Binaural blues, song 1

Two weekends ago I recorded bass, 2 guitar parts, harmonica and drums using my binaural microphone. The recordings were all good quality and the drums sounded very nice. However, because of the small size and acoustic flatness of the room the binaural microphone was not really able to shine.

I have concluded that I need to record from further back and consider the placement of each instrument in relation to the microphone and they will appear to be when listening back through head phones. The size of the space will be a crucial part in allowing reflections to develop and make the location of each instrument much more obvious.

I have also concluded that recording all of the instruments for my songs in binaural (as apposed to binaural post processing) sounds much better, so I have moved away from the style of my first three binaural pieces. The blending of artificial sounds with authentic binaural tainted the purity of the results I was getting with my 3 dio binaural mic.

So I will be recording some basic blues rock tracks with bass, guitar, drums, some vocals and harmonica. I have also considered recording some additional percussion.

The next five songs I will be recording will be much more authentic binaural.


CIU 212

Binaural music;

Whats out there in the way of binaural music?

Plenty, here’s some examples;

I have mentioned this site and others in a previous post (CIU212 – Research into similar products April 13)

Who is listening to binaural music?

Everyone!… just kidding, but I do believe the market for binaural music would be those attending uni in generation y.

Who inspires me in the binaural music world?

I put the above link in because samurai music inspired my choice to create some binaural music.

Project management;

How did I plan this project?

I planned to create eight guide tracks over eight weeks and record the binaural parts next trimester. I wrote out a plan and posted it weeks ago plus the changes I made.

What have I made and how?

So far I have made three tracks by recording samples and soundscapes in binaural. I designed musical tracks before adding in  binaural recordings of percussion, traffic sounds, and water sounds.

What went well, what didn’t and why?

I have had trouble finishing all eight tracks as I ran out of inspiration and Ideas. Planning problems also played a part as I mentioned in my progress report. The three songs I have posted came together very well because of clear ideas, goals and planning.

Where will I publish?

I have published on, which is a great site to post to as it allows me to create a custom page which looks more professional, and much more like a band site than my souncloud account. I could publish my project using itunes but I prefer the layout of bandcamp and the fact that it better supports indepent artist such as myself.

AUS 230 LO 10, 13, 14. Evaluate, revise, judge.


Amon simply heads out and records sounds, he does seem to have some idea of how he will use those sounds. In my practice I have done the same thing, I have a central idea of what the extra sounds will be in a track and I go out and try to capture them, or I use the library in logic and pinch a sound for a track.

Mr Tobin states that at times the sound source wouldn’t cooperate. I found this to be a hurdle in my own practice. When I wanted the sound of an engine I wasn’t able to capture it without some extra sounds. Trying to capture background conversation wasn’t easy as at time closer subjects would over take the recording.

Amon went to a foley room to capture a lot of his sounds. So I have availed myself of some of the foley from my logic library and also recorded some other sounds in my own foley room / isolation booth.

The key to capturing a desired sound is to first have a goal and second to have a space where the sound can be recorded in isolation. So I have set goals for myself and also built a makeshift isolation booth to record at home.

I have applied this production process to booth of my productions (ciu and aus).


I have uploaded several of my productions to;


I have achieved my desired results with these tracks in as much as I have captured all my desired sounds and compiled the tracks as I like them. However, in terms of aesthetic outcome, I believe with more professional mastering the tracks could be made to ‘pop’ more. That is to say that the ‘Rock the house’ track needs more time spent in mastering to bring out its best parts and make it sound more powerful.


My productions so far sound a lot less professional than the originals (eg, rock the house). The one track I have posted so far sounds a lot cleaner and has much better separation between the instruments, also the levels are much better.

Granted it is a different style to my version but I noticed that it is louder and has more bass than mine. Through mastering I could make the track a lot punchier and louder.

I could go on but I will instead compare my other track when they are done, for now, here’s the original:

AUS 230 LO 9, 11,12

A big thanks goes to Paul Nolan for the following video on how to transform audio into midi:

I have used this function to turn two guitar tracks into  entirely new sounds. I have also used noise reduction and re-amped a bass track in the track ‘Rock the house’. As well as this I have an example of noise reduction on my soundcloud page:

AUS230 LO20 Contracts

Had my production for this unit been a calibration and commercial I would have needed to have  a contract written by a lawyer  to determine what percentage of the royalties each team member would receive.

Contracts, as I understand, should be negotiated between band members and producers with the help of a lawyer. A contract should be very explicit in its stipulations, there should be no question of who receives what and when. A contract may be specific enough that it states not only the percentage of royalties the production house receives but also what type of royalties it can receive a percentage of.

A band may be lucky enough to negotiate a clause in its contract which states that the producers can only receive royalties on the first one hundred thousand cd’s sold. However it is standard practice for a band to receive only ten percent of all royalties. I would negotiate for the band to receive a more equal and fair share of the royalties. I would possibly not ask for royalties from any media exposure, even though this would exclude me from a lot of the earnings.

In regard to copyright law, in Australia copyright is free and automatic. As soon as a song is written it belongs to the writer. However, it may be important for bands to stipulate through a written agreement who wrote what part or percentage of a song and therefore how much of the royalties they will be entitled to.

This to is a negotiable contract. For more information regarding copyright and contracts see the following site:

AUS230 LO 21 session management

According to the above document I have been following most of the professional guidelines. However, I have been skipping a few points which I think may be useful to incorporate in my professional practice.

The guidelines suggest printing each track to a new track once I have tuned it. This means that I will need to be certain that I am happy with the eq and compression I have put on any given track before printing it or I would need to return to the original.

It is also suggested that any unused tracks be put to the right side of a blank track labelled “Unused”. This is where I would place source tracks after printing them. I will also print a rough mix, place it the top of edit page and label it rough mix.

I will also be using a blank midi track as a comments track. This way I can keep a record of my thoughts regarding changes to the track. I can also include the tempo, time signature, key signature and song sections such as verse 1, chorus, etc on this track as a quick reference. The guidelines suggest keeping this musical information on hand.

This is just a few of the guidelines, paraphrased I admit, which I will include in my production practice.

CIu 212 Inspiration

I have been less inspired by Pearl Jam’s contribution to the binaural world and more by the abstract binaural music I have found.

I mention the following sit in a previous post but would like to discuss their work further:

It is the less traditional sounds that have inspired me. Pearl Jam’s binaural songs are very much the typical rock sound recorded in binaural. I would prefer to create my tracks electronically and incorporate found sounds with minimal guitar or drums.

I find this to be the more interesting use of binaural recording and as such have created a track of my own today using some household items and the synthetic instruments in logic. Please listen and enjoy.