28 Mar

Recording Studio: Music of the Phillipines

Recording Studio: Although, geographically, the Philippines belongs to the East, its recording studio music has been heavily influenced by the West owing to 333 years of Spanish rule and 45 years of American domination. Recording studio Music in the highland and lowland hamlets where indigenous culture continues to thrive has strong Asian elements. Spanish and American influences are highly evident in the music of the urban areas. In discussing Philippine music, three main divisions are apparent: (1) an old Asian influenced music referred to as the indigenous; (2) a religious and secular music influenced by Spanish and European forms; and (3) an American/European inspired classical, semi-classical, and popular music.

Recording Studio: The Indigenous Traditions

The indigenous traditions are practiced by about 10% of the population. Eight percent of this minority comprises some 50 language groups of people who live in the mountains of northern Luzon and the islands of Mindanao, Sulu, Palawan, and Mindoro in southern and western Philippines. The remaining 2% of these groups are the Muslims from Mindanao and Sulu.

While there is no written information about the music in the Philippines before the arrival of Magellan in 1521, subsequent reports made by friars, civil servants and travelers include descriptions of instrumental and vocal music–sometimes mentioned in passing, other times in greater detail. From these documents, various kinds of interments made of bronze, bamboo, or wood are cited. These include gongs of various kinds of size and shapes, drums, flutes of different types, zithers, lutes, clappers, and buzzers. Recording Studio vocal genres include epics relating genealogies and exploits of heroes and gods; work songs related to planting, harvesting, fishing; ritual songs to drive away evil spirits or to invoke blessings from the good spirits; songs to celebrate festive occasions particularly marriage, birth, victory at war, or the settling of tribal disputes; mourning songs for the dead; courting songs; and children’s game songs. It is this type of music that is still practiced today by the indigenous groups.

Recording Studio: The Spanish-European Influenced Traditions

With the coming of the Spaniards the Filipino’s music underwent a transformation with the influx of western influences, particularly the Spanish-European culture prevalent during the 17th to the 19th centuries. The Hispanization during the succeeding three centuries after 1521 was tied up with religious conversion. It effected a change in the people’s musical thinking and what emerged was a hybrid expression tinged with Hispanic flavor. It produced a religious music connected to and outside the Catholic liturgy and a European-inspired secular recording studio music adapted by the Filipinos and reflected in their folk songs and instrumental music.

Recording Studio: The American Influenced Traditions

The American regime lasted from 1898 to 1946 during which time Philippine music underwent another process of transformation.

In the newly established public school system, recording studio music was included in the curriculum at the elementary and later at the high school levels. Music conservatories and colleges were established at the tertiary level. Graduates from these institutions included the first generation of Filipino composers whose works were written in western idioms and forms. Their works and those of the succeeding generations of Filipino composers represent the classical art music tradition which continues to flourish today.

Side by side with this classical art recording studio music tradition was a lighter type of music. This semi-classical repertoire includes stylized folk songs, theater music, and instrumental music. The sarswela tradition produced a large body of music consisting of songs patterned after opera arias of the day as well as short instrumental overtures and interludes.

The strong band tradition in the Philippines, which began during the previous Spanish period and which continues to this day, produced outstanding musicians, composers and performers. Another popular instrumental ensemble was the rondalla which superceded an earlier type of ensemble called the cumparsa. The latter was an adaptation of similar instrumental groups, the murza of Mexico and the estudiantina of Spain.

American lifestyle and pop culture gave rise to music created by Filipinos using western pop forms. Referred to as Pinoy pop it includes a wide range of forms: folk songs, dance tunes, ballads, Broadway type songs, rock’ n’ roll, disco, jazz, and rap.

These three main streams of Philippine music– indigenous, Spanish influenced religious and secular music, American/European influenced classical, semi-classical, and popular music comprise what we refer to today as Philippine music.

Recording Studio

26 Mar

Sydney Recording Studio: Noise Cancelling Technology

Sydney Recording StudioSydney Recording Studio: One man’s noise is another man’s music, but no matter what your taste, ambient noise is the enemy. Luckily, there’s a piece of audio equipment designed especially to maximize your listening experience, keeping ambient noise out without sacrificing your music’s sound quality. That piece of equipment is the headphone, and in this article, we’re going to look at how headphones, especially noise-canceling headphones, work.

Sydney Recording Studio: Amar Bose

On a 1978 flight to Europe, Amar Bose, the founder of Bose Corporation, put on a pair of airline-supplied headphones, only to find that the roar of the jet engines prevented him from enjoying the audio. He started making calculations right there on the plane to see if it was possible to use the headphones themselves as a noise-reducing agent. Bose introduced the first noise-canceling headphones a decade later.

Sydney Recording Studio: How Sound Waves Work

In order to understand Sydney Recording Studio headphones, you must first understand sound waves. You can check out How Speakers Work for some information, but we’re also going to provide a brief introduction here.

When most people think of waves, they think of water waves, like you’d seen in an ocean or lake. A shallow water wave is an example of a transverse wave, which causes a disturbance in a medium perpendicular to the direction of the advancing wave. You can see this relationship in the illustration below. The illustration also shows how waves form crests and troughs. The distance between any two crests (or any two troughs) is the wavelength, while the height of a crest (or the depth of a trough) is the amplitude. Frequency refers to the number of crests or troughs that pass a fixed point per second.

Sydney Recording Studio: Sound waves have many of the same characteristics as water waves, but they are longitudinal waves, created by a mechanical vibration in a medium that produces a series of compressions and rarefactions in a medium. When you pluck a guitar string, for instance, it begins to vibrate. The vibrating string first pushes against air molecules (the medium), then pulls away. This results in an area where all of the air molecules are pressed together and, right beside it, an area where air molecules are spread far apart. As these compressions and rarefactions move from one point to another, they form a longitudinal wave, with the disturbance in the medium moving parallel to the direction of the wave itself.

Sydney Recording Studio Longitudinal waves have the same basic characteristics as transverse waves. A compression corresponds to a crest, and a rarefaction corresponds to a trough. The distance between two compressions, then, is the wavelength, while the amount the medium compressed is the amplitude. Frequency refers to the number of compressions that pass a fixed point per second.

Sydney Recording Studio: Amplitude

For sound waves, amplitude determines the intensity, or loudness, of the sound. Frequency determines the pitch, with higher frequencies producing higher pitch notes and lower frequencies producing lower pitch notes. The brain is able to interpret these characteristics of sound, but before that can happen, the sound waves must be detected by a sense organ. That, of course, is the ear’s job.


25 Mar

Recording Studio: Venezuelan Music

Recording Studio: Venezuela is known for its own salsa, merengue and other imported styles, as well as the distinct joropo and llanero music. Salsa, while originally imported, has produced the global superstar, Oscar D’León.

The recording studio music varies from a region to another. The joropo is a form of traditional Venezuelan music. It is performed in the whole country and it possesses its own attributes according to the region: joropo llanero, power station and oriental. The meringue is found in Caracas, Lara and Cumaná. The central fulía is in Miranda, Federal District and Aragua; the oriental fulía in Anzoátegui, Monagas, New Esparta and Sucre. The polka is in Lara, Barinas, Sucre, Trujillo, Táchira, Hurry and Bolivar. The recording studio bambuco is in Táchira, Merida, Trujillo, Lara, Zulia, Federal District and Vargas. The furro bagpipe and tambora are in the Zulia. The calipso is in Bolivar. And the tamunangue is in Lara.

Recording Studio: Joropa

The national dance is the joropo. This genre from the plains is perhaps the Venezuelan music known best outside the country is the joropo. A joropo can be an event at which the music is performed, the music itself, or the dance that accompanies it. Variants of it include corrido, galerón, golpe, and pasaje. There is also the revuelta, which denotes an extended version of a pasaje, although the terms are sometimes used to refer to the same piece; and hornada, which refers to a medley of revueltas or pasajes. The joropo is fast-paced and permits polyrhythmic improvisation on the part of the performers. The leading instrument is the arpa llanera, or plains harp, accompanied by a cuatro and maracas. The singer, who carries the melody in tandem with the harp, does not play an instrument.

On the central coast, the joropo ensemble is smaller, reduced to a harp or bandola and a singer who plays maracas. The music, incorporating some of the African tradition of the area, differs from the plains style in that verses are shorter and more repetitive with more improvisation. In the state of Lara, the golpe –a different kind of joropo— is performed with an instrumentation that includes a cinco and a tambora; or a violin or guitar and a large drum.

Recording Studio: Meringue

Recording Studio Merengue is originally from the Dominican Republic, and Venezuela heartily supports local Latin pop acts like Billo’s Caracas Boys, Porfi Jiménez Orchestra and Los Melódicos. The Venezuelan merengue is different from its more famous counterpart, The Venezuelan calypso, which reflects the closeness of Trinidad and Tobago and, beyond them, the other Caribbean islands.

recording studio venezuelan music

22 Mar

Recording Studio: Music of Morocco

Recording studio GimbriThe recording studio gimbri (also known as the sintir or hajhuj), is a plucked lute with three strings. The strings are tuned with a tuning noose, which can be raised and lowered to change the pitch. A metal piece, with rings, is attached to the neck of the gimbri, which produces a jingling sound audible during play.

The gimbri tone is bass. The gimbri used in Chaabi music was borrowed from the Gnawa tradition.

Recording Studio: Oud

The oud is a five-stringed plucked instrument used in music throughout the Middle East. The oud used in Chaabi music is borrowed from Andalusian music in Morocco. The western cousin of the oud is the lute.

Recording Studio: Karmenjah

The modern kamenjah is a violin played on the knee, as shown in the picture. The violin first appeared in Andalusian music in the 1850’s, and is now a common member of Chaabi ensembles.

Recording Studio: Nai

The nai (also nay, ney) is a rim-blown flute found in some Chaabi ensembles. The instrument is old, dating back at least five mellenia in the Arab world. It can be made from reed, metal, or wood.

Recording Studio: Lira

The lira is a traditional Moroccan flute made out of bamboo. It can also be used in Gnawa ensembles.

Recording Studio: Bendir

The bendir is a frame drum played with the fingers, and it usually has a snare stretched across its back (as shown in the photograph), which produces a buzzing sound when the instrument is played. It is commonly used in Moroccan Berber music. It is also found across North Africa, ancient Egypt, and Mesopotamia.

Recording Studio: Darbouka

The darbouka, also called the doumbek, is a single-head drum. It is played held under the arm, or held sideways on the lap. Variations of this drum are found across North Africa and the Middle East.

Recording Studio: Qraqeb

The qraqeb (also known as karkabas) is a set of metallic castanets held in the hand. Originally made out of iron, they are now normally made out of a steel alloy. They produce a sound similar to the beat of horses’ hooves. The qraqeb is commonly used in Gnawa music.


Audiobook: Winter Traffic by Stephen Greenall

This past month, Crash Symphony Productions have been busy adapting Winter Traffic, the debut novel by Stephen Greenall, winner of the 2014 NSW Writers Centre Varuna Fellowship, and published by Text Publishing, as an audiobook. The novel is a sprawling, epic tale of corruption, murder and the nature of justice. Deeply poetic and lyrical, it is also brutal, dark and at times very funny. It is set in harbour-side Sydney around the year of 1993. The central character of the book is Rawson, a hero-cop who’s since fallen from grace: a giant in frame and character.

The particular challenges we faced in adapting this book into the format of an audiobook were its non-linear form and unconventional writing style. We had to make sure to find a narrator who had a sense of the poetic nature of the writing, and who could bring it to life with conviction and confidence. We also had to find someone who was confident in French and Latin and could pronounce the abundant references to Greek Mythology.

The book is currently available as an ebook from Amazon KindleApple iBooksBooktopiaeBooks.comGoogle, and Kobo.

Blurb for Audiobook from Text Publishing

Sutton doesn’t like the three a.m. phone calls. He should change his number—that way Rawson wouldn’t have it. Sutton’s best mate is a hero cop, but strife flows through him like a highway.

He was supposed to die young. Maybe Millar will do it for him: she’s the hot young detective from Internal who still thinks intellect and integrity will take her places. If she doesn’t watch her step, she might find out what they are…

This is the story of good dogs living in a bad-news town—a fragrant harbour city where the judges are dead, the vendettas lively and every glittering fortune hides a sin.

An epic novel of corruption, murder and the true nature of justice, Winter Traffic announces the arrival of a compelling new voice in literary crime.


Winter Traffic by Stephen Greenall Audiobook


Voice over Sydney: Tone and Pitch

Whether you sing just for fun or you dream of performing professionally or being a voice over sydney artist, you can count on frequently encountering three terms: pitch, note, and tone. These three terms are often incorrectly used interchangeably, but understanding their true relationship to one another may make your journey through the world of singing less confusing.

Voice over Sydney: Pitch

Voice over Sydney: Pitch is the high or low frequency of a sound. When you sing, you create pitch because your vocal cords vibrate at a certain speed. As an example, a foghorn emits a low frequency or pitch, whereas the sound your smoke detector emits when you press the test button is a high frequency or pitch.

In singing, when your vocal cords vibrate at a faster speed, you sing a higher pitch than when they vibrate more slowly. The A just above Middle C vibrates at 440 cycles per second — your vocal cords open and close 440 times per second.

Notes are musical symbols that indicate the location of a pitch.

Voice over Sydney: Tone

Tone is the color or timbre of pitch. Tone can be described by many different words, including warm, dark, brilliant, ringing, rich, lush, shrill, and strident. An example of a singer with a warm tone is Karen Carpenter; someone with a strident tone is Eddie Murphy playing the role of the Donkey in the Shrek movies.

Based on these definitions, it makes more sense to say that someone is pitch deaf rather than tone deaf. You may also hear singers say that they’re afraid to sing high notes when they should say that they’re afraid to sing high pitches. Although knowing the exact definition of these terms is good, noone will correct you if you mix up the words tone and pitch.

Voice over Sydney pitch

19 Mar

Recording Studio: Kwela Music

Recording Studio Kwela is a jazzy instrumental style of music that was born on the streets of Johannesburg, in the black areas of Soweto and Sophiatown in the 1940s and 1950s. It remained popular through the 1960s until mbaquanga became more popular. The recording studio music is in general richly textured, uptempo, danceable, happy, light and distinctively African. The style was also sometimes called pata-pata. Predecessor styles are primarily marabi, but also tsaba-tsaba, and traditional Southern African music.

Recording Studio: Kwela – Penny Whistle

Its signature instrument is the penny whistle, “the simplest wind instrument invented” and no doubt one of the cheapest. A typical band line-up would be three penny whistles, accompanied by guitar, bass, and drums. The bass or even the guitar may be homemade, improvised from scraps of wood and wire. The single-string bass is an urban improvisation on the theme of traditional African plucked instruments.

Kwela was inspired by contemporary American jazz forms of the Swing period in Jazz history. It soon assimilated, however, African recording studio musical forms of various southern African regions, such as sinjonjo, vula matambo, saba saba, resulting in a novel and original blend of musical traits.

Special techniques were developed on musical instruments, for example an unusual oblique embouchure for playing the metal recorder-type flute, which marks the kwela-sound. Specific construction, tension and playing techniques also characterize the one-string bass which displays remote historical connections with the African ground-bow, although it was inspired by the bass in 1950s skiffle groups. Guitar playing techniques also deviate considerably from standard “classical” guitar playing, even in the number of strings.

Groups of ragamuffin Kwela musicians would travel from the townships to the city centers and play on the street corners. Most of these musicians were young teenagers and even some in their pre-teens. Recording Studio Kwela music soon became a national South African genre and the music industry quickly cashed in on the Kwela revolution. The music died out in the late ’60’s as a new form of amplified township music called Mbaqanga took over.

The derivation of the word is the verb kwela — to to climb up”, “to rise”, “mount”, get into the swing of things; to get onto the bus or train in (Xhosa, Zulu and related Bantu languages)” Kwela- Kwela was slang for a police van at the time. Alternate spellings are khwela, quela, qwela, but these are rare.

recording studio kwela