sidechain compression in Propellerhead’s Reason:

http://www.youtube.com/watch?v=q4vQN2pRhpg&feature=related

Sidechain compression in Ableton Live:

http://www.youtube.com/watch?v=nQnOQWLURFU

Sidechain compression in Sonar:

http://www.youtube.com/watch?v=oFTUJP-qs1Q

Sidechain compression in Protools:

http://www.youtube.com/watch?v=WY14bjCAX-M

Sidechain compression in Logic:

http://www.youtube.com/watch?v=7aZVV9-fxgI

Sidechain compression in Fruity Loops/ FL Studio:

http://www.youtube.com/watch?v=ud8FsMvdO1E

Sidechain compression in Cubase/Nuendo:

http://www.youtube.com/watch?v=CKQRghpA3kc

Sidechain compression in Reaper:

http://www.youtube.com/watch?v=xkl2v-HO0nQ

We’re facing facts:  Facebook is popular.  When it is also considered that there are lots of professional mastering engineers with profiles there, things become obvious.  There should be a Mastering Engineering Facebook page.

In two days, a nice cross section of the worlds top mastering engineers are now members.   What could be more convenient than news about our industry in a Facebook news feed?   Most of us already check it too many times a day anyway –  might as well get industry news there as well.

We created both a page and a group.  The group is for those who want the news feed update.  The page is for people who just want to check the page, but without the update.  We will distill the information from the group down to the page every once in a while.

The Group:  http://www.facebook.com/#!/group.php?gid=104473796251538&ref=mf

The Page:  http://www.facebook.com/#!/pages/Audio-CD-Mastering-Engineering/114188495262831?ref=mf

Enjoy!

This post is regularly updated and expanding.  It contains links to statistics and other information to help in researching the international music market.

ECONOMIC REPORTS

Global Economic Report – http://www.cisac.org/CisacPortal/consulterDocument.do?id=17829#
Shipment and Purchasing Trends of Recorded Music- http://www.riaa.com/keystatistics.php
NARM Research Reports – http://www.narm.com/services/research/research-reports/
Wikipedia “Music Industry” – http://en.wikipedia.org/wiki/Music_industry
Harvard Business School Music Market Statistics -  http://www.library.hbs.edu/guides/music.html

CHARTS

Weekly Popularity  – http://www.billboard.com/charts#/charts

FORECASTING

Consultant Services for Forecasting – http://en-us.nielsen.com/rankings/insights/rankings/music

MARKET COMMENTARY

Facing The Music – http://nymag.com/nymetro/news/media/columns/medialife/6099/
George Massenburg – http://www.massenburg.com/c/gml/essay.html?open=

RESOURCES

Comprehensive List of Music Industry Resources – http://www.marshall.usc.edu/library/industries/music.htm

INTRODUCTION

This article is about hypercompression, or the loudness war.

If recordings from two different albums are compared, there is usually a noticeable difference in loudness.  The difference is especially prominent when the recordings are from different decades.  There are several YouTube videos highlighting the phenomenon that can be found by searching for “Loudness War”. The one below is especially good, and is now almost a classic.

WHATS WRONG WITH HYPER-COMPRESSION?

It’s not just a matter of loudness, today’s recordings are actually more compressed so they can be made louder.  With hypercompression , the compression is so high that it reduces the sound quality (show hypercompressed wave).

A recording created in a top tier million dollar studio by an extremely experienced engineer can afford to lose a little sound quality and still sound great.  If you have a home or project studio recording, you may not be able to afford even a slight loss of sound quality.

Hypercompression for most independent artists isn’t going to make your album sound like the major labels, it’s going to take you further away.  We recommend competing for the highest sound quality, not for loudness.  After all, everyone has a volume knob, and can adjust the volume to their own tastes.  Most listeners never notice where their volume level is set anyway, but people can think much less of an artist if the sound quality doesn’t meet their tastes.

This is true even in genres like rock and metal, where listeners may say that they like a more raw sound.  While this is true in a sense, most of the fans don’t actually prefer lower sound quality.  Instead, they want less processing and editing so they can feel more directly connected with the artist.

INTRODUCTION

This will be a very short post about two acoustic options for home and project studios.  There is a ton of information out there on the web about acoustics, so we just wanted to give a few short tips.

MOVING BLANKETS

There is probably no better solution for solving acoustic absorption needs than moving blankets.  You can even find moving blankets in some top-notch facilities being used as basic sound absorption, so you shouldn’t feel bad about choosing them over expensive studio foam.  Moving blankets are extremely inexpensive, they look great, and can absorb high and mid-range frequencies.  Grommits, which can be obtained from Home Depot can be added to the blankets to make them easy and cheap to install.

Moving Blankets – http://www.moverssupplies.com/

BASS TRAPS

There are some acoustic engineers who say that foam is not very good as bass trapping material.  Instead, they recommend fiberglass.  The good news is that fiberglass will perform better and probably cost much less than the acoustic foam products that are out there.  Contact your local dealer of Owens and Corning and ask them what their price is for Owens and Corning 703.  This material is surprisingly inexpensive.  Covers can be made for the fiberglass panels out of porus cloth.    Owens and Corning can be found in the most professional studios, and is more effective than foam.  There are tutorials out on the Internet about how to make frames and other things to use with your traps.  These panels should line all the corners of the room. For extremely critical situations, you may want to stack two of the panels on top of each other.

Find the Owens and Corning dealership close to you – http://www.owenscorning.com/around/locator/StoreInfo.asp?source=bldgmaterials_findstore

FIRST REFLECTION POINTS

The first reflection points in a control room should usually be treated with absorption.  Finding and treating these points is an important part of acoustic treatment.  To find these points, have a friend hold a mirror up around the walls, sit in the listening position, and mark the position on the wall where you can see the speakers in the mirror.  These areas should usually be treated with absorption.

Alright, we told you this video would be short and sweet.    For more acoustic engineering ideas, contact Stonebridge Mastering for acoustic consulting.

INTRODUCTION

Promoting music is all about reaching the largest crowds of people who enjoy your style or genre.  This blog post is about how to reach them online.

QUICK NOTE:  For offline sales, you may want to start by selling your CD in BestBuy stores:  http://www.regionalcd.net/

THE ALL-TIME NUMBER ONE WAY

It may sound obvious, but the most effective way to promote music is to create amazing music.  For example, many producers say the main goal is to make music that we all can identify and connect with.  Many successful producers also say that the most important aspect of making music that stands the test of time is to create interesting and developed melodies.  Some focus on tonalities, and have techniques like playing instruments very softly, to emphasize tone instead of attack.  Discovering methods that help you create amazing music is the most essential part of promoting your music.

THE NEXT BEST WAY

Current research suggests that online editorials are the best way to get your music to spread.  You may try following leading writers and bloggers on Twitter and sending them your press kit.  We have a list of popular sites on our website’s blog post that corresponds to this video, and a page that you can use as a homepage that links you to these sites.

FORCE OF NATURE:  WORD OF MOUTH

Word of mouth is a powerful tool for spreading your music.  The catch is that in today’s market, only amazing content survives.  Your recordings, live shows, social media postings and online availability send out powerful waves of influence and can jump start word of mouth.  To amp up your word of mouth, you must make your music easy to access.  The easier it is to link to, share, and talk about your music, the more it will thrive.  For example, Facebook users commonly link to YouTube videos, so you’ll probably want your single to be available on YouTube.

PRINT JOURNALISTS

Print journalists should be next on your list.  You can assemble a press kit and send it to them and hope for the best.  You can also try following your favorite print journalists on Twitter.

MUSIC SITES / ONLINE RADIO

Next we come to online sites such as Pandora, Last.fm and other sites that stream music.  These sites are a great way to get your music in front of new audiences.  If you do a little exploring on either site, you can find instructions on how to get your music posted.  This is a very effective way to connect with new listeners.

INDEPENDENT DISTRIBUTION

CD Baby, Tunecore and SoundExchange can help you submit your music to many different directories and digital music stores that are out there.  They each have their advantages so check out their websites to find out which is right for you.

A HOME PAGE TO SHOW THE MUSIC LANDSCAPE

We have a page on our website that lists a ton of music sites.  Online radio sites, music aggregators, sites that help musicians spread their music, music blogs, music stores…   We suggest making this webpage your home page while you are promoting your music, so you can look out over the musical landscape.  The web page is at http://www.stonebridgemastering.com/musichome.html.  There should be a link in this video’s description.

ONLINE RADIO / MUSIC AGGREGATORS

Pandora – http://www.pandora.com/
Last.fm – http://www.last.fm/
Stumbleaudio – http://www.stumbleaudio.com/
The Hype Machine – http://hypem.com/
Musicovery – http://musicovery.com/
Skreemr – http://skreemr.com/
iLike – http://www.ilike.com/
TheSixtyOne – http://www.thesixtyone.com/
Jamendo – www.jamendo.com/
KCRW top tune – http://www.kcrw.com/
Indiefeed – http://indiefeed.com/
Musicmesh – http://musicmesh.net/
Songza.com -  http://www.songza.fm/
Just Hear It – http://www.justhearit.com/
JamWee – http://www.jamwee.com/
Jango – http://www.jango.com/
Grooveshark – http://listen.grooveshark.com/
Grokmusic – http://www.grokmusic.com/

SITES THAT HELP MUSICIANS SPREAD THEIR MUSIC

CDBaby – http://www.cdbaby.com/
Tunecore – http://www.tunecore.com/
SoundExchange – http://www.soundexchange.com/
Taxi – http://www.taxi.com/
Radio Direct X – http://radiodirectx.com/index.php/
GarageBand – http://www.garageband.com/
Get Signed – http://www.getsigned.com/
Artistopia – http://www.artistopia.com/
IndieGroup – http://www.indiegroup.com/
101 Distribution – http://www.101distribution.com/

A FEW TOP MUSIC BLOGS

Stereo Gum – http://stereogum.com/
Pitchfork – http://pitchfork.com/
Gramophone – http://www.gramophone.co.uk/
Soul Sides – http://www.soul-sides.com/
Rock Insider – http://www.rockinsider.com/
The Fader – http://www.thefader.com/category/music/

ONLINE MUSIC STORES

Rhapsody – http://www.rhapsody.com/
Napster – http://www.napster.com/
Amazon – http://www.amazon.com/
iTunes – http://www.itunes.com/
MP3.com – http://www.mp3.com/
eMusic – http://www.emusic.com/

CREATIVE SOCIETIES

ASCAP – http://www.ascap.com/
BMI – http://www.bmi.com/

ARTIST DIRECTORIES

Ultimate Band List – http://www.ubl.com/index.html/
AllMusic – http://www.allmusic.com/