PREPARING FOR RECORDING

WHY ARE YOU RECORDING?

The first thing you have to do is figure out what you want to use the recording for.  If you're just looking to cut some rough demos then you don't really have to worry too much about perfect performances and sounds, you can just focus on the guts of the song and the arrangement and so on.   If  your purpose is to make a record that is to be distributed physically and/or digitally then obviously attention to detail becomes paramount.  Just make sure you're clear on that point so you don't spend hours agonizing over insignificant things like guitar solos and tambourine overdubs on a rough demo when you could be spending more time perfecting the vocal melody and song arrangement.

If you're a new band don't feel that you have to record a full-length album right out of the gate.  In fact, I'd advise against it until you record a few demos of your best material and begin to develop a sound and a direction.  Having a record that doesn't have a cohesive sound is usually not a good thing when shopping it around to the major players in the music industry.  If it's not very clear to them precisely what genre of music you're doing then they won't be interested in working with you.  

Doing some quick and inexpensive demos is a great way to get your songs onto a medium that you can listen to with a more objective perspective.  When you're jamming the songs out in rehearsal or live on stage it's really difficult to step outside of that situation and look in.  You're too busy doing your part to be really aware of how the whole song sounds.  Which leads me to my next point.

WHAT THE HELL ARE YOU PLAYING THERE, MAN??

If  I had a nickel for everytime I heard one band member ask this question to another, I'd be filthy rich!  It's so important to know exactly what everyone else in the band is playing.  You must know what the notes and chords are and how it's being played rhythmically.  Pay attention to where the upbeats and downbeats are and make sure that the note and chord choices are always working together.  In fact, not only should you know exactly what you're playing, but you should also have a very good understanding of what everyone else in your band is playing.  Nothing sounds worse than a guitarist and a bassist who are an eighth note off from each other or hearing bad notes being played here and there.

Many bands don't really know what's going on with each other because when they rehearse, the volume level is up around 115 db and at that level a little thing called psychoacoustics comes into play and your perception of what's happening is greatly distorted.  Here's an excerpt from a great article I came across.  For those of you who are interested in reading the whole thing, here's the link.

THE TALENT KNOB

Many live sound engineers are familiar with the experience of listening to the tape of a loud show, only to find that what had seemed like a good performance was in fact plagued by out-of-tune instruments and off-key singing. Though the deficiencies of such live recordings are often blamed on the necessarily incomplete nature of board tapes-we are talking about "sound reinforcement," after all-this only explains problems with mix balance or EQ. Critical bandwidth, the ability to discern tone or pitch within a range, is affected by high SPLs and, as a result, many singers will pitch slightly flat in loud environments.

This extra reason why louder sounds better is also a barrier to improving the performance. If you've been in search of the missing "suck" knob, here it is. As volume increases, what might have sounded out of tune or off-key now sounds okay. The widening of critical bandwidth makes it harder to discern tones that are close to each other when it's louder. Similarly, cramped rehearsal spaces can give false impressions. Another example is garage bands that go from clubs to larger venues and have trouble getting their sound right.

A simple remedy for this problem is to turn down in your rehearsals once in a while as you're working out all the finer details of your songs.  Once everyone's on the same page and and the whole band is locked down, then crank it up and wake the dead!  Just make sure you're wearing earplugs to protect your hearing.

TWO GUITAR PLAYERS

This is really an extension of the last point, but I think it's important enough to mention separately.  If there's two guitar players in your band, make sure they both know exactly what each other is playing.  No two guitar players will ever play something the same unless they make a conscious effort to do so.  The end result of not paying attention to this will just sound messy and unorganized and it will magnify itself greatly in the recording and mixing process.  Take the time to work it all out before you come into the studio and you'll be so glad you did.

"BUT  WE CAN'T DO THAT LIVE!"

Don't limit yourself to what you can pull of live.  In most cases that's not what's best for your song.  Playing live and recording in a studio are two totally different worlds and one has very little to do with the other.  Listen to records you love and you'll soon realize that a four piece band couldn't possibly handle playing drums, bass, five or six guitar parts, percussion, keyboards, and an 18 part vocal harmony all at the same time.  Even live albums are not really live.  Don't kid yourself, there's just as much studio magic on "live" records as there is on studio recordings.

THE LITTLE THINGS

Don't forget the little things when you're preparing for a session.  Bring an extra set of strings, an extra snare head, drum keys, lots of picks, and any tools you may need for your guitar's locking system or for an emergency repair on an instrument.  If you have active electronics, bring an extra battery just in case, because even though it's never too hard to find a convenience store that sells batteries it's still a pain in the ass to have to stop the flow of a session to run out and buy one. 

Make sure your gear works.  If something is showing signs of acting up before a recording session, either have a back up or don't bring it at all.  Bad cables and output jacks on guitars and basses or a kick pedal that's falling apart will just eat away at your precious time.

HAVE FUN 

Recording music is a blast!  Nothing is more rewarding than hearing your songs come to life in the studio and then sharing it with your fans and getting feedback on what you're doing.  The more you record, the better you'll get at it.  You'll get a real sense of what works and what doesn't work and in the process you'll become a better musician and songwriter.  So take some time to go over some of these points with your band and then get busy recording some tunes!

RECORDING WITH RESTRICTIONS AND HUMANS

If you haven't seen Dave Grohl's "Sound City Movie" yet, you should definitely check it out. I found it very inspiring and it was a great reminder of why I got into this business in the first place. Sometimes we get so caught up in minutiae that we forget what's truly important to us and that usually leads to frustration and takes the joy out of the activities we engage in.

THE HUMAN CONNECTION

One of the big messages that came across throughout the film was the idea of getting together with other human beings and making music rather than sitting alone in your bedroom with a USB mic and a laptop loaded with a DAW and every virtual instrument known to man. The human connection is what has fueled the creation of the best stuff the music world has to offer. When a musician sits alone and produces a recording with a computer and some canned instrument samples, it tends to come off as sounding one dimensional and lifeless not to mention the fact that it's not nearly as much fun.

Grohl, along with the other heavyweights featured in Sound City Movie, encourage musicians to get together and play off the energy of each other and ultimately create something that is greater than the sum of its parts. And to do it in an honest and spontaneous manner so you can find and nurture your own musical voice.

RESTRICTIONS BREED CREATIVITY

Another strong message in the movie is that with the recording technology we have available to us today, we tend to use it as a crutch to the point that we're not challenging ourselves as musicians as much as we used to. We have the attitude that we can just fix it in the computer later and consequently we don't practice our craft to the extent that we should.

There used to be no other choice back in the days of analogue tape. You either nailed it, or you didn't. That's why when I listen back to those older records, the musicianship blows me away! It's certainly not perfect, but the 'flaws' that exist are a part of the overall charm and awesomeness that comes across. And we shouldn't confuse human error with just plain poor musicianship. Those tasty little 'mistakes' are not born of neglect for practicing the instrument, but rather from the innate imperfections inherent in every human being. In other words, don't perform something poorly and then assert that it's your 'feel.'

There's also something really fantastic about having only a limited number of tracks to record on. With today's DAW's we can record track after track after track until we're blue in the face. Is this making the song better?  In most cases I vote no.  I think Keith Richards once said something to the effect of, "If you can't record a song properly with eight tracks then you don't have a good song."

I think this is an exercise that all bands should engage in if not all the time, at least once in a while.  It will challenge you to make something happen during the actual performance of your track rather than just hoping you can fix it later. If you want something to be played behind or ahead of the beat or really dynamic then play it that way.

By taking this kind of approach you'll discover exactly where you're at as a musician. And if you don't like what you're hearing back through the speakers, you can keep practicing your butt off until you do. If your whole band does this, you'll be a well-oiled machine and rather than using technology to fix your lack of ability, you'll be using it to compliment and enhance your musical brilliance. 

So go grab your instrument and start honing in on exactly what kind of player you want to be!

A MILLENNIUM TRIBUTE TO IRON MAIDEN

There's an IRON MAIDEN tribute CD available now on Versailles Records entitled "Two Minutes To Midnight" and one of my favourite Toronto bands, MIND MECHANICS is among the great artists that participated.  The album also includes current/former members of IRON MAIDEN, JUDAS PRIEST, MEGADETH, TRAN-SIBBERIAN ORCHESTRA, METAL CHURCH, LIZZY BORDEN, LILLIAN AXE, and more.

Mind Mechanics covered a track called "Moonchild" from Iron Maiden's 1988 release "Seventh Son Of A Seventh Son."  The band and I produced the track at my studio here in Toronto, TRH Music Group and then shipped it off to Andy VanDette at Masterdisk in NYC to put his magic touch on it.

This was a huge thrill for us as we have all been fans of Iron Maiden for decades, particularly singer Michael david Wolf.  We wanted to take a real organic approach to this track and not over produce it, so we would maintain more of a classic Maiden sound.  We all learned the track from the original version and spent some time blasting it out in the rehearsal room.  When we got into the studio we didn't do a million takes of anything as we wanted to keep the energy high and not over think it.

Have a listen to the track for yourself here!  We hope you enjoy listening as much as we enjoyed recording it.  And if you're a diehard fan, pick up a copy of the album for the collection and CRANK IT UP!!!

 

MIND MECHANICS is:

John B. Stitt - Guitars

Michael david Wolf - Lead Vocals

Michael Zachary - Bass

Gene Celeste - Drums

Are We Attracted To Struggling Musicians?

Is it cool to be a struggling musician these days? Most bands/artists I come across seem to be very willing and quick to share with the world that they are not doing very well with things like physical sales, digital downloads, merch sales, concert attendance, etc.  I suppose the notion is that it will create awareness of the challenges that independent artists are facing and perhaps many will have sympathy for these struggling artists to the extent that they'll actually purchase something from them or attend a live performance.

I'm wondering if this is a good approach.  It's kind of like being in a relationship with someone who's needy and clingy where you feel that the person is more of a nuisance than someone you want to be with.  I don't remember viewing the artists I supported as being some sort of charity.  I don't remember feeling as though I was doing them a favour by buying thier music, merch or concert tickets.  In fact, it was the reverse.  I felt as though I was lucky that they were coming to my city to perform and I'd actually be able to catch a glimpse of them as they rolled through on thier tour.  I would purchase a T-shirt and wear it proudly so as to announce to the world that it represented, in part, who I am.

Now it seems that there's this attitude that the artist has to beg for attention and beg people to buy their music and merch.  Pretty soon we're going to see late-night infomercials with celebrity actors (because the movie industry seems to be doing quite well) encouraging the common folks to step up and support starving musicians for only a dollar a day.  When did this 180° turn take place?  Is this how it's going to be from now on?  Are we going to expect artists to be mysterious, intriguing and rebellious, but also constantly look to us for our approval and perhaps a handout here and there?  

This current model seems really backwards to me.  I've always been under the impression that an artist was supposed to be so compelling that they'd win our attention for the long haul because they are offering something that truly resonates with us, something that we actually want.  They're offering us an experience that we are excited about being a part of.  I think people are generally much more attracted to those who exude an air of success rather than those who are constantly in a state of need.  The saying "Fake it till you make it" is good advice.

KISS always put themselves out there as already being successful.  In their minds and in their actions they were already stars, they were just waiting for the rest of the world to catch up.  For their first gig in NYC they rented a limousine and arrived in style giving their audience a sense that they were witnessing something great.  This was the attitude they approached everything with. They didn't beg their fans for anything, they simply put together an entire experience around their music that was undeniable to say the least.

I understand that you have to make people aware that you exist, but try to do it in such a way that your potential audience will feel like they're getting something great in return.  It's all about how you make them feel and how you spin things can make all the difference in the world.  Too often the message I'm getting is very one-sided.

5 Common Myths In The Music Industry

There are many myths that have permeated the minds of musicians over the years and led them to believe things that were not helpful in moving their careers forward. This is an area where you really have to take some initiative and dig up the facts for yourself, otherwise you'll always be banging your head against a wall wondering why things don't work the way you thought they would.

If you're looking at documentaries of your favourite bands and interviews that you see on TV and online, you'll barely be scratching the surface. Besides, these sources are promotion vehicles for the artist and they're only going to deliver the information they want you to know to serve their motives. Head down to the local book store or jump online and have a look for some material to get you started on the road to getting smart.

Here are five of the myths I find to be quite common among musicians.

1.  Once we get signed to a record label or management deal we can relax and just focus on writing, recording and performing our music.

This is simply not true. In fact, you'll find that you'll be busier than ever before when you sign on the dotted line. You'll have more resources and opportunities to explore and this means that you're going to have to be right on top of your game. It's in your best interest to be in the know about all the things that are going on with regard to your career. A label rep or manager is going to need you to work along side them in order to get things done in an effective and timely manner. If you expect these and other industry professionals to take care of everything for you then I can pretty much guarantee that their interest in working with you will quickly fade away. The idea is to build a team around your band and your brand and you are the core of that team. No one will ever care more about your career than you, so always make sure you're very involved and the likelihood of great things happening will increase dramatically.

2.  When we sign a record deal, the record company is ultimately working for us.

Make no mistake, if you sign with a major label, you are essentially working for them. They will be making many of the decisions regarding your career and how things will play out. They will control things like when you record, where you record, who you record with, when you perform and what the cover of your album will look like. If this doesn't appeal to you then signing with a major is probably not for you.

3.  Any artist who's sold a million records must be rich.

If an artist has sold a million records under a major label, not only are they not rich, there's a good chance they're still unrecouped with the record company. This means they have not sold enough records to pay back the money advanced by the label. The artist must recoup the advance through their paltry artist royalty rate, which is usually around 12 – 15% and is reduced even further when you factor in producer/mixer points, management fees and packaging costs. The advance is for recording, video production, tour support, etc, and the artist has to live off what's left. If there's nothing left – and in many cases there isn't – that's not good for the artist.

This scenario is even worse for artists who don't write their own music because they generally don't share in mechanical royalties, performance royalties and other publishing monies.

4.  If we had a wealthy investor to shovel some money our way we'd be huge!

This is pretty much never true. An artist's lack of success will seldom have anything to do with the amount of money at their disposal. When you look a little deeper, you'll usually find that there are many other bugs in the system that are keeping them from rising to the top. For instance they may not have strong enough hooks in their songs, a clear vision of who they are and what they're trying to convey to their audience, a recognizable image, a story that resonates with people enough to convert them into fans, a riveting live show and so on.

Not to mention, none of us can really know what's going to fly and what's not, so all any of us can do is just put something together that's honest and make sure that we have all of the above points in check. From there on, it's up to the people to decide what's going to succeed or fail.

5.  I have a Pro Tools rig in my basement, so I can make records just like the pros.

There's no question that technology has bestowed upon us the ability to achieve professional recording quality for a fraction of the cost that labels have historically paid for their artists to make records. But this does not mean that you can yield the same results in your home studios just because you have access to comparable equipment.

Major labels still typically spend a pretty penny on producers, engineers and studio time to ensure that they'll have a commercially viable product at the end of the process to bring to the market place. I believe one of the most important factors in creating a successful album is the producer. If you were to place Daniel Lanois (U2, Neil Young, Peter Gabriel) and an amateur in similar recording studios with similar artists to make an album, I'd bet that at the end of it all the recordings that Lanois produced would be of superior quality simply because he has a tremendous amount of experience. He's been through the record making process many, many times and he knows how to get the job done and get it done well. Just as your average Joe wouldn't win a race against and professional race car driver with the same model car, an amateur producer cannot compete with the Daniel Lanois' of the pro audio world.

So the lesson here is to learn to question everything. Don't just take things at face value or hold on to the beliefs that you'd like to be true. Find out what's really going on and put yourself in a position of power. To your music business education and success!