So I was thinking about other ways to help every one and to hopefully get some responses from other folks out there on better ways to record and to maybe get folks to share some tips and tricks that they have found over the years in their effort to capture the sweet spot. This gave me the idea for this posting.
I have found a LOT of info in a lot of places and thought I might share some of my ideas as well for all of you audio engineers and home enthusiast. Below you will find links and videos and I also would kindly ask that if you would like to share your thoughts and ideas please feel free to do so. Lets dig in!!
Grammy Award winning Producer/Engineer Ross Hogarth explains his critical microphone positioning technique using a Royer R-121 and Shure SM57 on a guitar cab.
I own a few of these microphones and when I found the manufacturers website I discovered it was chock full of all sorts of info and helpful links to better understanding and info on microphones and how the work. Here is one link http://www.oktava-online.com/appl.htm
Closed-back headphones such as the Sennheiser HD250 (left) are more suitable for monitoring while recording than open-backed models such as the Sennheiser HD600 (below), because the former design reduces spill from the monitoring signal into the microphone.
However much you rely on a computer to provide sounds and help create arrangements, if you want to include vocals, you still need to know how to mike and record them properly in what may be a less than ideal room. We offer some tried and tested solutions…
A vocal recording starts at the microphone, but before even getting into the issues of mic choice and mic placement, there’s the matter of the recording location to sort out — and it goes without saying that this should be isolated as much as is possible from the physical noise generated by the computer’s fans and drives. A lot of people think they need to buy better gear to sort out a vocal issue, but when you get to the bottom of the problem, it’s often down to the room and its influence on the sound.
Now that large-diaphragm condenser mics manufactured in the Far East (such as the SE Electronics SE1000) have become so affordable, it makes little sense to use a dynamic mic for vocal recording, even if you’re working to a strict budget.
Closed-back headphones such as the Sennheiser HD250 (left) are more suitable for monitoring while recording than open-backed models such as the Sennheiser HD600 (below), because the former design reduces spill from the monitoring signal into the microphone.
Positioning your singer with their back to an non-reflective surface can help avoid a boxy sound when working in a small room — a few panels of acoustic foam or a double duvet are often enough to do the trick.
You don’t You don’t need to do anything too fancy to record vocals, but the mic should be well away from any walls, and the area directly behind the singer should be non-reflective. This could be an area of foam tiles or it could be a duvet, but one point to watch out for is that, in rooms where a lot of damping material has been applied, you’ll often find that it only absorbs effectively down to around 250-300Hz. So what actually happens is that frequencies below 300Hz are allowed to predominate, making the sound seem congested or box
Set up the mic a couple of feet from the centre of the room and make a test recording using no processing at all to see if the basic tonality is OK. If it’s not, the chances are that the problem is with the room or the mic placement, so try more hanging absorbers and move the mic around relative to the walls
I will place more info on working with recording on the next issue. I also would love to have some of you share what are some great tips that you have found thru the years to make great recordings. You never know who might be influenced thru your wisdom and sharing they might have the next BEST recording out in the world.
So there are a lot of helpful tools out there to help you in the creation process. If you are endeavoring to create the best music you can then at home or in a studio or both, you are sure to be inundated by the different DAW’s there are available to you. If you are not familiar with what a DAW is , it stands for Digital Audio Workstation. Basically how you get your guitar, piano, or any other music into your computer for you to edit and tweak to share with the world.
I have found over the years you have to find what works for YOU. You may hear folks swear by this or that but I have found a great tool that works for me and that is what you need to do for you. Find one that does what YOU want it to do and provides the necessary tools to get the job done.
I have used and been using it for years since the first one, I use SONAR Cakewalk Producer Edition, currently running X3 This is the reason why I am writing this little post. I been fine tuning this software every so often to keep my system up to date. I thought about how this is so needed in today’s current business climate. You need to always adjust, tweak what you do to stay in the game and give it your best.
It makes me sad to hear other musicians I know and have met who say, ” I am NO good with computers so I do not use them” THen they wonder why they are not getting to where they want to be. Even if you just start a little bit each day you need to learn about the software and tools that are available to you. Your competition is. You need to take time out of every day or week to learn something new about your craft. This is one way to try to stay on top.
I am going to try to help facilitate you in your quest, I am trying to post information on my website that will help you both creatively, technically and spiritually. The three stones on which we are to build. If you take these little nuggets into your life you just MAY start to find somethings begin to change in your musical career and personal life.
So I encourage you to start with the videos posted below in this blog and also bookmark the other blogs on the website. You will also find other links and pages with tools to help you in your approach to this task of learning and applying what you learn.
If you are looking to find a great product to use as your recording software then I would suggest that you check this video out. Sonar makes a great plateform with a fairly easy learning curve . You will find a lot of great videos all over the net on how to get around it.
This is a great video called SONAR X3 Clinic by Craig Anderton – Berklee Online
Watch, learn, and listen to the Chief Magic Officer: Craig Anderton outline a number of his favorite features in SONAR X3 including:
-The MIDI advantage for songwriting
-Using loops for both songwriting and EDM
-Speeding up workflow to prevent “inspiration atrophy” (effects chains, track templates, browser techniques, etc.)
-Creating your own mixer architecture
-Using “spot” timing correction to tighten timing without destroying feel
-How to make amp sims sound great (e.g. effects chains)
-Mastering in SONAR
You need to copyright your music if you are trying to do anything with your music. If you are trying to get music placed with in Film and TV, played on the radio, or performed by some of the biggest or smallest stars in the music industry. By having a copyright for your music or written works it will protect you and your works from those who will want it for free so they can profit off of your work.
I can tell you that when I first started I did not know much about it and did not even really think it mattered. Then as I started to understand things I had someone tell me I can make a poor man’s copyright. This is a myth in the music industry that the old-fashioned fix of recording a song, placing it in an envelope and mailing it to yourself then guaranteed copyright protection. The post date on the stamp was supposed to serve as proof of the date of origin of the song, provided the envelope remained sealed.
However, this method didn’t stand up in various court cases and has since been discredited. Some folks will tell you it works but who is to say that an envelope’s seal cannot be carefully unsealed and resealed. So if you r going to take the time to do that why not do it right? Do you not consider your work valuable? You think it is priceless yet you will not spend $35- $40 to register it with the US Copyright office or office in your country that handles it?
WHAT is a COPYRIGHT?
Under international law, copyright is the automatic right of the creator of a work. This means that as soon as you write down a song or make a recording, it’s copyrighted. In order to enforce the copyright, though, you’ll need to be able to prove your ownership. In the US, that means you need to register your song with the U.S. government’s copyright website. This will make it much easier to assert your rights if your copyright is infringed. Read on to learn more about how to protect your song with a copyright.
A cool tip I found!!
As a songwriter, composer, artist writer, author it is important to keep track of every song or work you have written, when you wrote it, and who you wrote it with, whether or not you register it with the copyright office. A useful and free tool we recommend is a website such as “MyWerx” www.mywerx.com. There, you can create a free account and log every song you create to help protect your intellectual property rights!
If you want to copyright online (the recommended method):
At the top of the page, it says there are several link options. I recommend you choose “eCO Tutorial.” and “HOW TO REGISTER a WORK.” This will bring up a pages that walk you through the steps of copyrighting your materials online, which includes creating an account on the website and logging in. The account itself is entirely free of charge, but remember that there are filing fees.
Copyright Office forms and information circulars are available from:
Register of Copyrights
Library of Congress
Washington, D.C 20559-6000
Whether you want to copyright online or by mail, go to http://www.copyright.gov/eco. Eco stands for electronic copyright.
If you want to copyright by mail:
At the bottom of the page, it says “Alternate Methods” and gives you a list of alternate ways to copyright your materials and the steps necessary to complete those.
It is very important that you begin the process as fast as you can. If you are wanting to make money off your work or protect it YOU are the one who needs to do it. No one cares more about your work than YOU. Always remember that.
The program will be available for live listening and also podcasting so if you miss it you can still go and listen to the podcast. It should be informative, fun and if you know me a little crazy. I hope you will tune in and share the link with your friends and either listen to the program live or download the podcast.
I will be sharing about the upcoming new release of my CD “Passing Thru”, music licensing and other topics of interests regarding the music of Mark Allan Wolfe. I hope you would tune in or at least help me share this information with folks. It should be a great time.
Life has ups and downs, highs and lows yet it is the music we follow within our heart that will ultimately define who we are and what we become. Tonight, we present to you, the gifted composer, Mark Allan Wolfe.
Mark Allan Wolfe is a composer and an artist in the truest sense. His film and TV compositions run from thought-provoking, high energy, laced with adrenaline and atq times sincerity. Combining heart-pounding Rock ‘n Roll with tributaries of Electronics, World, Hip-Hop, Pop and Americana, Mark’s songs draw on his 25 years of striving for professionalism and musical merger of sound and genre.
His fans span the world and the 1500+ compositions verify that diversity on TV, internet, film and commercials. You may have hummed one of Mark’s tunes not even realizing the tunesmith behind the music. Web site: Mark Allan Wolfe
Grace Peterson is an author, garden columnist and blogger. Depending on the weather, she can be found either pecking on her laptop or puttering in her garden. She is a member of the National Association of Memoir Writers and the Association For Writing Excellence and her work has been published in several anthologies.
Tonight we will speaking of her first book, Reaching. Is it Demon possession or mental illness. A personal descent into cult extremism and the aftermath,.
Grace lives in western Oregon, sharing a home with her husband and four furry felines while their four grown children come and go. REACHING is her first book. Her gardening memoir is slated for publication later this year. Web-site: Gracepete.com
While doing some research on the subject today I stumbled upon an interesting graphic located at the future of music coalition.org website. There is a great article filled with several graphics explaining the how’s and who’s. THis is a nice peice written by Kristin Thomson.
There are several graphics which open to larger ones but if you scroll on thru to the bottome or middle of the page there is a large graphic easy to read. I would like to thank every one over there for this information it was quite helpful. So lets dig in….
How are musicians and songwriters compensated when their music is played on the radio, sold on digital platforms, webcast or streamed on interactive services? Click on this infor graphioc to learn how.through any of the infographics below to see how the money flows, at least on US sales, performances and streams.
graphic of how money flows thru the music business
Acoustic guitar require a rather different approach from electric guitars. For example when recording an acoustic you rarely would send it thru an amp. A much more common way would be to run the signal through a DI box, Mic or both
One thing that makes the acoustic guitar different from the electric is the character of the sound starts with the source. It maybe plain and obvious but it is the reason why when recording the acoustic you do not throw it through an amp for it tends to sound artificial.
From the strumming, the picking of the strings, the air floating in and out of the sound hole, the type of strings even the pick all help to create the sound even the wood which is probably the most important but that is another discussion all together. It is better for you to take the time and experiment with the placements of the mic’s then trying to figure that you will fix it in the mix.
Some cool things you can do to try to capture the essence of the acoustic guitar in recording would be as follows. Start by investing in new strings! Take care to set the action and tuning right for your guitar. If you are trying to capture a great rhythm or strumming groove to make a main music bed, try using a thinner pick. If you want to capture the guitar solo or lead use a thicker pick.
When you are ready to record the guitar, start by placing the microphone close to the sound hole. A small diaphragm condenser is ideal, such as Audio-Technica’s AT3031 or a studio condenser like RodenNT1-A both are excellent and fairly affordable choices and will work well in working in recording other instruments as well as vocals.
Place a mic around 16 inches or so (40cm) from the guitar, aiming it towards where the neck joins the body. It usually gets you a full bodied sound. It will capture some of the dynamics coming from the sound hole but yet will also pick up the sounds evolving else where from the guitar.
What I would suggest is moving it around to find that sweet spot. If you move up the neck you tend to get higher frequencies lower towards the body emphasizes lower frequencies. You will want to experiment for the dynamics of the room your in, placement of the microphones, strings all the stuff just mentioned will depend on the tone you capture.
If you are able and have the finances to I would get two microphones set up. Set one up on the sound hole and another directional microphone aimed at the neck near where your hands play. You will capture separate styles and tones when balanced right will actually bring out the best. You can also place the one microphone in front of the sound hole and another one down deep below the body of the guitar which will emphasize the deep tpnes as well. All I can say is experiment to find out what works best.
The greatest thing is nothing you will be considered strange I have set up my amp in the closet of my apartment and placed a mic in front of it, ran the chord all the way down the hall into where I was playing. I had all kinds of clothes hanging in there. The clothes acted like sound proofing in a way. A poor mans version lol. It isolated the tones and you did not hear the fret buzzing or any other oddities. I also placed an amp in my shower stall,(remember to not turn the water on!) the tile in the bathroom acted like a natural reverb of sorts.
Something I have been experimenting as of late has been combining a DI signal (from a DIRECT BOX) as well as including the several different mic placements. When you mix them all together in the mixing portion you can find a nice balance between the both to create a sonic palette that may just be what you are looking for.
I hope some of these ideas may help you out in your quest in finding that all illusive number one hit. One thing I cannot stress enough is you are only limited at times by your own imagination. Just because some producer or famous engineer has not thought of it first does not mean it cannot work for you. The greatest thing in making music is YOU are the painter that is holding the brush on the mind of your listeners.
Acoustic guitar mic placement ideas
Big body, big bottom. You’ll get your low-end (as well as boomy, so be careful) and a general warmth of the wood in this area well behind the bridge, but not too close to the edge. The clarity of all the notes are not as… clear… here, however, so don’t rely on it to get everything you need. Try placing your mic off axis to decrease the proximity effect of the cardioid microphone.
Twang between bridge and sound hole. Closer to higher strings for more of the brightness. The string sound here is tight and twangy. Off axis will slightly decrease the harshness, as well as pulling it further away by inches. There’s a “solid” sound to the wood as well in this area. If you lower the mic below the strings so it’s approaching the edge where the guitar starts to narrow you’ll get less string twang and more of the “tight” sounding wood tone.
Sound hole balance. Angling down towards the lower strings (again, angled of off axis to help control any boom from close mic’ing). You should get a fairly balanced high to low tone here, but depending on the guitar will lose some of the high-mids.
Bony Shoulders. I’m sure you’ve tapped and slapped the wood at various places on acoustic guitars. Start there to help understand what the sound will be like placing a microphone at position four. The wood is tense and there’s not a lot of space for it to resonate and release, so it’s got some tight mids and a solid woody tone. Of course, being close to the strings and neck, you’ll get a decent amount of pick attack as well.
12 fret subtle and smooth harmonics. Great place for a small diaphragm mic, angled inward to get a balanced string tone with all of the complimentary harmonics from the string vibrations at that position. If you EQ out some of the more harsh (1-3k) attach sounds, you can get some good sounds here that balance with any other mic placement on the body.
“over the shoulder” as a possible microphone placement
A cool link to find some other interesting ideas as well as some test and sound samples of various other microphones and placements that you might find helpful in other areas. I do not know much about the website but I found this page to be a great resource and thought heck you might as well if you came this far your into what I am trying to share with you and your a pretty serious dude or dudet. Check it out here.
The American Society of Composers, Authors and Publishers (ASCAP) is pleased to announce that more than $1.8 million in cash awards for 2012-2013 was distributed to songwriter and composer members by the Society’s ASCAP Plus Awards Panels. The purpose of these special awards, which have been given each year since 1960, is to reward writers whose works have a unique prestige value for which adequate compensation would not otherwise be received, and to compensate those writers whose works are performed substantially in media not surveyed by ASCAP. Close to 3,100 songwriter and composer members of ASCAP received Plus Awards in their January 2013 distribution.
“For more than 50 years, the ASCAP Plus Awards has consistently provided deserving music creators with something meaningful and tangible in the form of recognition and money. Our goal is that these awards not only serve as an additional revenue stream, but also as an inspiration to those just starting out to persevere in advancing their music careers,” said ASCAP President and Chairman Paul Williams. “We are greatly indebted to each of our hard-working panelists for giving their time and effort to this important endeavor.”
Composer and clarinetist Derek Bermel, a recipient of multiple ASCAP Plus Awards commented: “It’s a tremendous honor to be recognized with an ASCAP Plus Award, and it helps pay the rent! The importance of this essential program can’t be overstated.”
Folk singer-songwriter Mary Gauthier added: “I am deeply grateful for the ASCAP Plus Awards I’ve received over the years. The money appears in January, right when I am wondering how I’m going to pay my credit card bills after the music business Christmas lull, and it has saved the day over and over again. For a road dog like me, who travels constantly juggling tour dates, writing, recording and self management, the annual Award helps keep the show on the road.”
The members of the ASCAP Plus Awards Panel are: Leotis Clyburn, Former EMI Publishing Executive and Music Industry Consultant; Andrew Cyr, Grammy Award-nominated conductor of the Metropolis Ensemble; Peter Filichia, New York-based theater critic for the (Newark) Star-Ledger and New Jersey’s News 12 television station; Fernanda Garcia, Public Relations Director/Promotions for El Especial; Joel Goodman, renowned Oscar-nominated and Emmy Award-winning composer; David Hajdu, professional music critic for The New Republic and professor at the Columbia University Graduate School of Journalism; Janeiro Matos, Bachata, salsa, merengue and Reggaeton DJ for Mega 97.9 FM in New York; Emily Mueller, production assistant for Grammy Award-winning producer Nathan Chapman and A&R assistant on projects for Laura Bell Bundy and The McClymonts; Chris Oglesby, seasoned publishing vet and founder of Oglesby Writer Management; Cheryl Pawelski, Grammy Award-nominated Vice President of A&R for Rhino Records and owner of Omnivore Recordings; Ryan Shore, Grammy Award-nominated composer for film, television, records and games; Steve Smith, Opera and Classical Music Editor for Time Out New York; Adonis Sutherlin, Associate Director of A&R for RCA Records; Tera Uhlinger, producer, composer and owner of Revelry Management.
ASCAP songwriters and composers that received less than $25,000 in domestic performance royalties in the previous calendar year are eligible to apply now, and can do so with the online application via Member Access (http://members.ascap.com). The deadline for submissions is July 1st, 2013.
Recipients of ASCAP Plus Awards are determined by reviewing the recent activity generated by each applicant’s catalog in the context of all other applicants’ activity. There are three divisions of the program, which include Pop (cabaret, children’s, country, electronica, folk, Hawaiian, hip-hop/rap, jazz, Latin, musical theatre, pop, R&B/soul, religious and rock); Film/TV Score (written specifically for the audio/visual spectrum); and Concert/Classical Music (symphonic, chamber, instrumental, choral, vocal, electroacoustic, opera, liturgical and educational).
I would suggest that with anything you need to learn and study what you can. If your trying to go at making music a career or make any kind of money of your music you should always do what you can to understand the business. There is SO much to learn and many other folks out there with more info that you have no excuse for not teaching yourself.
This article is by no means and end all but merely a starting point to educate yourself in the music business. I would also like to share with you a few places to visit at the end of this BLOG posting that you may find some helpful tools and insights along with some encouragement. Follow the links at the bottom be sure to share all things withthose in your world of influence for you never know who is listening. Peace
Whenever an original song, with lyrics or instrumental music, is “fixed” in a tangible medium (recorded or written down), a copyright is generated. The copyright owner of a song is entitled to certain exclusive rights in the song under the U.S. Copyright Act. Therefore, only the copyright owner of a song can use the song unless someone pays him to use it. When a copyright owner allows someone else to use his music, the owner is really granting a license in the copyright. A license is a legal agreement between two or more parties that allows one party to use something that another party owns, but does not transfer ownership from one party to the other. The money from these licenses is called publishing.
1. Registration with Library of Congress and optionally, with the PRO (ASCAP, BMI, SESAC) with whom the publisher and/or songwriter are affiliated. Registration provides best protection in the event of copyright infringement.
The three main PROs in the United States are BMI (Broadcast Music, Inc.), ASCAP (American Society of Composers, Authors, and Publishers), and SESAC (Society of European Stage Authors and Composers). Each of these works basically the same way but with a few slight differences. Each boasts thousands of members and many great artists and performers. For instance BMI has over 350,000 members including Jimmy Buffet and The Beatles. ASCAP also has over 300,000 members including Elvis Costello, Jay-Z, and Alan Jackson. SESAC has Garth Brooks and Bob Dylan in their stable.
2. Exploitation – can include sales of CDs, downloads, ring tones, video games, film, tv, advertising and many forms of different commercial licensing usages.
3. Collection – getting the money for the mechanical royalties plus any/all other licensing fees which are sold.
Summary of music publishing
Even as the music industry changes, publishing will always be the “constant” at the center, so it’s important to understand the publishing side of the music business. For example, even if CD (compac discs) sales completely fade out, there will still be mechanicals, synchronization, performance royalties and other streams of income from dozens of traditional and new commercial music licensing types.
License Music wolfiesmusicpublishing.com
Publishing is concerned with the registration, exploitation (Sales), and collection of the copyright.
1. Royalties paid to the songwriter/composer (could be same as publisher) are the mechanical royalty which covers the composition.
2. Royalties are also paid to the performer of the song, which can be the same as the publisher and/or record label.
Publishing is focused primarily on the royalties paid to the songwriters and composers. If you are just starting out, you will most likely be a self-published publisher, which is very common these days, and is the best way to build and expand your future music publishing career and licensing opportunities.
Songwriters receive the following royalties
1. Mechanicals for the composition of the music – paid by the label to the songwriter for the rights to “mechanically reproduce” the writer’s song on CD or download. Note, this occurs whether or not the writer is the performer of the song.
2. Performance – Paid by the Performance Rights Organizations (ASCAP, BMI, SESAC), to the writer(s) of the song when the writer’s music is broadcast over the public airwaves, such as radio, tv, satellite, internet, etc. Note, some music publishers and libraries also do direct, “per program” licensing deals with broadcasters or other businesses using their music.
3. Synchronization for use of music with visual media such as film, videos, slide shows or games, etc. – Paid by the producer of a movie, tv show or ad agency to the writer of the song for the right to “synchronize” the writer’s music to the producer’s moving images.
4. Special use – paid by creators of ring tones, karaoke, video games, etc. to the songwriter for the rights to use the songwriter’s composition work.
5. Print – When music gets published in song books, sheet music or other transcriptions, the royalties are paid to the publisher and the songwriter.
It is important for you as an artist or someone involved with artists, to understand how music publishing works to generate money, but also to generate interest and audiences to continue growing your publishing career and related opportunities. To learn more about the most common music licenses categories and types, I would recommend Types of Music License article.
Brand partnerships are increasingly important to artists and record companies, not merely as a source of revenue, but also as a way of positioning performers and introducing them to new audiences, says the IFPI in its Investing In Music report.
“The right placement with the right brands can really help an artist,” says Andria Vidler of EMI Music. “Artists such as Professor Green and Eliza Doolittle made money before their first albums were released, and their brand partnerships helped position them with fans. Now Pro Green is an iconic British urban act that is looking to go global, and brand partnerships were part of the mix to help him achieve that. The Puma deal is not accidental.”
“My relationship with Puma UK continues to grow and develop, but of late I’m seeing increasing interest from outside the UK,” says the artist. “From my side, it increases my international exposure and allows me to enter markets I may not have the opportunity to do so regularly.”
However, Vidler points out that he rejects as many deals as he accepts. “We wouldn’t sign a branding deal just for the money. If it’s not right for the artist’s career, it’s just not worth it.”
And in France, when Shy’m won Dance Avec Les Stars and a NRJ Music Award, a lot of brands became very interested. “We signed a deal with Yot, the watch company, and Shy’m became a brand ambassador and worked with them to create Shy’m branded watches,” says Antoine Gouiffes-Yan of Warner Music France. “She has been fully involved in the deal and engaged creatively. We weren’t interested in signing deals with brands that just wanted to use her image.”
Where music meets licensing, there’s money to be made. How much money? We have all read about the multi-million-dollar deals for icon bands like the Rolling Stones and Led Zeppelin, but what about the money for the rest of us?
“I have synched quite a few thousand songs into productions over the years,” states Peter Jansson of Janssongs, “and have charged anywhere between $1.00 and $250,000 (U.S.) for each one.”
There are a great many places to earn money from music. For example, there are more TV shows on more cable channels than ever before. There are all kinds of commercials for both TV and WEB. There are tons of electronic games and toys. There are corporate video productions galore. There are big movies, little movies, and direct-to-DVD movies. Never mind an almost endless amount of online opps to find places to get your jams And they all are potential places to put your music, if the rights can be cleared.
So this is just the beginning as you can tell there is a lot more going on here than just a few folks getting music placed. If you work hard at trying to get it out there. If you work hard at making good music, show people your willing to work with them there is almost no telling what may happen. One thing you have to do is try and keep working at it.