Beats By Girlz is a non-traditional, creative and educational music technology curriculum and initiative designed by Associate Professor at Berklee College of Music, Erin Barra.
Built in response to a workshop piloted in 2011 and initially developed at The Lower Eastside Girls Club in NYC, Beats By Girlz is designed to empower young women in music technology by providing them with the guidance, access, tools and role-support to develop their interest (and ultimately their ability to pursue career opportunities) in music production, composition, engineering, etc.
Beats by Girlz & Mmmmaven present an open house to learn more about the music program this January for girls, non-gender binary, and/or trans youth ages 8-13.
You’ll have an opportunity to play around with equipment and ask instructors questions. We’ll also be raising money for scholarships, featuring prizes from Izotope, Moog Music, Focusrite, Roli and more!
Introducing the newest member of the Mmmmaven team: Producer and DJ Justin Maribito!
Justin Maribito is an electronic music producer, search singer, DJ and audio engineer from Boston. His passion for music stems from a young age, and he transferred this passion into music production in college after realizing how much can be made “in the box” with software. Justin was never a strong instrumentalist (though he plays guitar, bass and piano), so electronic music gave him the ability to express the rhythms and melodies that are always playing in his head.
A photo posted by Justin Maribito (@bito_boston) on
While he works in many different genres, Justin is mostly interested in creating hard-hitting and vocal-driven melodic dubstep that fuses essences of alternative and post-hardcore rock music.
He is always pushing to innovate with his sound which he calls NuBass.
He is relentless in finding new and unique ways to explore music, both in production, mixing/mastering, and exposure. Justin has released over 20 tracks to this date and is working to release a new, self-titled EP in early 2017.
Friends to some and enemies to others, FX have been widely discussed, advocated, and bashed since their inception.
Widely known to potentially enhance or degrade a performance, most veterans and DJs recommend that FX should be used carefully in moderation so as to avoid audio saturation.
Audio powerhouses Serato and iZotope have teamed up to deliver this wonderful tutorial on how to properly use FX when performing via Serato’s DJ Panel, touching up on important topics like Multi FX and chaining with a step-by-step visual example of how they can be effectively used.
The Haas Effect, also known as the Precedence Effect, is a psychoacoustic effect described in 1951 by Helmut Haas, who discovered that when a sound is followed by another sound with a short delay time in between them, the listener perceives a single sound. This is very useful when a producer is looking to create space within a mix that will fill the audio field.
Many producers are under the impression that achieving stereo width requires expensive, fancy plugins. However, creating space on a single sound can be done right in Ableton using one of Ableton’s standard audio effects called “Simple Delay”. That’s right, it’s thatsimple.
How To Do It
For this tutorial, I will be using Ableton 8, but this can easily be done in Ableton 9. Choose whatever sound you want to widen and drop in a Simple Delay from Ableton’s included Audio Effect rack onto your chain. The Haas Effect works best on airy sounds like pads, strings, and certain synths that can be layered to make big leads for drops. The default settings on the delay look like this.
Change the settings on the delay from “Sync” (in yellow) to “Time” (in orange) and turn the “Dry/Wet” knob all the way up to 100%. Change the left and right channels to a desired time; for this tutorial, I have set the left channel to 15.0ms and the right channel to 13.0ms. You can play around with the times to see what works for you, but try to stay within the 5-20ms range.
In order to give an example of the power of the Haas effect, I set up a simple pad from Nexus called “Deep Sea” with Ableton’s Utility plugin set to “Mono”. By default, the pad has stereo width, but putting the sound in mono will help demonstrate how spacious it becomes when the delay effect is applied. I also put iZotope Ozone’s Stereo Imager onto the chain to visually show the delay’s application. Right now, the delay is turned off (greyed out), and as you can see in the stereo imager, there is a single vertical line dead center in the middle of the semicircle, meaning that the sound is in mono.
However, as soon as I activate the delay, the imager shows greater width within the stereo field. No other controls have been tampered with. I simply turned the delay on, which in turn enhances the spaciousness of the pad.
This will help your tracks sound bigger and fuller within your mix, giving single instruments presence within a mix. However, be careful not to overdo it, as too much sound far away from the center of the audio field can reduce the track’s overall punch.
Want to see it in action? Kill Paris does a nice little tutorial on the Haas Effect so you can listen to the big difference it makes yourself.
Looking for further tips and tricks on music production in Ableton? Sign up for our classes today!