Music is a sonic medium. As obvious as this is it can be easy to forget when faced with the rich visual environment of modern music creation software. This is, mostly, a good thing but as a card-carrying grumbler I feel compelled to spin a cautionary tale of this land of milk and honey. Don’t let your eyes rule your ears.
Visual feedback is great. It has saved my fat fundament on many occasions knowing that the vocal track is coloured blue and the guitar green and being able to see where the bridge starts from looking at the waveform when I’ve been too lazy to set a marker. The problem comes when you stop listening because you are drunk on visual feedback.
Back in the mythical olden days, when music grew on trees and fell into your lap if you had a nap in the park, this was an issue too. We had VU meters or PPMs in broadcast oriented studios. Even just a twitching needle could be more hypnotic than Dr Mesmer’s glass harmonica. I confess I have spent many hours looking at twitching needles, flashing LEDs and even rotating tape spools when I should have been listening more carefully.
Too much eye-candy
Nowadays there is much more to look at. The very features that aid inputting audio merrily scroll by on playback, virtual faders dance up and down, SMPTE counters tick by and software metering has brought class-A visual distraction to the desktop as well as the dubbing theatre. How can you not stare?
On playback there are two big problems with this. First, it’s just distracting and if you’re feeling a bit tired or a bit bored with the tenth time through the bass and drums checking for timing issues (can those guys actually count?) your mind can wander. Mine does anyway. Secondly, the visual feedback can influence what you think you heard or might hear. If the meter says it’s fine, it must be fine… Right?
The trick is mono-tasking. If you’re listening to the playback then just listen to the playback. Try to use your ears only. If you hear a problem, some clipping or a drop-out, go back and use the meter to check it. You can always bang in a marker to flag up the spot. All those wonderfully beguiling visual tools will be waiting for you whenever you need them.
Those tools can mislead your ears too. Flying faders are big offenders here. If you’re watching the desk, or virtual desk, dance along with the track seeing a fader dip really low can kid your ears that channel is to quiet. It must be too quiet, it’s so low. The big point here is it doesn’t matter what anything looks like it only matters how it sounds. Continue reading The perils of modern music making, part 2: Blinded by the light