In the previous article you learned that Lydian tetrachords were absent from the modes of the melodic minor scale. But since we really like the oddest combinations, I suggest we wrap up this brief re…
In this fourth part you'll learn how to fine-tune the cue mix for the singer by improving the ordinary in no time.
Last time we started exploring the tetrachords of the altered modes in general and the synthetic scales created from the tetrachords of the melodic minor scale in particular. You saw that apart from …
After the brief detour last week to discuss a less conventional way to handle the cue mix, today we'll go back to the more traditional way, that is the use of a good ol' pair of headphones. We'll dis…
After having reviewed in our last article the synthetic scales resulting from the taking apart of natural modes and the redistribution of their tetrachords, let's see what you get when you do the sam…
Last week I mentioned the preposterous idea of using a speaker instead of headphones to send the cue mix to the singer. This obviously entails the mic picking up a lot of bleed, however as I implied …
In the previous article I introduced synthetic scales, which made us dig up an element of scales and modes which we had already touched upon before: tetrachords. So before we move on I think it's imp…
Today's article could've been easily included in the previous section because we are once again dealing with the comfort of the singer. However, I decided to make it part of a new, much larger sectio…
Last time I told you we would discover a couple of somewhat particular scales: the harmonic major and double harmonic major scales. But they belong to a larger group called synthetic scales, which I …
Third and final installment of the chapter dedicated to the comfort of the singer during vocal recordings. Today, for the first time, we will discuss the gear used. However, before looking at it from…
Today we'll continue studying the modes of the harmonic minor scale we began last week. I invite you to discover with me...
