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  • Writer: Ronnie M
    Ronnie M
  • Mar 9, 2021
  • 4 min read

The revolution of Hip-Hop is a story of how the underdog became the “upperdog”, as it went from being an underground movement in the Bronx, New York, to becoming a well-established genre in the popular music industry, making way for a more cross-cultural music scene.


First, we need to look at the roots of hip hop, originating from Funk and Soul which was inspired by the Blues and Spiritual music, Call and Response. Therefore, Hip-Hop is deeply rooted in the Afro-American culture. However, the thought of rapping or talking over a beat has been around in European music such as the singspiel from Germany and all the way back to the ancient Greek theatre. The concept of talking or chanting over a beat was not new to the Bronx in the 1970s, however, the way it was being done and the technology was revolutionary; not to forget, Hip-Hop was a whole movement consistent of rap (or mc-ing), break dance, graffiti, and DJ-ing (turntabling)


The Bronx in the 1970s was a community with little stability, where an urban renewal project starting in the mid 1960s to the 1970s oversaw destruction of buildings to make room for a new city plan. This included banks and insurance companies reducing their financial services, making it almost impossible to be granted a mortgage. Due to the financial stress and the uncertainty, many believed that the landlords set fire to their buildings to scam the insurance companies, this made the living situation for people in the Bronx even more uncertain. To cope with the harsh reality, big parties were hosted in the run-down buildings. A tactic used already in the first century stating, “Bread and Circus for the people”, distracting the people from the real political issue not by changing the reform rather giving them some freedom and fun (Ellis, 2019). It was in these parties the movement of hip hop really took off.


It was in 1973, 1520 Sedgwick avenue DJ Kool Herc hosted a party, his sound system was a guitar amp and two turntables. He played James Brown ‘Give it up Turn Loose” on both of the turntables and spun it to break the beat repeatedly known as breakbeats.


Afrika Bambaataa would improve the technique and would later be regarded as the founder of Hip-Hop. This movement was made up of a mass amount of people, mainly Afro-Americans who faced economic neglect and injustice and Hip-Hop became a way of protesting against the current regime. Later it would become a legend of how a small minority that are looked down upon by the rest of society can completely change the world of music forever.


From the creation of Hip-Hop, to today’s Hip-Hop, there have been some big changes. There was a brief era of Gangster rap in the 90s with musicians like Tupac and Notorious B.I.G, this was seen as a genre or lifestyle that coincided with the original ideas for the Hip-Hop movement, which are: loyalty, friendship, love and having fun. In the later years, Hip-Hop has also mixed with other genres of music, maybe most common RNB, where a phrase or a chorus will be sung by a RNB singer and the verses rapped, but also rock and pop music on the main pop charts like Ed Sheeran, Tori Kelly, and even Elton John.


It is not only impressive, but inspiring to see how a small group of people in the Bronx grew to influence the music world in such a big way, it also starts the discussion of if this was one of the ways Afro-Americans could find a place in the Popular Music scene. In a report by Stacy Smith from the USC Annenberg Inclusion Initiative, it is stated that the ratio of white people to underrepresented racial/cultural groups in the Music Industry were 54.6% to 45.4% (Smith, 2020). At first glance this might not look too bad, however, when thinking that this is all the people who are not white collected in one group, it is rather shocking how white people and especially white men are dominating the music scene.


As we can see, the process of making Hip hop music an “upperdog” has not happened over night. There have been multiple artists who have made their mark within the genre and expanded the fanbase. It has also been affected by the arrival of the internet and the ability to stream music worldwide. The last 10 years it has dominated the music charts and festival line-ups. It is a genre that is recognized all over the world and people from different cultures and languages are creating Hip hop. It has indeed become the upperdog in the music industry, it is an empowering genre and it creates a space where underdogs can shine and prosper.


"Well, a lot of people within government and big business are nervous of Hip-Hop and Hip-Hop artists, because they speak their minds. They talk about what they see and what they feel and what they know. They reflect what's around them." - Afrika Bambaataa



 
 
 

Hello, everyone, I’m Alex, and in this two-part post, I will be reviewing three different loudness meters. I will also be giving some suggestions about how to approach loudness in music, and lastly, whether or not you should be thinking about true peak metering.


Why are Level Meters important?

Whether you are a musician, composer, songwriter, performer, or an engineer, more of us nowadays are concerned with achieving the best levels possible in our music. Now that we have the technology and algorithms to do so, it may be worth investigating how your sound translates from digital to analogue. If your music is far too blaring or far too skimpy, this may not translate well into different formats. In this post, I will compare the true peak value levels of three different digital level meters. These are:


Logic’s multimeter

Youlean’s loudness meter

Mastering the Mix’s LEVELs (part 2)


Logic Multimeter

If you’re a Mac user who produces music (in some form) on Apple’s Logic Pro X, you may be familiar with Logic’s multimeter. However, even in a stock meter like this one, the options between “peak & rms” and “TP & rms” do not measure the audio peaks identically. Many new Logic users may assume that they do, due to the idea of setting the ceiling threshold on a limiter at 0.0 or -0.1dBfs. Setting the threshold slightly below does not necessarily mean that the audio will not go past beyond a set ceiling, (even if it is a reliable brickwall limiter) but this is something that newer users may not initially notice.


Although Jeremy Soule, Umbra and MusicToday80 are most likely conscious of their peaks, here are examples of the differences between the Peak and True Peaks in each of these loud sections of music. The peaks can be seen at the top right in these extracts:


Logic’s Peak Mode Reading:



























Logic’s True Peak Reading:






















You can see that both Umbra’s Takeoff and Extreme Energy are over odBfs in their true peak, and are therefore prone to distortion, whereas Jeremy Soule’s Basilisk Battle is slightly over as well on the left side.




Youlean’s Loudness Meter V2 Free Edition

If you use a meter like Logic’s for measuring the frequency content and stereo width, there’s no issue. However, you have to STOP using it (or any other DAW’s loudness meter, for that matter) for the purpose of measuring the true peaks and distortion of your tracks. The truth is, your music is likely to have inter sample peaks that you are not aware of (peaks that your DAW will not show you).


If you import a master into your session and run a loudness meter like Youlean, you will see it is a bit less forgiving than the one from Logic (or meters from the majority of other DAWs)


Not only does Youlean give you a more accurate true peak value, it also tells you the dynamic range of your song in real time (if you play it from start to finish). In the following examples below, you can see how brutal and how quickly the distortion seems to build up in comparison to what Logic tells you about your levels. Check out the metering on “TRUE PEAK MAX (L R)” at the bottom left of these extracts:



Youlean’s True Peak Reading


















As you can see, Extreme Energy and Takeoff have higher peaks shown on Youlean than in Logic. The Basilisk Boss Battle remains almost identical, except it shows distortion in both the left and right sides. Extreme Energy, however, went from 0.2 to 0.4, and Takeoff shows an equal 1.0 distortion (L and R both lit in red).


In the 2nd part of this post, I will analyse LEVELs and conclude the accuracy and effectiveness of the true peaks between these three metering plugins, as well as explain why these small details can be really important for when it comes to balancing and handling the dynamics of your music.

 
 
 
  • Writer: Sofie Sings
    Sofie Sings
  • Feb 27, 2021
  • 2 min read

Updated: Mar 8, 2021


When becoming pregnant there are a thousand things to think about. What should the baby be called? How many sleepsuits and blankets does he or she need? Disposable or reusable diapers? Home birth or hospital birth? The list goes on, and I do apologise if I just made yours a little longer! I remember feeling a bit overwhelmed, not due to the planning, although it could get the best of me sometimes. But I found myself more overwhelmed by the fact that I was carrying an actual child into the world. A real person! With its own personality, its own laughter and cry, and its own feelings. I really longed to feel closer to my baby, although ironically enough the baby literally could not be any closer. However, I was determined, even during my early pregnancy, to start this long-life relationship with my little one.

I do not know what led me to do it, but I started singing. I would sing all the soft and calming baby lullabies I could remember. Then I would sing an Abba song or two (or three!). From as early as 16 weeks the baby can start hearing her mother’s voice, even though the ear is not fully developed until 24 weeks (NHS Scotland, 2011).

I remember it felt a bit odd in the beginning singing to my own belly. But then I started thinking about the little one who was lying inside the womb. How thrilling and comforting it must be to hear a voice when you don't know anything else.

Researchers found that when a group of pregnant women participated in an antenatal class where they learned to sing lullabies together, the women felt closer to their little ones in the womb, and generally more relaxed (Carolan et.al., 2011). When I look back, I remember feeling more calmer and at ease after singing. Even though so many changes were going on in my life, becoming a first-time parent, this bonding time which I had with my baby is something I now look back on and cherish.


So, if you have not yet tried this yet, maybe you should give it a go?

Sit down somewhere where you feel comfortable and relaxed, pour yourself a cuppa, raise those legs and breathe. You are doing so good, I hope you are proud of the work you are doing, creating a human being! Do you maybe have a song that made you smile as a child, or a current favourite song? How about sharing it with your baby.

__________________________________________________________

Carolan, M., Barry, M., Gamble, M., Turner, K., Mascarenas, O., (2011). Singing lullabies in pregnancy: What benefits for women? Women and Birth, 24, p.S29.

NHS Scotland, 2011. Hearing and listening in the womb - Maternal and Early Years. [online] Maternal-and-early-years.org.uk. Available at: <http://www.maternal-and-early-years.org.uk/hearing-and-listening-in-the-womb> [Accessed 28 February 2021].




 
 
 
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