#both of their discographies are pretty small compared to other artists so that helps

[yuliangs]

i can make an onlyoneof heardle but I'll only do it if at least a few people would be interested

[idolizerp]

LOADING INFORMATION ON CHERRY BOMB!’S MAIN RAP IM NAHYUN...

IDOL DETAILS

STAGENAME: Nana CURRENT AGE: 25 DEBUT AGE: 18 TRAINEE SINCE AGE: 14 COMPANY: MSG SECONDARY SKILL: Lyric writing

IDOL PROFILE

NICKNAME(S): spring fairy, pd-nim (mostly because of her videos, since she’s the one producing and editing all the content that goes there, even though it still passes by MSG’s approval note), fanservice queen INSPIRATION: She always loved music and everything there was about it. She started learning how to play when she was young and once she was given the chance to become much like her own idols, she didn’t think twice before jumping into it. SPECIAL TALENTS:

Her fingers are very quick in the sense that she can type things fast (80WPM). She uses that skill mostly for gaming, but it proved to be handy once she started to edit her YouTube videos.

Tongue-twisters

Proved to be quite strong when she lifted Defconn on her back and carried him around the studio once when CB! appeared on the show

NOTABLE FACTS:

She admitted what fans have been saying for years now. She’s a homebody and enjoys staying inside more than going out;

Because of her YouTube channel, she became more prone to get acquainted with people and because of it her idol network grew in the last couple of years;

She’s known for being supportive of younger groups on social media;

She used to go busking before becoming a trainee in MSG;

Is very scared of loud noises (fireworks, for example).

IDOL GOALS

SHORT-TERM GOALS:

Before exploring her options outside of what is adequate for CB! now, Nahyun wants them to stabilize their name as a group first. Even though it has been quite a while since their debut, she wants them to have an overall grounded and all-rounded image before moving forwards. Not only that but she wants to build a stronger image for herself which also includes dedicating more in training and her YouTube Channel.

LONG-TERM GOALS:

She wants to gain money from her own productions (lyrics and posteriorly, producing) so she can afford a better house to her family. She also wants to have more space to grow while an idol who produces videos for a platform such as YouTube which is a chance to expand the public’s perspectives about her as an artist overall besides simply showing her grace as a funny or witty person. Of course, she wants to keep with the most fun aspect of the channel, but she also wants to show the process of making music and approach more delicate subjects as well.

IDOL IMAGE

She’s almost introduced as a blank canvas who needs work and patience to become a masterpiece but in truth, the ways of showing that off just didn’t make her true colors shine properly in the beginning. But she’s a young girl when they make their debut, and she wants to prove herself worthy of her place in the group. Her eagerness makes it easy to mold her in a way that’d best benefit them, so they keep her on that track.

At first, she’s the rapper who doesn’t rap. The pretty girl who has not much to offer besides some mediocre dancing skills and passable singing ability. She saw herself in that manner, even though she had spent years practicing to avoid such conclusions. But it’s not how it turned out to be in the long term. Despite the few comments about her lack of skills, fans started blurring out that fact to praise her performance. How she winked and waived and smiled at every direction at once and cheered the audience up when she could, and how she became a star when her (few) parts of their songs came up.

Instead of being labeled as the pretty girl of the group or being called useless for the lack of rapping parts on CB!’s discography or because they were executed poorly in comparison to others, she was taken as a little box of surprises.

Charisma wasn’t something that she ever imagined to be remembered for, but people liked to see her performance on the stage, how she wasn’t simply the girl-next-door she made them fall in love with but also someone cool and confident.

When she opens her channel, things turn out clearer. The freedom she felt when she started uploading her works despite still having to pass through authorization from the company. The public starts getting glimpses of Jihee who’s clumsy and strangely competitive, of someone who smiles way too much and laughs in a funny way. Jihee worries she may be showing way too much when she talks about the struggles, but most times she’s refrained for releasing too serious videos, she’s an entertainer and for that to happen, she needs to be stable and happy.

So that’s what she becomes. In and out of stage, in front of her camera or in the studio. Someone who people will easily related and sympathetic looking to ease hearts of people who need. A person who’s charismatic and have strong stage presence and has apparently a second nature for fanservice. It works, it fulfills the fans and make the company happy, having their seemly “ordinary” girl.

IDOL HISTORY

Im Nahyun was born into a comfortable family. They weren’t wealthy, but they certainly weren’t poor either. Both her parents had their respective jobs and there wasn’t a day that they’d go without a meal. She had a nice life for most part of her childhood. She played with the neighbors and was a smart kid praised at school. She liked to spend her spare time in the classrooms, it was peaceful and quiet, and she often learnt a thing or two after the classes were finished. She learnt to play the piano and the guitar since her family didn’t have the money to pay for classes and even less to buy the instrument for their house. It was, undoubtedly an easy to life to live.

Then they lost it all.

Well, not all as per say, but their family got in serious problems because of the economic crisis. She didn’t understand much back then. She knew her father lost his job and they started relying on their mother. Her older brother decided to take a job in some fast food chain since he was old enough, but Nahyun was still too young to do the same and her father started getting too busy drinking himself into oblivion to keep trying to get a job.

She started busking. Or at least tried. There wasn’t much a thirteen years old could do to get money. She was a terrible cook so she couldn’t make pastries to sell, she didn’t think people would accept her help in the restaurants or stores either, even if hidden for pure fear of losing the little stability they had, so Nahyun tried the one things she knew she could do fairly well.

Singing in public was a challenge but she was welcomed by the few passerby. The fact that she was a little cute girl must have helped to get the attention of at least a couple of people during her evenings after school. A year passed and their situation got a little better. They weren’t in such a critical state anymore and her mother could breath easier and not take so much extra hours at work. Her father remained the same useless piece of meat, but she bothered less with it now.

It happened in one evening. Nahyun was in her usual place, in the usual time, she had just finished for the day when a short woman – shorter than her she remembered – approached her. She said she was from MSG, an entertainment company. The woman told her that if she was interested, they were opening for new trainees soon, she promised that Nahyun had what was necessary to become someone big and eventually make a lot of money. In the end, she gave her the business card before finally leaving.

She was as warry as she should be with the offer. She checked the number in the business card online, searched if anyone had ever been randomly approached and scouted like she was, she asked for guidance from her mother and sweet and nice as always, she answered that if she didn’t find any holes in the woman’s narrative, then why not give a try. So she did.

If compared to the others, she didn’t have anything especially elaborated when the day come. She wasn’t even sure if it was a good idea to give it a try so she dealt with the situation as if she was preparing to one more of the busking sessions, the difference this time would be that she was in a very well illuminated building in front of people who looked quite intimidating.

The results arrived a couple of weeks later and she had packing to do because she apparently wasn’t staying with her parents anymore.

She was a vocalist because that’s all that she ever knew what to do. When she started in MSG, she didn’t know how to dance, she didn’t act and she didn’t model, she didn’t rap. In the beginning of her training she was put with the other new kids to evaluation, and then after a couple of months, she was sent to have vocal training. But those classes were slightly different from the ones she had prior. She wasn’t being taught to reach low as well as high notes, she was being told of how to control her breathing while she spoke, she wasn’t being trained to become a vocalist, she was being instructed of how to become a rapper.

She was beyond upset and understandably. She didn’t sign up for this, she wasn’t supposed to become something that she wasn’t, she didn’t leave her home to do this. But as a trainee there was little she could do, her voice was still too small, too insignificant. She thought of quitting but then was reminded of the excuse of man laid in the sofa back in her house and thought otherwise. She could be many things, but she wouldn’t be a coward and dropout like her father.

Endure it for a little longer, breath and count to ten, don’t let them get to you, you can do it, somehow you can do it.

They tell her that as long as she has a good presence on stage and leave people content, no one will condemn her for her unnatural rapping skills. She wants to believe them but after a couple of years in the training system, she realized girls had it harder in different ways. She should be perfect for her debut, not just fine or okay. But she was gracious enough, she had the beauty and the smile, and she was okay in everything, average, nothing special besides her looks.

She debuted with Cherry Bomb! In 2012 and she had to look forward., never look back, always look forward.

Things as a trainee were already tough enough. The starvation they made they go through, the constant training and daily goals they had to archive. Nahyun was undoubtedly better when it came to dance and her rapping had improved greatly if compared to the times when she had started – though she wasn’t as good as other, she reminded herself. When they debut, things were increasingly more stressful it seemed.

As the years went by and the public just got used to the fact that her rapping was never so good in comparison to other groups, but she still had a killer stage presence. Nahyun started feeling more at ease to open up to different areas besides the basics. She started taking music classes in the company whenever she had spare time and took pleasure out of writing. It worked as a diary in the beginning – writing lyrics – sometimes they were mushy, other times they were just sad, but for a long while they remained hidden in the notebook she kept under the pillow.

People liked her when she appeared on TV shows somehow. Her wit and sense of humor were pretty much what attracted the public, but it wasn’t enough to attract as much attention or to guarantee her a spot as a variety person. Then the idea of creating a YouTube channel showed up. It was a trend; make-up artists were doing it and there were a couple of her colleagues who were in that same path. In mid-2016, with her company’s authorization and a clumsy vlog of her day, Nahyun started what seemed to be a very successful idea as long as she could tell.

At first, it doesn’t change her routine as much. It’s only her talking to a camera like she had done a couple of times for TV but this time the schedule is hers. She decided what things she’d do and with who she’d film, of what they would talk about and what she’d want to show. But then she started going fond of this way of communicating with the fans and she knew that more than seeing her videos, they’d want to see more of how this worked. She started with her members, showing glimpses of them here and there when she could, then people from MSG started making cameos and people who she never imagined she’d have the courage to approach also became part of vlogs. It became a way of making acquittances almost.

Time was sparse of course, even considering herself as the least busy member, there were still many things to deal with. They had multiple comebacks a year and she promised to push herself every time they were back on stage, the image of her father always present in her head. The public never found out that she had an unemployed drunk as a father and for that she was grateful. She also started contributing for CB!’s discography which came as a surprise since the company was giving her that kind of creative freedom. She wanted to make something out of that. She wanted to stand out from the box she was trapped. She knew she was better than what she was doing but she had to have the will to build a path of her own and get to where she wanted to head.

Easier said than done.

[jessicakmatt]

15 Richard Furch Mix Tips Every Producer Should Know

15 Richard Furch Mix Tips Every Producer Should Know: via LANDR Blog

Learn from the best: Richard Furch shares his unique studio insights.

There’s a good chance you’ve heard a record mixed by Richard Furch whether you knew it or not.

His Grammy-filled discography includes mixing and engineering credits for Frank Ocean, Prince, Jimmy Jam and Terry Lewis, Tyrese, Whitney Houston, Macy Gray, Usher, Outkast and many more.

It’s a career that spans more than 15 years of top-notch mix engineering. In that time, Furch has formulated a unique approach and philosophy to mixing.

Figuring out all the little things you need to think about every time you mix comes down to hours behind the board—something Furch has A TON of. Normally, you’d have to log your own long hours to figure out what all those important little things are.

But in the spirit of sharing and pushing the craft of mixing forward, Furch took some time out from the studio to share some of what he’s discovered and show you how to approach certain parts your mixing process.

Ranging from mix referencing to the results of too much coffee, these 15 Richard Furch mix tips are valuable to every producer looking for a better mix—regardless of genre, DAW or skill level.

Get your pen and pad ready…

1. Find Your Anchor

It’s easy to get lost in a mix while asking yourself if the snare is too loud, the bass too low, the guitars to distant etc. You need an anchor for your mix. Define one element that stays static and mix around that.

Starting points could be the vocal (after you figured out some basic eq and compression to get it sitting in the right place), or the snare. Both are very important, forward parts of many mixes.

Mix around them. If you get lost, ask yourself how the part in question relates to your anchor.

If you feel lost, mute everything around the anchor and start adding instruments back in until you pinpoint the parts that are too loud, too soft, too distracting, too…wrong in the mix. Then fix, instead of questioning every level and every part.

2. Listen Through Imperfections

This one is major time saver if you can perfect (pun intended) this approach. If you stop mixing every time you decide an ess is too loud, a smack is too audible, or an edit is too rough, you’ll waste hours and hours.

Leave that stuff aside. Instead, listen for the broader musical relationships (the definition of mixing).

Chances are, half of the things you thought were important to fix early on disappear in the final mix. And the rest, you can Fix after you’re done with the song, outside of the creative zone.

3. Don’t Mix Drums While Listening Loud

If you listen to your mix very loud, you’ll likely think that the drums and percussion are too low. It’s part of their transient nature.

Get a feel for the impact of the drums while listening loud. Does it move your body? Are you dancing? Great.

But when it comes to mixing your drums and deciding how loud they are in the mix, listen at medium or low volumes. You will get a better blend.

And hey, you can always check it again loud when you’re done. Still dancing? Good work!

4. Don’t Get Distracted

Try this little experiment: Play your mix from the top and at about verse 1 pick up your phone and check your snapchat or switch to your browser and scroll through some Facebook.

I guarantee by the time the chorus rolls around, you’ll admit to yourself that you have no idea about what you were listening to and what changes you might have to make. Which is the only reason to listen to the mix in progress.

Silence your phone! Put it behind you so you can’t glance at it or leave it in the kitchen and check your texts every hour or so.

Studies have shown that if you break your concentration to do something like checking your email, it can take you up to 25 minutes to get back to the concentration level you were at before. Mix fast, go home early. THEN do all the social media you think you need.

5. Get Distracted

On the other hand, once you get very close to finishing your mix, make it a point to get distracted.

Loop your mix in the background, turn it down to a level where you can easily talk over it. Turn your back to the speakers and do some emails, texts, call a friend, whatever.

Keep listening subconsciously. What sticks out to you? Did you just lose the vocal on a few words here and there?

Make small changes in the mix based on your passive listening. Try some tweaks, and keep it looping. Once nothing irks you anymore, you might just be done!

6. Reference But don’t Compare

This is an easy and frustrating trap to fall into. You’re checking out how your mix compares to your favorite artist of a similar genre (always level match!).

After listening, you find the bass is too low in your mix and the snaps are just more crisp in the other song, the vocal is dryer and the strings are closer and blah, blah, blah…none of this matters.

The reference is not the song you’re mixing. Referencing means you take a sampling of what other records sound like and you use your findings to get your song sitting somewhere amongst these songs, while still preserving the song you’re mixing.

You will quickly figure out that every song sounds different, even in the same genre. Your song should sound different, not the same as something else. Don’t make it sound like some other song for no reason.

7. Change Your Perspective

You’ll hear a lot of mix engineers talking about the importance of checking mixes in their car.

Do you swear by the car check? Why? Does your car have the most accurate, awesome sound system ever assembled? Then why don’t you mix in your car instead?

The car check is important because the sound system is DIFFERENT. The biggest reason you should listen to your mix somewhere else is because the speakers are NOT the ones in your studio. It’s all about the change of perspective.

It will make you listen to music differently and highlight new aspects of your mix. If the car reveals something that you cannot hear in your studio, on any of your speakers, or headphones, it’s might be time for a studio tweak or upgrade.

8. EQ and Level Match

Pretty much every plugin these days has a tweakable output level. So after EQing always match your output level with the level of the bypassed signal. Ask yourself: Is it really getting better? Or were you just impressed by a louder signal after boosting bass or midrange?

You’ll find yourself EQing less and more efficiently. Which is not necessarily better, but it goes faster.

The answer to “why is this part not cutting through” is not always about adding midrange or brightness. Sometimes it’s as simple as just turning it up. Seriously… It might be just that easy.

9. EQ and Listen as a Section

Many people say you shouldn’t EQ in solo. Personally, I think that’s not necessarily right.

You might want to EQ in solo because you already know what kind of EQ you need (lower midrange, presence, etc).

EQing while soloed can help you zone in on the instrument and how the EQ will affect it. It’s a matter of marksmanship. Get as close as you can and affect only what’s necessary.

It’s a matter of marksmanship. Get as close as you can and affect only what’s necessary.

Always un-solo and listen in context to check your decisions. Level match with the bypassed signal as described above. Tweak more—in solo or not—But always check in context of the whole mix.

There’s good and bad aspects to pushing an EQ that are always related: Mud/warmth, presence/harshness, air/lightness, bass/boom. Finding the sweet spot is the art.

10. EQ From the Top Down

Try EQing from the top down (high frequencies to lows).

It’s definitely subjective, but it’s a process that works for me when defining the high end and upper midrange of a sound first—before dealing with mud or bottom frequencies.

Some of the muddiness and lack of clarity automatically goes away once you’ve defined the presence of a sound, because you’re changing the relationship between present frequencies and murky frequencies when you boost upper midrange (level matching definitely helps as described above).

I find that if you work from the bottom up you might make sounds too skinny, as you fixed the lower midrange first and then later possibly added high end when it was really not necessary. As always. Listening helps. Duh

11. Don’t Look, Listen

Here’s another experiment to try: Position your cursor at top of song, start playing your song, now turn off your monitor. Keep listening. Are you perceiving your reverbs differently? Can you focus more on the vocal detail?

A lot of people hear better when the monitor is dark or with the lights low or off. My theory is that darkness creates less brain activity and sensory input which heightens our ability to listen.

Dammit, I’m a record mixer, not a doctor. But it makes sense to me and it works! Try it.

My theory is that darkness creates less brain activity and sensory input which heightens our ability to listen.

12. Know How Beverages Affect You

Sounds funny, but it’s a real issue…

If you’re four coffees deep by 3pm, I can almost guarantee that come 5 or 6pm your hearing will be changed by the way caffeine affects your capillaries.

Try to put a finger on how different beverages affect you. Is everything starting to sound thin and harsh? Maybe it’s time to ease off the caffeine.

Or use it to your advantage. Need more vibe and caution-to-the-wind attitude? Maybe it’s Margarita time. But don’t blame me if you have to fix the mix the next day…

13. Know Your Margins

Throw up some drums, bass and a (decently compressed) vocal in a session.

Can you get the vocal sitting within 3dB of where it should be in a minute or so? How about 2dB or 1dB? Maybe even .5db?

Finding, and knowing your margins will help you stop guessing how much ‘too loud’ the vocal is.

Need more vibe and caution-to-the-wind attitude? Maybe it’s Margarita time.

To figure it out, set the vocal to where you think it might work. Now turn it up until you go “This is definitely too loud”. What is that number? 2db?

Now do the opposite: Turn the vocal down until it’s definitely too low. How many dB is that?

Now you have a window of where the vocal might sit in the final mix which will help you confidently mix around it. Hopefully that range will get smaller the more you do this. This means you’re getting better at instinctively mixing. See “find an anchor” as well.

14. Mix Without the Bass for a Long Time

I like starting my mixes with the drums. Most of the time, the drums define the whole frequency spectrum of the record from the kick to the cymbals.

Drums will often need considerably more work to sound right than a lot of the other instruments, so I like to get that done right away. I follow that with the keys, guitars, strings and vocals, and leave the bass out for a long time. It helps me really hone in on where the low-mids and low-end in the instruments sit in the mix.

I like starting my mixes with the drums. Most of the time, the drums define the whole frequency spectrum of the record from the kick to the cymbals.

Once I feel that spectrum feeling natural, I add the bass and work it in. I find that leveling a bass while only listening to drums is very hard as there is little harmonic content to put the bass in perspective. So leave it out until you have something to work around.

15. Find a Safe Place in the Mix:

150+ tracks on one project can get confusing VERY fast. There are only a few songs that actually need that many tracks. Musical intention can normally be described with much fewer musical events.

Musical intention can normally be described with much fewer musical events.

The solution? Find the center of the record. The instruments and vocal that play through the whole song that COULD be the whole song if nobody added the other bells and whistles.

Focus on making those elements sound good and remember what they are. Now. If you get lost when adding the rest of the music, mute instruments until you get back to the safe place, the place where the music feels good but the record is not finished.

Add the other elements until the song starts to feel bad. That’s the culprit, fix it. But never lose that safe place feeling and you’ll be fine.

Visit Richard’s site for more on his discography and studio. Follow Richard via his Facebook, Twitter and Instagram.

The post 15 Richard Furch Mix Tips Every Producer Should Know appeared first on LANDR Blog.

from LANDR Blog http://blog.landr.com/richard-furch-tips/ via https://www.youtube.com/user/corporatethief/playlists from Steve Hart https://stevehartcom.tumblr.com/post/160990429609