To help celebrate this especially festive time of year, we held a holiday giveaway featuring Santa’s #ATWishList.
We racked our brains trying to come up with the A-T products all of you would want to win. But then we thought, Why not just let you choose?! So, for a week we crowdsourced your wishes to help us complete Santa’s final #ATWishList. At the end of the week, one lucky winner was able to pick the gift from the list they wanted Santa to send them.
With so many great suggestions it was hard to narrow down the list, but ultimately we ended up with the best #ATWishList ever!
This is the 14th installment in guest blogger Frank Klepacki’s series on music production. Today Frank talks about what the future holds for music artists. If you missed Frank’s previous post, you can read it here.
There is quite a bit of discussion out there in terms of where the music business is at, and where it’s headed. The old model crumbled under the digital age, for failure to embrace it in the beginning. Digital music download sales now compete with subscription-based streaming services. The CD used to cost an average of $15, and you had to buy the whole album even if you only liked a couple of songs, unless there was a single available. Digital sales gave you the option to download and purchase only your favorite songs if you wish, and now streaming services use monthly subscription fees to have access to all music content on the service. The problems are that compensation to the artists continually went down with each of these progressions, overall sales are still declining, streaming services haven’t been profitable yet, and piracy is still an issue. With music seeming to be devalued by the current generation in this way, the only way a newer artist can do anything financially substantial with their art is to seek other non-traditional avenues.
At day two of our Ask Me Anything Livestream Events at AES 2014, we sat down with audio legends Dave Pensado and Herb Trawick of the massively popular Pensado’s Place.
Dave and Herb talk all things music and audio in their weekly show, which is streamed on their website, www.pensadosplace.tv. The show includes interviews with top music industry artists, engineers, producers, mixers, and record execs, as well as in-depth tutorials in engineering and mixing.
Frank Klepacki Blog Series: Sound Effects For Video Games, Part 2
This is the 13th installment in guest blogger Frank Klepacki’s series on music production. Today Frank talks about sound effects for video games. If you missed Frank’s previous post, you can read it here.
Establishing the games “mixing board” in my experience, starts with what we refer to as “Presets.” Presets are basically a defined set of parameters that contain all the basic things you need to adjust for a sound effect, including volume, pitch, distance settings, panning, filtering levels, priority, and anything else of importance. You could compare this to the idea of setting up a “Bus” for sub-mixing.
Have you ever bought a pair of in-ear headphones and quickly regretted your purchase because the things kept falling out of your ears?
That all-too-common problem is why we worked to develop an adjustable fit that works for everyone. And you can find our solution on the SonicFuel™ ATH-CKX5iS in-ear headphones. These babies not only deliver the great, natural-sounding audio you’d expect from Audio-Technica, plus an easy-to-use in-line smartphone controller, but they also come with interchangeable eartips and C-tips that guarantee a custom, comfortable fit to keep the tunes flowing even during active use.
This is the 12th installment in guest blogger Frank Klepacki’s series on music production. Today Frank talks about sound effects for video games. If you missed Frank’s previous post, you can read it here.
Sound effects in video games have a different angle and approach than working in linear media.
With TV and film, you are working with all the respective tracks in a mix, placing it in surround, and ensuring that the desired experience is heard appropriately the same way every time. You have full control over that, and you remain in the comfort zone of your DAW.
A-T’s entry into the studio microphones marketplace ushered in what we like to call our “golden era,” which took place from 1988-1998.
The microphones of the “golden era” helped to harvest some of our most important endorsements from major record producers and engineers.
This is the 11th installment in guest blogger Frank Klepacki’s series on music production. Today Frank talks about how to break through fear and find your voice. If you missed Frank’s previous post on electronic dance music, you can read it here.
I figured in order to tap into my love of funk and soul music, I needed to start by imitating funk band singers I loved, such as Sly Stone, Al Green, Larry Graham, Prince, & D’Angleo. I spent quite a bit of time trying to imitate them and writing songs where I was trying to sound like them. I recorded an albums worth of stuff and was excited about the idea of releasing it – but something held me back. I couldn’t put my finger on it but something just didn’t feel right about releasing it. After taking some time to think on it and come back to it, I discovered that it just didn’t feel like it was my “own” voice. It felt like an impersonation. Which it was. Ultimately it took a bit of “soul” searching (pun intended) – but I realized through that experience, that impersonation was not my actual goal.
Audio-Technica entered the microphone industry in 1978 with the 800 Series, a line of vocal mics for musicians that grew to be quite successful. But in the quickly evolving, competitive audio world, it was only a matter of time before we expanded our reach into the arena of Installed Sound as well.
This is the tenth installment in guest blogger Frank Klepacki’s series on music production. Today Frank talks about how to break through fear and find your voice. If you missed Frank’s previous post on electronic dance music, you can read it here.
Early in my career, I realized even though I can compose and produce music, I didn’t sing, and was afraid to try. Being in bands and recording in the studio, if something was ever vocally off, my ear would catch it, but I wouldn’t be able to sing it to offer another suggestion or correction. I needed to find to way to break this fear.