Volume
15 Number 2
February 2002
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Don’t blame Tom and Ed. Blame an American public that preferred their hip hop chrome-polished, their boy bands neatly coifed, and their arena-sized block rockin’ beats from Limp Bizkit, not The Chemical Brothers (which reminds me of something my father once told me, “Son, the mosh pit will always trump the dancefloor.” How right he was.) But aaah, when Dig Your Own Hole burrowed itself into modern rock radio playlists back in 1997, that Golden Age of Electronica, something was happening here. Suddenly, pop music, however briefly, seemed exciting, dangerous even, and as a result everyone—including remixers, producers, DJs, and yes, even…musicians—wanted that roughed-up, grungy, processed sound of The Chemical Brothers. |
Master Class:
|
This article, the last in a series about MIDI, will deal with processing and mastering your project. But first let’s learn some vocabulary: “Processing” refers to the procedure of adding qualities to the audio that include depth, position, volume and texture. “Mastering” is the final step in production, the point when you finalize your project and get it on DAT or CD and out the door. In the last article (Oct., ’01), I explained the differences between MIDI tracks and audio tracks. This time around, to avoid confusion, I will refer to both MIDI and audio sections as “tracks.” I am doing this because the outcome of processing these tracks is the same. |
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