Why You Should Encourage Children to Take Music Lessons


Taking music lessons is one of the activities parents would want for their children. For children of all ages, it is often the parents who encourage them to study music. In some cases, children encounter music through school, friends, relatives and churches. If you have children who want to study music, they can take music lessons in Perth and in other music schools near your location. Visit recording studio in Dubai.

Possible career in music

Older children may have a different reason for taking music lessons. The child may want music lessons because all his or her friends do. Sometimes, parents want their children to study music because they want to make money out of it in the future. World-class pianists and famous rock starts earn a lot of money for being good at what they do. There’s nothing wrong with wanting your child to have a career in music.

Benefits of learning music

Besides learning how to play a musical instrument or sing, music lessons help your children appreciate and understand music. Studying music at a young age can develop into an enjoyable lifelong hobby. Most children love to listen to music, dance and sing. Young children often imitate sound or play music using a toy instrument.


Since you’ll properly be recording studio vocals with the singer at a little distance from the mic, as above, you need to insure that the environment is not too noisy, since the mic (especially a sensitive condenser mic) will tend to pick up at least some of the ambient sound. Ideally, the vocalist would be isolated in a different room from the engineer and all the (sometimes noisy) computer and studio gear. You can buy pre-fab vocal isolation booths, though they’re fairly pricey. There are also lightweight, commercial baffles (sometimes called go-bos) available, from companies like Taytrix, that, when stacked around the performer, will do an excellent job of blocking unwanted ambient noises from getting into the mic.

Fig 6: A commercial vocal booth; some Taytrix baffles in use

A commercial vocal booth; some Taytrix baffles in use.

If you feel handy enough, you can build these yourself—there are a number of resources (books and online materials) available to guide you. At the very least, since a directional mic is already rejecting sounds from the rear, you can position vocalist and mic so the mic is pointing away from the worst potential noise sources like windows (closed, of course!), and humming or buzzing equipment. Even hanging some heavy blankets or comforters around the performer and mic, though it may look embarrassingly low-tech, can help block out unwanted sound just enough to accomplish the goal of a well-isolated (or at least a well-enough isolated) track.

Compression is just one technique in the tool bag of recording tools

What’s pre-mastering and how, when, and why should I use compression?

Audio level compression, also called dynamic range compression, volume compression, compression, limiting, is a process that manipulates the dynamic range of an audio signal. Compression is used during sound recording, live sound reinforcement, and broadcasting to improve the perceived volume of audio. A compressor is the device used to create compression.

Adobe Audition, as well as every other major multi-track recording software, has a digital compressor with lots of settings built in.

Compression is often used to make music sound louder without increasing its peak amplitude. By compressing the peak (or loudest) signals, it becomes possible to increase the overall gain (or volume) of a signal without exceeding the dynamic limits of a reproduction device or medium. (I.e. your radio, i-Pod, or your computer speakers, known for their wonderful fidelity and frequency range) The net effect when compression is applied along with a gain boost is that relatively quiet sounds become louder, while louder sounds remain unchanged.

Got that?

Compressors usually have controls to set how fast the compressor responds to changes in input level, known as ”attack”, and how quickly the compressor returns to no gain reduction once the input level falls below the threshold, known as ”release”. Because the loudness pattern of the source material is modified by the compressor it may change the character of the signal in subtle to quite noticeable ways depending on the settings used.

A second control on a compressor is hard/soft knee. This controls whether the bend in the response curve is a sharp angle or has a rounded edge. A soft knee reduces the audible change from uncompressed to compressed, especially for higher ratios where the changeover is more noticeable. You need a chart to sort of show that.


Emotion in the Studio

As a producer, one of the most important skills I’ve needed to develop is empathy.

I’m referring to being able to understand the feelings of the artists I work with. Artists are wonderful and interesting people, and they’ve all got a very personal (even intimate) and intense relationship with their music. Over the years and after meeting hundreds of artists, I’ve become fascinated with exploring the similarities and differences.

As you know, success in this industry is reliant on much more than technical (including musical) skills. Factors such as commitment, willingness to learn, courage, healthy self-esteem and humility are much more important.

Over the years, I’ve become much better at judging people’s character. I can tell when a person I meet is someone I’d want to work with. Obviously, this came at a price. As the saying goes: good judgement comes from experience; experience comes from bad judgement. I’ve certainly had my fair share of bad judgement calls!

So while the rest of the online producer world is talking about Pro Tools and drum samples, I’m making a video series that doesn’t deal with gear at all. Instead, it’s all about feelings.

I spoke with some of my artists from last year and asked them about music, life, insecurities, excitement and pushing forward through difficult times.

So, this is the third video in the series. Here the artists are speaking of whether they find it easier or more difficult now, compared to when they started making music.