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	(1) Hi Dec, I need your help. 1. I´m upgrading my studio. That is why I would like to substitute my Presonus Preamp with a real valve driven one. You talked about the Focusrite stuff, which I find a bit too expensive for my project studio. 2. You talked about creating subbass by adding a sine tone from an Akai sampler pitched an octave under the bass sample. I don´t succed with this technique. After hours of EQing and compressing (exagerating) the result is a "muddy" bass sounds. I want Robbie Williams' bass sound. 3. What exactly is the difference between an enhancer and the exciter? F**
	Hi F** If you really must have a mic. pre-amp [I don't use one...much better to insert direct into hard disc recorder...that is the purest sound] use Industry standard. I am not fond of Behringer [built to a price] or Joe Meek [extremely noisy, my personal experience]. You will not add quality unless you use Focusrite, Neve or similar quality....'cheap' will always give you 'cheap'. If you can't afford it ...forget it, the inputs on your desk will be just as good...and no one will know the difference. Sub-Bass...is simple...and is done exactly the way I say in by writings. You are most likely using too much...as most novices [no insult intended] do. Check the relative bass level of your mix towards a chart record of the same genre...you will be shocked at how little 'sub' is present. Sub is kicked off by 30,000 sound systems ...it is not added in the studio. Robbie's bass player is Phil Spalding....he does not use sub techniques....there is no 'sub' added. just good recording techniques [more than likely using a D.I [direct injection box] from the instrument and picking up the sub from the bass amplifier cabinet] Be desperately careful of 'sub'...it will slow a track and can detract from the jump and excitement. The answer to your third question is 'no one knows'! They are purely terms used by manufacturers....the original Aphex Aural Exciter started the trend...it used to be hired only....you could not buy the unit....now the technology is used by all manufacturers. They are supposed to give excitement to a bad vocal....except that the truth is, it is impossible to add excitement to a bad vocal...impossible! A hit is made in front of the microphone....not in the control room! I am extremely fond of the simple, cheap Behringer Ulrafex Pro. Used carefully it can enhance a finished track measurably. I even saw one used 'live' in a big concert rig on Saturday night...Wow! Regards Dec dec@makehits.com Where do the Pro's go to check the Hit Potential of their material? Answer: The 'MAKEHITS' Demo Consultation Service. Check out www.makehits.co.uk/demo.htm .... now you can have the professional service for professionals.
	(2) Hi Dec, I purchased your 'Book' "How to start your own music publishing business for less than £100" last year. I have written, performed and recorded the music for a number of programs and one series that have been shown on National Geographic and some of them are likely to be shown on the BBC and Channel 4. My main questions. 1. How do I sign myself to my own company. I have read your sample contracts - do I just adjust them to give me 100%??? Do I need a contract with myself? 2. Do I write a contract that Nat Geo sign that limits the use of the music to the particular program on their network. If they sell the program to the BBC can I ask for more money? 3. Can I get royalties on all performances on TV (Nat Geo is world-wide) via PPL, PRS and MCPS (if they make a CD of my music) 4. On page 141 of you book there is a contract between Flying Pants and the MCPS is this written by the MCPS? One suggestion to improve you book would be a 'flow' diagram that shows how the process works. Thanks a bunch Dec!! Regards K** H***
	Hi K** It's all heading in the right direction, but I do feel that you should have a 'business' head on. With credentials, that your stuff has been played on TV, then it is easier to flog your stuff to others. You should consider that every time your stuff is played you should be paid for it. Both as writer [MCPS/PRS] and performer [PPL/VPL] Any contract, you issue to yourself from your own publishing company, would be exactly the same as to another writer...you would get the Industry standard royalty of 50%...the publishing company [yours] would get the other 50%. Although I can give you broad information and broad advice, it is much better to speak with PRS and particularly PPL and MCPS, as there are areas which are very specific - and only they would know the answers. They are extremely helpful. It is most important to get everything agreed and contracted before ever making a note of music. It is very similar to writing books...a book is never written, by a professional writer, before the contract is signed and the money is paid over. The publisher only sees an outline. Similarly, you should only provide an indication of what you intend for their project. Finished music can then be classified as 'library' music and available for lease. >>>>>>1. How do I sign myself to my own company. I have read your sample contracts do I just adjust them to give me 100%??? Do I need a contact with myself?<<<<< Each composition should be registered with your own company and each anticipated placing of the composition should be notified to PPL and VPL [they could not know of your involvement otherwise]. Also MCPS [obviously]. As I said above, you, as the writer, would get 50% [or the agreed percentage] from your own publishing company. The people, who 'buy' from you, should log your involvement with PPL/MCPS each time the composition/video/DVD is played on a Public network. That way PPL/VPL/MCPS pick up royalties for you. >>>>>>2. Do I write a contract that Nat Geo sign that limits the use of the music to the particular program on their network. If they sell the program to the BBC can I ask for more money?<<<<<<<< You have this correct...the fine print can be complicated but PPL and VPL plus MCPS will be more than helpful in advising you and providing the right forms.. >>>>.3. Can I get royalties on all performances on TV (Nat Geo is world-wide) via PPL, PRS and MCPS (if they make a CD of my music)<<<<< You have this correct....however you will have to realise that you are now a 'business-man' and in the business of picking up the royalties...this is where a collection company such as Music Copyright Solutions [Leosong] come into their own. >>>>>>4. On page 141 of you book there is a contract between Flying Pants and the MCPS is this written by the MCPS?<<<<<< All the contracts are Industry Standard and a contract issued by MCPS would be similar if not exactly the same. I am slightly worried that you signed a 'release form' for Nat Geo....this would be understood as giving them free reign to play your material without handing over royalties. It shuld be understood that the bulk of your earnings will come from the 'plays' and you should consider never signing a 'release' form again. If your music is 'wanted' and 'sought after' they will pay for it. They would have to pay any other professional writer. Regards Dec dec@makehits.com Where do the Pro's go to check the Hit Potential of their material? Answer: The 'MAKEHITS' Demo Consultation Service. Check out www.makehits.co.uk/demo.htm .... now you can have the professional service for professionals.
	(3) Dear Dec, I've been reading your stuff for a while now and it's great! I look forward to your emails. I'm a musician in my mid forties. I started playing when I was very young and have never stopped. I've got a record deal with an indie in Europe and 2 albums have been released. But.....all along I've been trying to write hits for other artists without any success. A lot of stuff that you have written on your site and emails I've come to the same conclusion myself the hard way! Having said that there is some great tips and tricks I didn't think about that I intend to try! Recently I have started writing and working with a young lad called M***** (who I think you met recently when you played a concert in Cheltenham). He is a today guy, he wants to make it as a singer as I want to make it as a writer...and I figured it would be better to try selling a product in the form of a young artist rather than constantly knocking my head against a brick wall trying to "place" my songs. I realize there is no quick fix or easy route but by what I have said so far, do you think this is a good move? K**
	Hi K** I note you are not a member of The Serious Writers Guild Whenever I get emails, such as yours, I always wonder what you want to hear me say in my answer? The tell tale words are: "musician in my mid forties". It's not the 'mid-forties' that worries me...it's the 'musician'!!!!!!!!! I would think that you are hoping I say that you should absolutely keep going as you are and I will give you a secret phone number of the top guy at Sony who will fall in love with your material and snap you up immediately...always assuming that you are free next Tuesday to play The Albert Hall. And, by the way, make sure to watch plenty of soaps on TV, drink lots of pints of beer and sleep an awful lot. Resist the temptation to listen to the 'crap' in the charts and stick to your love of 60's/70's music. [all said in 'fun'] Sadly, our business is not like that - far from it - and I would think, by now, that you realise that, if you have not had success, so far, then you have been making a few mistakes - if not a lot of mistakes. Life slips by very fast in this business. Bitterness very quickly replaces that youthful ambition and drive. When viewed from the successful side, this business is so easy...it is only hard work, hard learning, being willing to change drastically/radically and then having the persistence and killer attitude to make those £Millions. But then, I would ask you: do you view our business in that way? Only .0003% of music makers do...and that is why the percentage of success stories is so tiny. You would be well advised to collaborate [we have excellent collaboration facilities in The Serious Writers Guild] M***** alarmed me at Cheltenham with his total lack of understanding of what is required for success. A young, good looking guy who needs a mountain of hard work in learning this sophisticated, skilled business. It starts with LEARNING, then the acquisition of SKILLS - then mountains of HARD WORK, and finally the broad shoulders to accept the knock-backs .... until the correct methods win through. And there is only one place I know to learn the correct methods....The Serious Writers Guild Regards Dec dec@makehits.com Where do the Pro's go to check the Hit Potential of their material? Answer: The 'MAKEHITS' Demo Consultation Service. Check out www.makehits.co.uk/demo.htm .... now you can have the professional service for professionals.
	(4) Hi Dec, Hi, we have, what everyone (including some really big, really well respected industry people) reckon, is a major (top 5 UK) hit...I have worked in Ibiza with the dance music movers and shakers for the past 4 years, and for 2 years in the UK before that...and I aint a DJ! The problem is that this is a cover of an old track (not a cheesy remix I hasten to add) and we have clearance from the original label, BUT..... MCPS seem to have ideas above their station, the original record company (a very big name) also don't seem to be able to find the paperwork they issued about 3 years ago when we got serious about getting this out. Have you any inside ideas about getting around/over/stamping your feet(!) this? Also I would dearly love to get in touch with the original artist, if I gave you a name, could you point me in the right direction? He is still very much involved with the industry, with a background similar to yours. M*** H*********
	M*** You give me only sketchy information...you obviously know the problem but you have not set it out correctly to me. First - MCPS have no interest in a record other than requiring the pressing plant to hand over royalties, at source, for the writers and the record company...this is by way of a license....so I cannot see your problem. If you have made a 'cover' [re-recorded the song entirely] similarly there is no problem whatsoever and no permissions are necessary....from anyone....once a song is released, it is deemed as being in the public arena and available to anyone to record and/or perform. I have a feeling you are mixing all this up with 'sampling'....which is a totally different area. Even then, if the song is a Potential Hit, no copyright owner will object to a release - provided a percentage deal is negotiated with the holders of the original recording copyright. The artist rarely holds that copyright [I hold the copyright of Bachelors records that my brother and I record] No one turns down a chance at making money.... You mention that the track is a few years old? Dance music changes every three months [imperceptibly] so this may be where your problem is....the copyright owners would not want to be involved with such an old product. Regards Dec dec@makehits.com Where do the Pro's go to check the Hit Potential of their material? Answer: The 'MAKEHITS' Demo Consultation Service. Check out www.makehits.co.uk/demo.htm .... now you can have the professional service for professionals.
	(5) Hello Dec We all know about the importance of a written vocal arrangement. So, I ask myself how many singers do you use for the vocal arrangement. How many female and how many male singers? (For POP/R´n´B) I work with one singer for all 4-5 voices. (SATB) [Dec: Soprano, Alto, Tenor, Bass] Normally, I record each written voice 8 times. So with SATB + 8 times lead vocal doublings + optional octave doublings for SATB + "vocal trix" I get a total of 72-80 voices of vocal arrangement. I assign each voice to a group channel on my mixing desk. So I end up with ten groups for the vocal arrangement. (4SATB + 4SATB octaves + 1lead vocal doublings + 1vocal trix) Now comes my second question: After adjusting the volume for each voice should I compress each of the nine groups individually and remix them or should I compress the whole vocal mix? F*****
	>>>>>>..So, I ask myself how many singers do you use for the vocal arrangement. How many female and how many male singers? (For POP/R´n´B) I work with one singer for all 4-5 voices. (SATB) <<<<<<< It depends on the track. I record enough voices to make it a Hit Track. You seem to have the idea completely right. >>>>>>After adjusting the volume for each voice should I compress each of the nine groups individually and remix them or should I compress the whole vocal mix?<<<<<<< If the vocals are recorded correctly, they should mix themselves. I usually record each vocal on an individual track and mix down the entire back vocal 'idea' onto two tracks, adding Roland Stereo Sound chorus effect to the vocals...this can give me extreme left-right if required...or I can pan each voice to give the complete stereo spectrum. I never add compression to vocals as I record [I only use compression when recording acoustic guitar]. I use massive compression when I mix. I have a lot of differing compressors available. I find that by strapping a stereo compressor over all the back vocal 'ideas' [there may be three, four differing 'ideas' at the same time] the most important lines miraculously stick out and the whole effect gains a lot of gloss. My current favourite for lead vox is the valve driven TLA Fatman Fat1. A stunning bit of kit with dynamite pre-sets. By submixing each of the vocal 'ideas' and then using a compressor over all the back vocals it takes a lot of the 'chance' out of the mix. Regards Dec dec@makehits.com Where do the Pro's go to check the Hit Potential of their material? Answer: The 'MAKEHITS' Demo Consultation Service. Check out www.makehits.co.uk/demo.htm .... now you can have the professional service for professionals. dec@makehits.co.uk When you get involved with DEC you get ten months of two knowledge packed books a month, stunning advice, today's methods for writing music, making music and promoting it. 24/7 access to the man himself. And you get a 'LIFETIME' guarantee. If you ever pay DEC for anything, if you are not happy at anytime in your life with the product then return it for a complete, no-quibble, courteous refund! DEC means it! That's not only a guarantee it's a personal promise "There Is No Catch" "There Is No Risk" Become a Member of the 'The Serious Writers Guild' PROGRAM CLICK HERE Every Sunday in your Email box FREE - Get the latest issue NOW! 'One Minute With Dec' - quality tips, tricks and professional, money making, know how in one minute..the widest read, weekly, delivered music Ezine on the Net (just CLICK HERE fill in the simple survey - that's all ) Dec's advice : Get in touch personally. Email dec@makehits.com to discuss what you want to achieve in music. http://www.makehits.co.uk/qanda15.htm -- Revised: 20 June 2003 Copyright © 2003 The Serious Writers Guild. All rights reserved. Maintained by: makehits.webmaster@makehits.com | Previous | Next