MRT:CSW

To start off, I feel that this year’s conference was very well worth while. Not only did it provide good information throughout the panels, but it also allowed for a time to talk and discuss the industry with other professionals. This conference also opened the table for getting plugged into the industry and offered prospective job opportunities. Of the many, I became friends with a few panellists on facebook and LinkedIN. Derrick Euston, from Harrisburg’s Green Room Studio’s also asked for a resume and followed up on a possible internship during this coming winter.

Gigging Musicians:

The first panel I attended was “gigging musicians.” The first discussion questioned whether people and venues would rather pay a DJ or a live band. In order from least expensive to most expensive when bringing in artists, a DJ is the cheapest to bring in, followed by an acoustic setup, then of course a full live show. Of the many differences, a DJ is not able to provide the excitement and liveliness that a band presents. Though our economic time is stressful, technology keeps moving forward and many options are available. In order to get more people to come out to a show, lower the entry price and give away free t-shirts and CD samplers. Crazy John Kerecz kept reiterating how it cost roughly five dollars to get into a show in the 80’s when now it is still only ten dollars to get in. In comparison, gas and food prices have exponentially increased compared to concert prices.

Adam Kowalczyk brought up to the table the idea of doing house parties. A house party can bring in close to $800. The use of myspace, other social networks, and booking sites can aid to moving past your already saturated area of music and fans. “Don’t sit at home! Get out there and opportunities will arise.” Although your band might have a tight sound, if no one ever listens to you you’re going to get no where. Your “passion” must drive your music and sound. The use of email is a great way to get out there but most importantly work on your diplomatic skills. Start doing things yourself and don’t rely on a manager or agent at first.

Once ready, it is important to get a balance of local, home, and distant gigs elsewhere. Good musicians don’t always go far because they never get out there. Before you get involved with a manager, make sure to get something in writing to show a common goal. Adam Kowalczyk mentioned an example of how he got screwed over while recording for his band LIVE due to this problem. Keep yourself relevant and aware. Stay on top with a continuously updated website and put up flyers. “If you don’t toot your own horn, no one else will.”

Another questioned proposed was, “When do bands stop playing for free and start getting paid?” For example, a blues band paid to play in Memphis but in return developed as musicians and got there name out there. Sometimes you even have to pay to play to get your face out there. Do multiple shows in one weekend. Check all around there area you may be playing in and try to take advantage of every opportunity in the area. Try to play on weekends primarily and then work smaller coffee-house-like shows during the week.

Adam mentioned an experience where he went to play a house party and had no idea what to expect. On his way there he was nervous but when he showed up he was just there to play his own tunes and provided background music. The experience may be lame, but you never know until you try, it might even be awesome. Take yours chances and treat everyone with professionalism.

One of the audience members asked how to stray away from covers but trying to interest your audience in your own tunes. One of the panellists said, “Use flavor to spice up the covers as your own and segway/medley into one of your own original pieces.

Engineering:

Secondly, one of my favorite panels of the day, I attended the engineering panel. The idea of the trend in lack of studios and more live sound opportunities was brought up. The primary reason studios are closing up are because of the recent popularity of home equipment. Although home equipment exists, someone with the equipment and experience/knowledge of studio work and signal flow in most cases will produce a better sound. While working strictly studio or following a band on tour, you must be able to listen to the same tune/band over and over again. Once again your “passion” must drive the music/sound.

The panellists made it apparent that the following are very important. Learn your gear, don’t waste time. Learn to be a musician and understand the terms/knowledge on the other side of the glass. Learn to hear. Practice ear training, and determine what you want to hear. Derrick, from Green Room studio, Harrisburg, gave a great example. A producer came into the studio while he was working and said it sounded all wrong. The producer pointed out that instead of sitting down get the perspective of the board standing up. In a previous session, Derrick’s fader levels were all 3dB under unity. Then for six hours they sat together until he was able to hear the difference. I personally still wish our program consisted of an ear training coarse, but I guess I can refer to Golden Ears as a good side project.

Learn to trust each other in the studio. Get to know your musicians and built a trustworthy engineer to musician relationship. You will be set up with random people, so learn to work together. You have to realize that it is not always what you want but what your musicians and producer are looking for. A few examples included one of the panellist’s producers asking for rice for shakers and a compressed vocal sound in a tile bathroom.

When asked what their favorite equipment was they couldn’t decide but suggested to get a good set of speakers or headphone to have reference to when traveling around or hearing your mix later. When you see good equipment at a show you know its going to be a good night. Take the PM5D as an example. All the panellists swore by this console for live shows.

When comparing analogue to digital, they mentioned the use of tape out to get analogue sound and then mixing it down to ProTools. After talking to the Derrick later, he had some good thing to say how Radar does a good job at keeping a decent analogue sound. Digital mixers make live sound much easier, without the need for racks of equipment and processing. They also provide the ease of scenes. Digital is getting better, but some people, including myself, prefer the analogue sound. They recommended getting your hands on anything you can play with and read manuals. A good way to make money is to purchase a small rig, similar to Matt Longo’s setup used later in the drum clinic panel. He uses a mac, 8in/out multi-track ADAT unit, and pre-amps and records live shows and houses.

If you’re not making money selling CD’s, live is getting better and more popular. Shows are now being recorded to a multi-track live and mixed to a stereo bus mastered to a flash drive, along with video, available by the end of the show. The idea of the album is fading in the popular sense but still holds true for music enthusiasts. I myself like to listen to a who artists discography to get a sense of where they came from. Many bands are making money off EPs, singles, and merchandise. Daren said, “It’s a brave new world; it’s mo-town all over again.

After the show it was asked whether the music courses helped after graduation. Music and aural theory were good sources to relate to the musicians and producer, while everyone swore by ear training courses as the most important. When asked, seeing as the panellists were mostly LVC grads, they also said that LVC looks great on a resume. Morgan Stambaugh, Anderson Audio, said its looks wonderful! Not to put Full Sail down but most agreed that it just shows a quick preview into the industry. You must be good at what you do in order to market yourself as an engineer. “Have enthusiasm, work well with people, and don’t be ‘that guy.’” Establish yourself, and people will call.

When asked whether the engineer has a chance to be creative they responded with the following. The producer and the musicians make the final call and it is based on who is paying. There is plenty of room for creatively though. The engineer is said to be the transparent musician to recreat the sound they are after.

Drum Clinic:

After a decent lunch and catching up with Adam Kowalczyk and Derrick Euston, I attended the drum clinic panel. Hosted by Matt Longo, Daren Metz a professional percussionist aiding in the art of tracking drums. The only bad feedback I would say about this panel is that the drummer was being your typical drummer. Yes, he was very talented and had a lot of good tips and knowledge to present to the table during the seminar, he just continued to play extremely loud when everyone was talking. Other than not bringing my ear plugs to this seminar, Matt and Daren had some great information prepared.

To start off, you need a well tuned instrument and someone who can play it. When dealing professionally, make sure you are using the right drum heads for the right application. Tune your toms to the key of the song. Make sure not to forget about the minor details such as greasing your pedals as to avoid noise in tracking.

In order to get the perfect mic placement and EQ set up a cue mix and play around with placement. We were given the chance to hear how a large dynamic microphone sounded in different placements on the kick drum. As the mic is moved further away the mic picks up more resonance, less attack, typical for jazz. While inside the drum there is much more attack and clarity good for fast metal music. The resonance in the previous setup would make the metal sound muddy. Place right at the sound hole, the mic picked up a good, tight sound.

Make sure to avoid phasing issues between the kick drum mic and the overheads. Matt sent both the overheads and the kick drum to the mix and had us listen to the phasing as he moved the stereo (currently X-Y) overhead mic stand in different positions. It was apparent but would have worked better in a studio setting. A good way to experiment with this is by using the soloing feature on your console. When determining the placement of the kick in the room jazz calls for and even mix and more of the overheads, while rock heavily relies on the kick drum.

“Be practical!” Some drummers have sponsored micing but when trying to make money tracking drums Matt focuses on mic placement and works out of his basement studio. Experiment with moving blankets and a drum booth.

Ir was made apparent multiple times that it is better to capture your tracks correctly than trying to record right away. In Matt’s studio, the first hour is free in or to work on mic placement and the setup. It is said that 80% of your recoded track is what you’ll hear in the end resulting mix so get it right from the start.

“Don’t worry about the overload meter when recording drum tracks. If you can afford to and are allowed to push it to get the full sound. “Don’t be afraid to push it a little bit.” After recording to ProTools, he zoomed in on the kick drum’s sound wave to show how a percussive instrument spikes at first and drops to about half instantly and then trails off. You must capture as much volume as possible to get an expanded waveform to get the transience and full sound. When you mix, you should be enhancing your mix, of an already good mix.

After the concert was over a few students were able to get up and drum and a few good tips were mentioned. When tuning your drums the top heads should typically be tight with slightly looser bottom heads. This allows for resonance. Its better to have more sound and be able to fix or tighten later. As seen previously, gaffers tape can work well in cutting back on resonance.

State of the Industry:

Lastly, I attended the State of the Industry panel. Honestly, I couldn’t stay awake at this point but I thought Doug Gould was interesting and was able to catch up with him after the conference. Overall, this was a very informational conference and I feel I benefited very well from the opportunities to get plugged in.

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Tonight from 6-8:30 AES hosted a drum miking session presented by Michael Washkevich

The night started off with the idea of double miking. Be careful of phasing issues. It is best to reverse the phase of the bottom mic when using top and bottom miking techniques.

Most of the mics used I have either seen, heard, or used at one point while mixing or tracking drums but he brought some new mics into the mix. See my preferences page for more miking options.

Bass Drum Techniques:

• internal large diaphragm dynamic and external large diaphragm condenser
• internal large diaphragm dynamic and external speaker wired backwards into a mic preamp
  • just as i posted on a previous post a Yamaha NS-10 speaker is commonly used
  • Mike recommended and demoed the Yamaha Subkick:

  

• dual element microphones
  • these microphones consist of a dynamic mic for lower mid range and a condenser for added attack in one microphone. the mic has two outputs for each mic and mix fairly well
• dual external mics (one on the batter head and the other on the resonant head)
• stereo (x/y, M/S)
• bass “tunnel”
• mic preferences:
  • Dynamic: Shure Beta 52, Audix D6, EV RE20, Sennheiser MD421, AKG D112, EV 868
  • Dual Element: Audio Technica AE2500, ATM250DE

Snare Drum Techniques:

Toms:

Drum Overhead Techniques:

Leakage:

Post Production:

Some of the equipment used:

• Pearl Rack Kit
• Yamaha Subkick
• Shure SM57
• Shure Beta 52
• Neumann U87
• Royer SF1
• Sennheiser 421

Overall a very informative, interesting, and detailed perspective in drum miking. Let us with many great ideas and how to improve the sound of drums in the overall mix.

I’ll continue this post as soon as I find some free time…

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“By today, complete a detailed post on your blog about your thoughts on your choice of major. Any questions? Concerns? Anything in the class that opened your eyes? Turned you off? Anything that’s on your mind is fair game for this post–it’s your thinking, after all. Be honest.” Dr. Hill

Hmmmmm…. my thoughts on my major huh?

Haven’t changed my mind.

As the fall semester comes to a close, I’ve been extremely happy with my choice in major. I’m glad to have chosen and have the opportunity to attend Lebanon Valley College to pursue such a career. I was unsure at first, at how musically oriented the program was, but I’m now appreciative to have the opportunity to learn both the musical and technical side of the field.

At first, I was curious whether we did any live sound production, but after joining AES, things are looking up. I prefer live sound engineering but I’m glad to see that LVC well rounds their students with live and recording sound, sound and physics fundamentals, and fundamentals of music.

I’m also glad to see how many of our alumni out of LVC have been successful in the career. I’m looking forward to internships and observing more studio work during the spring semester.

So after MRT 177, the studio observations, participating in AES, and attending the Music Industry Conference, I can’t wait until sophomore year to dig into the recording classes and studio work!

On the other hand I should probably put forth more work into english and class piano. I enjoy class voice, and should even be putting more effort into my main instrument, guitar. I’m surprised at how aural theory is finally clicking! Not sure whether I made a good decision to take baritone sax lessons in addition to guitar next semester but we shall see. Can’t hurt.

Overall, I’m excited to see what my career path and LVC have in store for me.

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http://lvcmic.com/

Not only did attending the Music Industry Conference this Saturday confirmed my career path but also opened up my mind and gave me new perspectives in this business. Throughout the day a reoccurring theme was “SELL YOURSELF!”

The first panel I attended was “Independent Recording Engineers.” The panelists included Mike Newman, Brad Ziabelski, Tom Volpicelli, and Joe Trojcak. After being asked what software and platform they preferred, Mike Newman was quick to respond with Protools and Mac. Brad Zabelski, owner of Traveling Tracks specialized in mastering, replied with DP-5 and his Macbook. With a more open mind Volpicelli, president and engineer of The Mastering House, responded with Protools on both platforms. Trojcak, owner of Progressive Studios, agreed with using both platforms but with software such as Digital Performer and Sony Soundforge. All of the panelists made comments in agreement that the ear must be developed. “Nothing matters if you don’t know what to listen for and what you should be hearing.” Tips given include but are not limited to, listening to all types of music, becoming familiar with EQ, compression, and frequency, and trying Dave Moulton’s Golden Ears ear training.

They all were asked how they determine which gear to buy without the opportunity to try it before hand. Although controversy occurred between the panelists, they seemed to settle with starting the source with good equipment. Newman argues, “The magic happens in front of the mic.” He also stated, “Use analogue gear when possible to get a full sound from the start.” This caused much dispute but settlement was found on trying gear until you find you like it. Trojcak brought up, “Rent gear, don’t let it be a crutch on your projects, and buy your own gear after trying.” Get to use gear through internships and employers that provide it until you find systems and setups you like. “Pick up recording gear and practice, practice, practice.”

Not only is equipment and training important but involvement and relationships are important to get a head start on. Most work in this field come from the same people/employers so get to know them. It was recommended to get involved in AES, LinkedIN, make connections, and “never burn bridges.” Even interning without pay, with the right people, is worth it in long run. Get out there, get to know people, but most importantly make relationships. Along those lines, broaden your horizons. Make sure you are well rounded and diverse. For example, learn how to work lighting, sound, and anything needed.

In this career the willingness to travel is an option but it is still possible to stay stationary. Volpicelli stated, “ It is possible to have a family, but not a life.” Be willing to make your life your work and enjoy it. Choose something you enjoy and enjoy your life.

The second panel I listened to was “Music Publishing.” As discussed in class the different types of licensing were explained and how the money is dispersed. They did not go into detail with copywright issues because that is a battle within itself. Paula Savastano, publisher with Spirit Music Group, argues that CD’s are still such a popular form of audio along with digital downloading. Illegal downloading is really hurting publishers and the bands producing the music.

When approaching a publisher the relationship is what is important and is not a good idea to shove your music in their face. How do they get your music? After establishing a relationship at events such as conferences, it is important to keep up with them and show them you care. Then later on, your music might come up in conversation and they will most likely ask for a copy to listen to. Relationships are extremely important in this business.

After lunch I was interested in hearing what the professionals had to say about “Independent Record Labels.” The panelists on this panel included but are not limited to Harry Dean, DJ Q-Ball and vocalist of the Bloodhound Gang, and Martin Atkins, owner of Invisible Records. Martin Atkins has been, for 20 years, the owner and creator of his own record label, Invisible Records. He also is a successful drummer playing with bands such as Nine Inch Nails. He is the author of Tour:Smart, a great book explaining the business and how to be successful. He states, “Marketing music is in a sense shooting a dolphin in the waves.” He used this metaphor in a way to explain that not only must one aim for digital formats and sales but also the sale of CDs, vinyls, and/or merchandise.

The fourth panel I attended was “State of the Industry.” Vinny took charge of interviewing Russ Diamond, Emily Kalda, Paula Savastano, and Crazy John Harris. Russ Diamond, the owner of Raintree Productions, is specialized in CD duplication for independent musicians and record labels. He started off with slow success for years but stuck with it to this day where he enjoys his career. There is no extreme pay in his field but he finds his enjoyment in helping bands being successful with duplication and setting up business plans. “Have a business plan.” Russ said he was working with a band with great music for a good year for their CD release but they neglected to work out the album artwork and other important fan based goals.

Emily Kalda, alumni of LVC, is service planner and project manager for Helio, Rhapsody, and Real Networks. Her business offers services such as ringtones, ringbacks, and music on demand. They have opened a Canadian insdustry portal where band can upload their music.

As mentioned earlier Paula Savastano is a publisher for Spiritual Music Group. She started off early in Broadcast Music Inc. (BMI) which led to her success today. She discussed file sharing problems and stated, “Copywright all of you music, even collections.” She mentioned in addition to one of Emily’s comments that they are soon passing a law the allows publishers with bands to receive profit off of ringtones and ringbacks. Along those lines, the video game field with their synchronization licenses are still pulling in a good bit a profit for the publishers and the composers.

Crazy John Harris, owner and writer of Ragazine, is an online radio DJ. He is out to help and lend a helping hand to up and coming bands. He states, “He will broadcast any music sent to him.” He mentions how popular social networking is growing in a way to expose your music and make relationships with people. He also stated, “There is still a need for both social networking and physical product such and CD’s, vinyls, shirts, and other types of merch.” “Have multiple t-shirt designs for sale!” One of the most important lines mentioned was, “Sell yourself, not just your music.” This was a theme shown through the majority of the panelists. “Have a good resume!”

All four of them agreed that it is important to have a solid resume and then have the ability to alter and perfect it for each employer. Paula stated, “Make sure to know what the employer needs and what you have to offer them. They might not even know what they need until you show them. Also be sure to know the questions they will ask you in the interview.”

Paula ended the conference with her comment stating, “Make sure to not only think outside the box, but have the ability to think inside the box when needed.

Among the many things, I learned I need to “sell myself” no matter which aspect of the industry I’m in. I also was at ease the possibilities, job opportunities available, and the future of being able to have a family. It was nice to get the perspectives of professionals and what steps they took to make it to where they are. I need to make more relationships and never burn any of my bridges.

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