Tuesday, May 28, 2013

The Perfect Partner: The Artist’s Role in the Creation and Construction of Artificial Human Companions

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Introduction

An artist is a demanding personality. Their creative impulse is to change existence and invent new realities for others to perceive. Some things presented to us by artists are ugly because they offend our sensibilities, while others are beautiful because they cater to our preferences, but in each case the artist at least tries to present to us something new. The special talent of creative people is to rearrange common elements with which we are already familiar into new combinations or to take existing elements and turn them into new forms. And in some cases, the artist is also a technician or inventor who creates new material and substances with which to create.

In this article, I thought we should look at an extremely specialized form of creativity in the field of human relationships by discussing artificial human companions. To bring us up to a point of understanding I wanted to share with you some of the ideas of Anton LaVey (shown above), particularly his thoughts about the merits of artificiality and on the construction of artificial human companions. I felt that this would be an interesting way of looking at the potential future of human relationships. The creative possibilities of constructing an artificial human companion are already available to us thanks to technology and changing sentiments regarding appropriate and traditional forms of human relationships.

But more importantly, as LaVey says, what underlies the greater acceptance of artificial human companions is the quest of every individual to consciously experience pleasure according to their own discovery and devising. Most of the time people like to think of artificial humans as sex aids (blow-up dolls), domestic helpers (robots), or as the source of human extinction (Terminator and Battlestar Galactica). Here we are going to look at this subject primarily from a creative angle as it relates to actual construction and product features.

The Merits of Artificiality

Let’s begin with the concept of “artificiality” that Anton LaVey presents in his book – “The Devil’s Notebook”:

“Artificiality is a natural and often superior development of intelligent life. Artificiality is more than completely honest; it forestalls disappointment at a thing not being what they appear to be. If you know something is phony from the outset, your imagination can make it as real as needs be. But it does require imagination. Believe it or not, everybody has imagination to some degree. Granted, it doesn't take much imagination to be fooled, either by yourself or someone else. But imagination is taken into the realm of creativity when you infuse the unreal with a reality which will be satisfying.”

This statement has less to do with the reality of the artificial and more to do with the power of imagination to makes things real in our own universe (mind). The only difference between being fooled and being imaginative is knowing that something is or is not fake from the start. He also mentions how it is that people end up in “dreary relationships because they are constantly trying to fool themselves into believing their mate is either more capable or intelligent than he or she really is.” In the sphere of human interactions we normally do not reward others when they lie to us, but we often create rewarding experiences for ourselves when we exaggerate the reality and importance of certain activities such as sports, dancing, and flirting. Whether we are in control of our imagination or if someone else is influencing our imagination, the power to make things appear real to us is solely in our minds.

Personal Motivations for Ideal Companions

We project our emotions of love and happiness onto objects and people. We are fed by these projections. The emotions of love and happiness (or any other emotion) are not in the objects, they come from within – they are self-generated, reflected back to us, and that’s what we feel. Yet how many women seek relationships with men who have little or nothing to offer other than physical presence? And how many men do the same? According to La Vey, “There are few persons who can give me as much pleasure as those acts I perform myself. I would rather create pleasure according to my own whim than be subjected to the whims of others. Invariably, I wind up entertaining others. Or educating them. There is no push/pull. It is only pull, and they do all the pulling.”

The answers to some of the questions raised in this article actually form the basis of the motivation that drives an individual from one relationship to another searching for that perfect partner. Unfortunately, this can only lead to disappointment, because our great expectations, unfulfilled fantasies, and our search for the ideal mate are difficult roles for human companions to live up to. 



La Vey continues his line of thinking by saying, “I find greater companionship in inert figures, animals and speechless artifacts, for I can enjoy their presence and there is no psychic drain. In fact, by their very stimulation in accordance with my tailored ideals, they provide me with not only entertainment, but food for thought.”

Here he identifies 3 very important factors in the life of an artist and other creative people which are avoiding psychic drain, stimulation in accordance with one’s tailored ideals, and food for thought (exchange of ideas). For the most part, creative people tend to seek out objects such as books and art exhibits that can provide food for thought and interesting people who help create opportunities, experiences, and stimulation in accordance with their personal ideals, but with a minimum of psychic drain. All of these factors when combined into a single entity sharply raise the value of the man, women, or object that can possess them. But how few of them there are.

Social Sentiment shifts away from Traditional Forms of Intimacy and Relationships and Approaches the Artificial

Here are a few old and new products and services that are helping to facilitate and change the way people engage in flirtation, courtship, and sex. Each of them possesses the quality of the artificial discussed earlier and exemplifies how the essential element common to all of them is the individual’s need for very specific forms of pleasure and the power of their imagination – coupled with these types of products and services – to make them real.

Examples of Products:

Boyfriend and girlfriend pillows

Blow-up dolls

Sex toys

Adult movies on demand – for immediate download, purchase, or rental

The Mystery Method – seduction techniques to make the pick-up process much more smooth, quicker, and more direct. Developed by authors such as Mystery (star of the VH-1 show “The Pick-Up Artist”, available in DVD), Neil Strauss (author of “The Game”), and the team at Love Systems.

Panty vending machines – a Japanese favorite

Examples of Services:

Rent a friend / girlfriend

Craigslist and Backpage – classifieds for hook-ups, but also featuring the “girlfriend experience” (or GFE, a service provided by a professional or amateur prostitute designed to simulate the boyfriend / girlfriend connection.)

What’sYourPrice.com – bid for a date

Ashley Madison – dating service for married people

Mail-order brides

Match.com – on-line dating service for singles

Table for Six – low-pressure dating service for single professionals

E-Harmony – dating service for conservatives and Christians

Speed dating – dating approach to capitalize on volume, not quality.


What these products and services have done is shorten the process of finding sex partners in terms of time, money, and effort. Moreover, the purpose and focus of each product or service is to assist the customer to fulfill their needs in a much more efficient manner. These products and services have the potential to remove all of the guess work, trial and error, as well as the danger associated with seeking various forms of human companionship.

So, for example, if you use a service like Ashley Madison, a dating service for married people, you know why you’re there, what you’re looking for, and make arrangements to meet with someone who’s willing to fulfill your expectations. Compare this experience with sitting at a bar or lounge trying to lure men or women to nearby motel rooms. Or if you’re looking for a person who’s seriously seeking monogamy, casual sex, or marriage, you can quickly use one of these services or others like them to find what you seek in human companionship.

But what if you could remove the middle man, not use these products and services, but instead build a companion from scratch using a new service that allowed you to create the exact personality software of your perfect partner? In addition, you could also design the physical appearance and material in which the software was housed. So whether you wanted an artificial human companion made to look like a real human being or something a bit more unusual that would be totally up to you. So if such as service existed, would you use it?

Anton La Vey offers these words to help you make your decision:

“Why do I prefer androids to many "real" humans? They never talk back, unless you want them to, yet you can insult them to your heart's content. Androids offer splendid companionship when cast in the physical semblance of human beings.”

“Androids can be created, programmed and utilized exactly according to the master's whims. They require no energy-consuming interaction in order to salve a non-existent ego. Yet even the semblance of an ego can be built into an android via actions and words -- but always according to the Maker's requirements. They can be shelved when they grow tiresome, brought back out when needed, modified in appearance, and destroyed without moral conscience. They are ideal companions.”

In the News: Traditional Forms of Marriage Moving Towards the Artificial in the Middle East

Here is a pair of news stories dated about 8 months apart showing another way in which social sentiment toward traditional forms of intimacy and marriage can shift dramatically towards the artificial when circumstances change. Because of the civil war occurring in Syria, refugees are fleeing to countries like Libya and Jordan to escape the violence. But instead of violence what they are facing instead are exploitive opportunities by Libyan and Jordanian men who are looking for young girls to marry on a short-term basis.

Marriage, in and of itself, is already an artificial institution born out of millennia of necessity and economic survival. Apparently, the situation in Libya and Jordan is so bad, the outlook so poor, and the aid so miniscule that many families are actually accepting these offers as a way of supporting the remaining family members with the money they receive for their daughters in exchange for marriage. What this tells us is that no culture, no matter how restrictive or regulated, is exempt from change.

In the first story, you’ll read about rich Libyan men approaching young Syrian girls to marry them for money. Because many of the families from Syria are penniless they are selling off their daughters to solve the financial distress for the remaining family members. In the second story you’ll read about the situation for these refugees one year later, but in Jordan.

To read about how Libyans are exploiting Syrian women with marriage offers, click here.

To read about Syrian refugees 'sold for marriage in Jordan, click here.                         


Propaganda in Movies and T.V. in Favor of Artificial Human Companions

Along with his many other observations La Vey has noticed that “movies and television have been priming the pump for years for [this] development as inevitable as the automobile or airplane.”




For at least a century with the advent of futurism in literature and the Science-Fiction genre, we’ve seen books, movies, music, and television programs like The Twilight Zone, Star Wars, Buck Rogers, A.I. (Artificial Intelligence), Battlestar Galactica (2006), Gamer, I, Robot, and Surrogates illustrate how society would be if humans and robots co-existed. While each rendition of this same basic theme offers us a new twist, for the most part each work tries to present the benefits and conflicts that would arise in such a society. While it’s outside the scope of this article to discuss all of the finer points of such works, it is well within the scope of this blog’s theme to at least give you a musical example.

Most of us probably remember this song when it was most popular over 10 years ago, but it’s well worth viewing now in this context to see how it’s had an influence in shifting support in favor of artificial human companions.






If you have any problems viewing this video, click here.

Even the car company KIA shows an attractive set of artificial human female companions in one of their new commercials featuring the “Hotbots."

The Technological Features of an Artificial Human Companion

Imagine a partner that literally comes alive when you look at them, who responds solely to your voice, who demands very little of your attention and time, who’s attentive from the very moment you walk in the door, who’s always set to your preferred temperature, who’s programmed to respond only to your voice, who mirrors your personality, who’s free of unpleasant odors, who’s incapable of contracting disease or developing illness, who also never ages unless you want them to appear old, who solely responds to your touch, who’s always full of lively and interesting conversation and information pertinent to your life, and so much more. Can you even begin to imagine a companion who looks the way you want them to, says things in a manner you want them said, does what you want them to do whenever you request it, but doesn’t think, talk back, argue, complain, or resist. Is it a perfect partner or an artificial human companion?




Here are a little more than a dozen technologies that can help you understand how close we are to being able to construct a very sophisticated artificial human. Just try to imagine how these technologies could be integrated to form an entity that suits your needs for companionship.

Security Protocols

Eye (retina) recognition software – security protocol

Fingerprint recognition software – security protocol, responds only to your touch

Facial recognition software – security protocol

Voice activation and recognition software – security protocol

Anti-hacking software – to protect against malware and high-tech criminals

Product Features and Highlights

Prosthetics – breasts, implants, moldings, masks.

Energy efficiency – standby mode

Motion sensors – attentive from the moment you walk in the door

Temperature controlled – cool and warm settings

Dynamic human interaction programming – to profile the user’s personality and to adapt its 
settings to that personality, to form the appearance of a “real connection”

Stain-resistance

Rechargeable batteries – solar, electric, or hybrid

Program encoding

Heat sensors, smoke detectors, and carbon monoxide detectors – responds to environmental 
threats

Hypoallergenic – sanitation

Hydraulics – mating function

Antibacterial surface – sanitation, mating function

Downloading of memories and owner preferences to new bodies – shells

Built-in cellular phone service – advanced activation feature, communication system

4G wireless connection to the web to access the vast reservoir of human knowledge, 
information, and trivia – provides lively and informative conversation specific to your interests and lifestyle choices

These are surely not a complete list of technologies that can be used for the design and manufacture of ideal artificial human companions, but they are an essential list of product features that every artificial companion should be included with, since they are essential to the user. What other technologies can you think of that you would like your ideal companion to be created with or made available as a product feature?

A.I. Robot, a Demonstration

Here’s one example of a robot that’s sophisticated enough to demonstrate how some of these technologies have been used to construct prototypes of ideal artificial human companions. You’ll probably be surprised at how familiar the personality of this robot is to you since it can easily be misconstrued as a relative, friend, professor, lover, or neighbor. Social programming and computer programming for social interaction are not so different from one another. In fact, they are so hard to separate it’s not easy to tell them apart and this robot shows just how difficult it is to identify the differences.

Before you watch the video I just want to bring your attention to a very quick observation. At about 2 minutes into the video a woman talks about how the robots will disappoint us if we are looking for “human connection.” She also asks, “Do we want to make them in such a way that we will love them? Because they will be pretending to love us.”

This is a very interesting comment coming from a woman mainly because I think women tend to be the victims of deception, exploitation, and infidelity more often than men. How often in a woman’s life will she discover that she’s been lied to? Or how many times will it occur that a man will feign a genuine “human connection?” I also think it’s quite common for men and women to sometimes “pretend to love” one another especially when the relationship is strained from conflict or when the love begins to fade. So how different is a human relationship from a relationship with an artificial human companion, really?  



If there are problems with this video, click here


The Office of Human Likeness – A New Government Agency




For the wealthy and celebrities, possession of an artificial human companion could become a status symbol. Remember the early adopters who helped to popularize the cell phone, the computer, and the Internet. The artificial human companion might actually replace or be included among such items as the BMW, Rolex watches, certain brands of designer jeans, and high-end jewelry – a lifestyle accessory for the rich and famous, but soon to be a widespread and popular phenomena. While this and all of the forgoing material in this article have been pluses in favor of artificial human companions, there is still one more issue we should try to cover very briefly.

Unfortunately, there are some legal ramifications that are likely to become part of the discussion for and against the design, manufacture, and sale of artificial human companions similar to those issues concerning celebrity photos, pirated movies, music, and other forms of intellectual property. We’ve all at some time heard about a crime ring that centers on fake Rolex’s, stolen luxury cars, pirated music and DVD’s, and identity theft. But what about the artificial human companion that looks like Beyoncé, Brad Pitt, or President Obama? What laws will be necessary to help protect human likeness from pirated copies of the real thing?



In regard to artificial human companions, their designers, and manufacturers, there will likely be concerns over the right of every person to own, copyright, or trademark their uniquely genetic, biological, or phenol-typical human likeness (image). Like how some public figures have to be sure to control a Twitter account, Facebook page, URL, and other Internet tools in order to protect their name and guard against others who may want to impersonate them on-line, similarly every person on Earth will have to guard against the use of their human likeness in regard to the design and construction of artificial human companions. 




The process can consist of a series of forms and attached photographs of you filed with the proper authorities in cases of infringement. In order to achieve this purpose, I propose a new government agency to be known as the Office of Human Likeness. This office can be established in the same department as that of Copyrights, Patents, or Trademarks and its sole function will be to keep the files of every person who has decided to protect their human likeness against the deliberate or accidental infringement by designers and manufacturers of artificial human companions. I mean, the last thing a girl wants is to imagine what an ex-boyfriend does at night with an artificial human companion he’s had created in her human likeness.

Filing her human likeness with the Office of Human Likeness will protect her from such a humiliating experience by providing her with recourses such as the right to bring a suit to court or the right to collect retroactive royalty payments for the use of her image without her foreknowledge and consent.

Some other salient points in relation to the legal issues involved with artificial human companions and the human images they bare are things like licensing contracts for replication rights (artificial human multiplicity) awarded to designers and manufacturers, crimes committed by artificial human companions, the payment of royalties, lawsuits concerning infringements over human likenesses, prohibiting the sale, transport, and manufacture of artificial human companions with unique human identifiers such as birthmarks and fingerprints.

Conclusion

Now that we’ve covered many of the essential components necessary to a discussion about artificial human companions, their construction, and any legal concerns that would arise from their manufacture and sale, I’d like to made a few final comments.

Earlier I said that the artist is a demanding personality and that their chief talent is rearranging common elements into new combinations or in taking existing elements and turning them into new forms. In the case of constructing artificial human companions, the creative impulse of the artist changes from inventing new realities for others to perceive into designing a companion from which they solely benefit from the pleasure they have manufactured according to their own values and specifications.

Furthermore, the artist can wildly create the artificial human companion with total abandon and without shame because the sensibility they will be seeking to please is their own and not another’s sense of beauty or ugliness. Unlike the art that they are attempting to showcase for the public, the artificial human companion can be a secret creative act and invention that will serve their own preferences in the realm of human relationships.

I hope the ideas of Anton LaVey were insightful and played a role in educating you as to the underlying concept of artificiality that serves as the base for an argument in favor of artificial human companions. Moreover, I thought it would be amusing to try to present the creative possibilities of constructing an artificial human companion in order to communicate how the various features and functions are already available to us thanks to technology.

Lastly, I’ll bet you were somewhat surprised to find out how the media has played a role in shaping our opinions about artificial human companions by consistently portraying images of them before us. Sometimes the images and stereotypes are benign and at other times they are totally horrifying, but either way the images themselves are desensitizing us to their existence, thereby making their future mainstream acceptance into our lives much more possible.

So where do you fall in the discussion on artificial human companions? What are your arguments for or against artificial human companions as an alternative to human relationships?

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Related Music:

Automaton

Toys
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Related Articles:


The Overflow of Creativity: Why Artists Need to Find New Areas to Conquer, New Worlds to Explore

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P.S. To support Stereo Thesis with a financial donation, click here.



Marc








Monday, May 13, 2013

Breaking Glass with the Human Voice

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Here’s a video demonstration with rock singer Jamie Vendera from The Voice Connection on how he shatters glass with his voice. The way he describes how he’s able to do it is by using the idea of matching the resonance of the glass – the glasses natural pitch – and building volume at that resonance via voice alone or amplification to eventually shatter the glass.
I thought this would be an interesting video to catalog for you to further illustrate, not only the power of sound, but also of the human voice as a beautiful instrument and a sonic weapon.

If you have any problems viewing this video, click here.
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Related Articles:

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P.S. To support Stereo Thesis with a financial donation, click here.


Marc
http://stereothesis.com/




Friday, May 10, 2013

The Computer Music Man: Top 10 Arrangement Tips for Home Recording Artists

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DOWNLOAD “SONIC WEAPONS: The Official Stereo Thesis Music Sampler FOR FREE.” To get your FREE full-length album…click here.
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Here’s a really cool blog and post I found several years back. I recently came across it in my files and thought it would be a very informative piece to share with you. In light of the fact that more home recording is taking place than ever before in history, it’s important not only to have the right gear, but also learn how to use it professionally. Because digital software and hardware components are made available cheaply, and in some cases FREE, these 10 arrangement tips should be of great assistance to those of you who are actively doing or becoming interested in home studio recording.

My favorite recommendation in the top 10 list of arrangement tips is #5 – layering. Here’s the way the Computer Music Man describes the power of layering: “Layering is the key to getting a pro sound…it adds fatness to your parts.” This is so true. But layering can even be broken down into a set of more basic elements. The way I think about layering is in terms of complementary or conflicting parts or tracks. The fatness is added when the tracks or parts reinforce one another, rather than conflict or interfere with one another. In some situations during the recording and mastering process, a piece can bog everything down for a very long time just because one has to go through every track sorting out the layering – most often the conflicting or interfering elements. This is why with practice it’s possible to get a feel for what works, what doesn't work, and what may or may not work in a piece gets easier over time allowing the home recording process to become streamlined.

In addition to the Computer Music Man’s 10 tips I’d like to add 2 more of my own.

Filling the Sonic Field


The first is panning. Panning is a very important technical component in arranging music or sound during recording, but even more so in regard to the final step of mastering your tracks. Panning your tracks to completely or uniquely fill the (180 degree) sonic field for your listeners can be thought of as the physical arrangement, in contrast to the compositional arrangement, of your music in the listener’s ear or environment. How you decide to place several different tracks within that sonic field in many cases is just as important as the composition itself.

The sound quality of instruments and vocals from different tracks can interfere with one another if not properly equalized or panned. Equalizing the sound on each track almost always solves the problem of sonic interference, but it’s panning that designs the listener’s sonic experience.

There are 2 types of panning that I use and they can be called:

(a) Static-position panning 

(b) Panning in-flux, or in-motion

Static-position panning is the basic technique of spreading out your music tracks to fixed positions along the 180 degree sonic field. In contrast, in-flux panning is the action of changing or moving your music tracks during the mixing or mastering stage during music production. The beauty of panning in-flux is that the music on any given track can be perceived by the listener as a sonic illusion – sound in motion, moving to different positions within the sonic field. The illusion creates such an effect that it sometimes gets the listener to turn their head in the direction the sound is moving.

Some of the magic of music is in the way the artist, sound engineer, music producer, and others collaborate to decide how each track will be placed relative to the others in the 180 degree sonic field. From my own experience, the exact placement of an instrument, melody, or vocal track in that field can greatly affect the musical outcome for better or worse. Obviously, the primary objective is to make all the layered tracks audible in the earphones or speakers. The next most crucial objective is to put in a lot of thought into the way you want each sound on every channel to hit or attack the ear of the listener and to make that experience exciting.

The Suspense of Silence


Another effective tip I use is muting or editing silences into your tracks. The Computer Music Man alludes to this concept in a few of his suggestions, but doesn't actually state it explicitly. Many years ago I use to dabble with DJ equipment just for fun. What I learned in watching my professional DJ friends do and how they mixed songs together stuck with me and still influences the way I mix my own songs.

One trick, among the many I picked up, is actually non-musical – silence. The DJ sometimes excites the crowd by adding an element of suspense to the dance floor by totally eliminating sound. This silence usually doesn't last any longer than a few seconds (1 – 3 seconds at most) before the music reinitiates. Another detail to this trick involves giving some thought to the 3 dynamic ways you can reinitiate music after a silence.

1) At a volume range softer than before the silence.

2) At a volume range equal to the music before the silence.

3) At a volume range higher than before the silence.

As you can see the dramatic effect of each use of silence varies widely, so be selective about how you use it and the exact response you’re trying to create in the listener. Usually you would use silence type #1 after louder music and silence type #3 after softer music. However, the type #2 silence will be perceived as a pause and registered emotionally as suspense.

Muting in the Mix

While silences and muting seem similar, they are in fact very different. In general silences are something that a composer can add in to part of their composition or performance, whereas muting is something one does after the recording is complete. The least interesting way in which a home studio recording artist can use muting or editing in silences to their tracks is by polishing the tracks – cleaning up excess material off the tracks.

The other way muting can be used is more artistic and necessary to the creation of great home recordings and that’s to experiment with different recording arrangements by removing tracks and testing different music track combinations. This approach requires quick hands, dexterous fingers, and a good memory. With recording consoles larger than 4-tracks, this is especially true and challenging if you’re mixing by hand. It’s much easier if you've got an automation feature in your recording software or digital recording console.

Assuming you've got an 8-track recording console and you've recorded on each track, you can begin to experiment with different track combinations. The muting button or switch on each track will allow you to do this to get a feel for how different mixes sound compared to other combinations. For example, you might a) use tracks 1 and 4 for your song intro, b) unmute tracks 2, 3, 5 and 6 for the verse sections, c) unmute tracks 7 and 8 as well as mute tracks 4 and 5 for the choruses, then use only tracks 1, 4, 5, and 8 fading out for the ending.

Testing various music track combinations will allow you to create several versions of one song. I strongly suggest that you always try out several alternate sets of combinations until you find the one that best communicates your musical vision.

Musical Spotlights

Another quick tip on how to use muting in a cool way is to create a musical or sonic spotlight. A musical or sonic spotlight is the technique of reducing the number of tracks very quickly and for a brief moment to spotlight a musical or sonic event. The genius of this use of muting is that it allows you to highlight a musical feature unique to your song.

The only real trick is in finding the exact sonic threshold with which the spotlight can be created. In other words, you’ll need to find how many tracks you’ll need to mute or eliminate temporarily to form the spotlight. You’ll find that experimentation is required to get the right balance between what is muted and how well the musical event is spotlighted. In some cases, in addition to muting a few tracks, you might also have to slightly lower the volume of another in preparation for a well-defined spotlight.

Here are 3 musical examples by Stereo Thesis illustrating these arrangement techniques:

The Zealot – example of “muting in the mix and in-flux panning”

Bolt Slap – example of “muting in the mix and musical or sonic spotlighting”

Grand Finale – example of “the suspense of silence, muting in the mix and sonic spotlighting”


In a nutshell, these techniques – panning and muting – and other variations of them are 2 additional arrangement tips that can give any one of your pieces an added quality of sophistication. Used competently any one of these techniques will also show your listener that you pay particular attention to detail beyond instrumentation and musicianship. I hope you found these tips helpful and that you will discover new and even more interesting ways to use them in your mix down or mastering processes.

To read the full list of the top 10 arrangement tips by the Computer Music Man, click here.

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Related Article:

Practice Editing Your Music for T.V. Commercials, Radio, Ringtones, Samples, and much more Using Audacity

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P.S. To support Stereo Thesis with a financial donation, click here.


Marc