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![Questions and Answers [Number 9]](qanda.gif){kind=small}
"My group 'O2' (like oxygen) won the FONAM contest in September 2002 (the
month I got involved in your program) The FONAM is an institution that
supports recording projects from Uruguayan musicians, so they gave as money
to record our first CD.
Alvaro Fabian Rabaquino [Serious Writers Guild Member - Uruguay]
"
Dec with the Ali and Robin - UB40.... plus the Managing Director of 'Serious Writers Guild' - Vicci Esselle.
You may hate Dec or LOVE him but can he help you? DEC helps all those who ask! Now in 36 countries. Can he help you? you just have to ask, you know.
Quick Reference: check the numbers of the questions then
scroll to the answer.....why not ask your own question? This is only a tiny
indication of what you can get from:
(1) "What should I specifically do to "hook" the band, 'Mana', to produce our songs?" [Uruguay]
(2) "I read something about leaving headroom on digital units?" [London]
(3) "Why can't the volume knob handle this problem instead of using the compressor?" [Nigeria]
(4) "Does a gigging artist have to come up With make up?" [Israel]
(5)"played her a bit of one of my songs and she said to send it in to her c/o Mercury Records" [United Kingdom]
(6)"I'm a songwriter and concerned that much of your course might be devoted to 'performing' and 'getting recording deals'." [United Kingdom]
(7)"If you were stranded on a desert island\nice sounding room with a bunch of great musicians who could play together in a STUNNINGLY vibey way, and wanted to do a live recording of them, with 8 tracks to capture the main balls of the thing, how would you do it?" [United Kingdom]
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(1) Hi DecI wanted to finish your program before starting recording but the deadline is 1st July so maybe in a couple of month I'll have to start it anyway. I started to look for a producer but, believe it or not, there is no one here in Uruguay. (In the style of pop-rock). In the other hand Mana (the Mexican pop-rock group) is coming on February the 24th. Mana has a very intresting sound, which I've been trying to achieve, and they produce their own material. Conclusion: In my opinion this is a great oportunity to get to know the people from Mana and ask them to give me a hand. (produce my material maybe?) DEC - what should I specifically do in this situation to "hook" them or to get the most of this people?? Thanks for your valuable time. Alvar
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Hi
I would feel you were right to hold fire and not rush to the studio until you have some of the 'correct' ideas in your brain. Particularly in 'rock-pop'...it is a genre of music that is extremely hard to 'sell' to record companies. Purely because [like country music] it is the easiest music for a band to play and write...therefore there are thousands of college bands, school bands, doing that kind of music....and it all seems to sound so 'dated'.
The music that 'Coldplay', 'Starsailor' and such bands produce is in a different league...brilliantly written and miles away from college band 'rock/pop'....Coldplay write 2003 Pop music. Music that is 'wanted' by record buyers and totally commercial.
The best way to approach Mana would be to write a correct business letter, well written, to the point, and offering them a 'slice of the action'....whether that is newspaper/magazine publicity or pure 'points' on the record...meaning a percentage of the profits...money talks! If your music is good enough and your band is 'saleable' enough then they would be mad not to be interested!
Don't send them a demo...no one listens to unsolicited demos...they don't even open them since 9/11. Your letter has got to excite them! If you excite them or their management, then set up a meet...
One thing to remember....
They will be in exactly the same position as you....they have to have a great producer as well....why not approach their producer...that makes much more sense to me!
regards
Where do the Pro's go to check the Hit Potential of their material? Answer: The 'MAKEHITS' Demo Consultation Service. Click on www.makehits.co.uk/demo.htm .... even if you have only started, you can have the professional service for professionals.
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(2) Hi DecI've got an outboard CD-R and usually take it to 0db on the rec level input. I do recall however reading something about leaving headroom on digital units. Something about taking the main energy upto about -12db. Can you help? Thanks NIck
Nick
Totally wrong!
All 24 Bit equipment [your CDR is most probably running at that] will only
operate at 24 bit when it is at 0DB. Thus anything less will not be as
transparent as 24bit should be.
When we mix we want everything [including the CDR] to be running as hot as
possible...up in the orange/red areas.
It is very easy to overcook the mix and digital overload is nasty, not like
analogue overload which can be warm and comfortable [like a Marshall amp]
Radiohead use this technique extremely well...they overload the mixes.
You can only get the CD level up to +4 0r +6db in a mastering studio where
they use accurate brick wall compression which is very transparent and will
not allow the transients to go through and overload....that is totally
different to the home based finalizer type rubbish.
When I do a commercial mix I always have it as hot as possible. It is
essential to listen back carefully to ensure no overload...that can be
embarrassing when I go to master it. I always, however, do a cooler mix for
safety as well....saves me having to go back to square one in the mix
studio.
Regards "where the 'lil guy gets the
same chance as the big guy"
Where do the Pro's go to check the Hit Potential of their material? Answer: The 'MAKEHITS' Demo Consultation Service. Click on www.makehits.co.uk/demo.htm .... even if you have only started, you can have the professional service for professionals.
(3)
Hello Dec, from Nigeria
Good morning.I was so happy to hear from you thru your reply..thank you very much for all your guidiance/hlep to making me a GREAT musician..thank you ever so much..
I want to ask this question on sampling..I know you have said before that sampling is an entire subject entirely and I should take my time to study it.. Supposing I want to sample one of Michael Jackson songs i.e "Thriller" (pls note,I dont mean sampling just the guitar,I mean using the whole track) ..do I have to re-create the song all over again by playing each instruments or I sample the song using my Akai Z8 sampler..it really amazes me when I listen to an old album being re-made by a producer and it sounds so crispy and with more creativity added to the song Sean'P-Diddy'Combs does this alot...
Also on sampling, you said you use your Roland U110 with your sampler for strings..can you please expalin this to me..why would you route your Roland U110 to your sampler when you can use keyboard to operate the module then route to your sequencer..
You said something about creating beautiful noises with your Akai Sampler for your projects..actually I have been wondering how great producers create this noise...do you create some sort of percussion or beat that loops for about 2 measures then you pass it thru' your Akai sampler...but this noises I am talking about isn't just sound effects it follows the beat of the rhythm.
1a. One more thing...as an experienced producer what will you say you use your compressor for..I mean how do you make the BEST use of your compressor and when do think it is needed in your recording/mix.
1b. I know the compressor to be a variable gain device where sounds at the threshold level are acted upon ...why can't the volume knob handle this problem instead of using the compressor...when I listen to some commcercial records some sounds are small..most atimes it happens at the background (Rodney 'Darkchild' Jerkins recording) ...is this the job of the compressor?
1c. Can the compressor also help in adding tracks to the mix/distinguishing some tracks so that they can ALL be heard..I notice that Rodney 'Darkchild' Jerkins uses so many tracks in his recordings and still all are heard..what is the secret..is it compression?
I really thank you for telling me/advicing me on the gears I should buy which would be great for my music..
Dec,You shall be blessed more abundantly, thanks for contributing to my life so much..thank you ever so much.
Yours at 'HEART'
'kaykay'.
Hi
This is a re-mix situation where the record company would give him the original recording from the studio, it could be 24 track, 48 track or maybe on Pro Tools, Logic....they would then simply copy all the tracks onto another machine and then replace the tracks he wants to replace with his own fresh tracks. He might do a 10 sec. sample of the original voice, as well, so he can chop that up and make up new creative vocals using the original voice.
>>>>>>your Roland U110 with your sampler for strings<<<<
We would use the same midi signal to the U110 and then onward to the sampler and maybe other string sound modules. Each sound source goes to the mixing desk separately so they can be treated differently, with EQ, efffects, compression , stereo panning ...so the entire string sounds from all the modules and samplers sound like one huge orchestral string section...all played from one midi source. Obviously we would write them as 1st violins, 2nd violins, Violas, Cellos, contrabass....check out the article on string arranging in www.makehits.co.uk/artintro.htm
>>>>>>a large range/types of sound effects are used<<<<<
We use sample CD's which are available from companies slecialising in these...'Time And Space' is just one [check on the Net]. The CD's have individual single samples of all sorts of noises and also have 1 bar, 2 bar, 4 bar, 8 bar loops of sounds plying a loop beat. Also lots of drum sections playing loops many at different BPM's. We then use a sequencer to play, say, a two bar loop on the 1st, 3rd, 5th, 7th beat with each sample lasting 2 bars. then, provided the tempo of the sequencer is the same as the tempo of the orignal loop it should play continuously.
>>>>>..you say you use your compressor for..<<<<<
I use many compressors. And again, it would need a book to describe what a compressor does...it is best to get a compressor and study the manual...and then just use it....then buy as many as you can afford...they are the most important equipment in your rig.
A compressor is like putting a glass lid on a growing tuft of grass. It won't allow the grass to grow any taller than the glass sheet....but the compressor, in doing this, puts the excess grass in underneath the lowest grass.
A volume control [fader] will only boost or shelve the sound.
>>>>> uses so many tracks in his recordings and still all are heard..what is the secret..is it compression.<<<<<
No, the compression will help and put a total gloss on the mix but the secret is the proper use of frequencies...it's all in my releases.
Regards
Where do the Pro's go to check the Hit Potential of their material? Answer: The 'MAKEHITS' Demo Consultation Service. Check out www.makehits.com/demo.htm .... now you can have the professional service for professionals.
(4)
Hi Dec,
We Need Your Help!
This is Yosi Nafkar (Serious Writers Guilde member - NET0778030W)
My brother Ofir Have a Question:
When artist invited to a T.V Show, of course, he has make up
(the TV studio take care of the make up)
By now we understand that for a gig artist have to come up
With make up.
If He invited to a Interview for a newspaper or
Interview at the Radio, should he come up with make up?
for good impression on the Radio/newspaper people.
Is it something that artists actually doing?
From what we know, in our small country (israel)
artist have make up only at TV shows.
Thanks,
Yosi & Ofir Nafkar
israel
Hi Yosi
You are correct.....good question.
Although Tony Blair [UK Prime Minister] has a make person with him
always...because he never knows when someone will stick a camera in his
face. His make-up is quite noticeable.
Use make-up for TV, Film, video....for ALL stage and public appearances in
front of an audience....and most particularly for photographs [with a SOFT
lenses...stay away from digital]
It is wise to know about make-up techniques for theatre and always travel a
small makeup pouch with you [you never know when you will need it]. Just a
professional Max Factor 'pancake', good sponge and maybe a little dusting
powder...never lighter than your natural skin tone. A light mascara can
work well - plus good 'blue' eyedrops [essential] after that 10 hour flight
and an early start at the TV studio. They will film you at 8am and show it
at 9pm in the evening...the public don't know that...and they expect you to
look bright and alive..
It is ESSENTIAL to wear make up on stage as the lights will literally shine
straight through your facial skin and give you a strange white/red image.
The make up is designed to purely put a mask on your skin to reflect the
lights [not to colour your face]. Don't think that every TV studio will
have a make up person...they won't...it's all to do with budget...so you
need to know the techniques yourself...and always have a 'third eye',
another skilled person who will examine, correct and even improve. [not an
amateur relation...PLEASE!]
It is important to present a 'natural' look, if your stage appearance is a
natural, glamorous look... too much make-up will get adverse comments.
Check out the way the TV make-up people do your make-up...it is always
minimal. Normally just eliminating beard line and cleaning out the shadows
from the eye area.
At the end of the day the public buy 'glamour', good skin tone and bright
eyes...that why I emphasise good nutrition, GOOD WORKING OUT AND PLENTY OF
SUNSHINE!
And, by the way, hair is as important, if not much more important, as skin.
Regards
"where the 'lil guy gets the
same chance as the big guy"
(5)
Hi Dec,
My query - also put on the form I just submitted - is:
this morning, I spoke on radio 5Live to Sinead Quinn (ref Fame Academy),
played her a bit of one of my songs and she said to send it in to her c/o
Mercury Records...
So, any tips, please? - plus:
1. how do I protect my copyright, and
2. should I pay for a proper, arranged demo with drums etc, or would a
simple recording (my voice plus guitar) on CD, plus typed words/chords, be
sufficient or even preferable?
Cheers, and thanks for any help you can give,
Nicky (female)
Glad to hear from you...
Hi nicky
The girls have only taken one payment.
>>>>>..1. how do I protect my copyright, and<<<<<
Once a song/composition is committed to any form of hard copy...paper. tape, disc, it is automatically copyrighted...that is - the proof exists that you own it.
The conventional way of date proving is to merely send it to yourself in an envelope, some people register it when posting. that establishes beyond any doubt when the song was copyrighted.
The professional way is to have your own publishing company...a simple matter to organise, provided you don't go near a solicitor [he will charge £2,000 for a few sheets of paper]. Go to www.makehits.co.uk/publishing.htm , you can be up and running in a matter of days.
By having your own business, you copyright and control all your own material - so when a deal comes along [as it seems to be] you are well placed to negotiate for a larger slice of the pot....otherwise, as merely the writer, you will give 50% away straight to the publisher. Check out any chart CD's you have to see the number of publishers sharing the pot of any chart record.
>>>>. 2. should I pay for a proper, arranged demo with drums etc, or would a
simple recording (my voice plus guitar) on CD, plus typed words/chords, be
sufficient or even preferable?<<<<<
Your choice!
It is simple to ask what they require! Under no circumstances send unsolicited demos...they will be binned [9/11?]
Some record companies like what are called stripped down demos - others like the full blown production [Cathy Dennis and Rob Davis provided a full back track for the Kylie hit 'Spinning Around']
Whatever you do, do not rush out and spend money....
And remember that anything you write should fit comfortably between the Number One and the Number Three this week...what are they?
Regards "where the 'lil guy gets the
same chance as the big guy"
(6)
Dear Dec,
Thanks for the 'FREEBEE'. Just one question.
I'm a songwriter and concerned that much of your course might be devoted to 'performing' and 'getting recording deals'. Although interesting, it might be of limited value regarding my own ambitions??? Any re-assurance??
Regards Billy
There is a misapprehension among novice songwriters that you can trot off a quick ditty, send it to one of the many 'scam' demo making studios....then send the finished product [in a second or third hand jiffy bag] to the first record company that comes into your head, strike a $3Mill deal and go and sit on a beach in Barbados - while the Record Company fills up your bank account, and keeps your Ferrari topped up with fuel in case you pop home for the weekend..
That has never happened EVER in the industry and is a total figment of amateur's imagination.
Billy, this business is exactly and precisely the same as studying to be a brain surgeon....it takes time, proper learning, execution and a knowledge of EVERY FACET....and that includes knowing about [not necessarily doing it] performing...knowing about record deals, publishing deals...about what YOU have to do.....there is NO ONE who can, or will, do it for you.
This is not a sit around profession - it is a hard work, hard graft and a 'lot of learning' profession. It's your choice, do you want a challenge, or do you want to sit on your butt?
Regards "where the 'lil guy gets the
same chance as the big guy"
(7)
Dear Dec,
If you were stranded on a desert island\nice sounding room with a bunch of great musicians who could play together in a STUNNINGLY vibey way, and wanted to do a live recording of them, with 8 tracks to capture the main balls of the thing, how would you do it; You have 4 SM58's, 2 PZMs, an AKG451, and possibly a few other (probably crappy) mikes, available for the session, an Atari, a rack of compressors\gates\expanders, an S2000, a D4 and 2 multi fx processors.
regards
Dave
The most complicated question I have ever been asked!
Bearing in mind that I 'hate' live musicians....because I only play with the top guys...the other 97% are total, uncommercial w*nkers.
I would start by obtaining 6 incredible samples of 'anything's. To use right through the track [a Norman Cook trick...that works]
I would set up the routine of the track on Atari...so that I know I have a commercial BPM - 3'30" track that is a radio play, sellable product.
I would write the total track onto computer and ONLY USE THE LIVE MUSICIANS WHEN THEY CAN IMPROVE THE PROCEEDINGS, which most of the time they cannot!
You could be falling into the trap that I have seen too many times....live musicians cannot make commercial music...end of argument...and there is no argument!
It looks like the only way out of your problem is to book Steve Levine to produce....and even then he would want to do it my way!
Regards
Dec dec@makehits.com
Where do the Pro's go to check the Hit Potential of their material? Answer: The www.makehits.co.uk/demo.htm .... now you can have the professional service for professionals.
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"
http://www.makehits.co.uk/qanda11.htm -- Revised: 27 APRIL 2004 Copyright
© 2003/2004 The Serious Writers Guild. All rights reserved.
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