logo
Currently Browsing: song writer

IAMA Finalist Jeff Gutt becomes new lead singer of Stone Temple Pilots

logo

by Jessica Brandon

Jeff Gutt, a finalist at the 9th Annual IAMA was a runner-up on X-Factor USA. He has just been confirmed as the new lead singer of the Stone Temple Pilots

Jeff Gutt, a finalist at the 9th Annual IAMA was a runner-up on X-Factor USA. He has just been confirmed as the new lead singer of the Stone Temple Pilots

The IAMA finalist has just made headlines to debut as the veteran rock group’s front man.

Jeff Gutt, a finalist at the 9th Annual IAMA (International Acoustic Music Awards) was a runner-up on X-Factor USA. He has just been confirmed as the new lead singer of the Stone Temple Pilots.

Filling the front man slot for Stone Temple Pilots in 2017 is a daunting task. The group, which scaled the heights of mega-rock stardom in the 1990s through the aughts, has seen its fair share of internal strife — particularly the firing of front man Scott Weiland in 2013 and replacing him with Linkin Park’s Chester Bennington — turned public tragedy when the former passed away in Dec. 2015, less than a month after the latter returned to his flagship band.

Stone Temple Pilots is known worldwide when their song “Plush” hit #1 on the Billboard Album Rock Tracks Charts in 1993 and became a world-wide household name to rock fans everywhere.

After searching for a new lead singer with an online audition process, the band faced more tragedy this past July when Bennington committed suicide, leaving the future of Pilots even more in question. It helps explain the air of secrecy surrounding Pilots’ return to the stage last night (Nov. 14) at Los Angeles’ famed Troubadour, when surviving members Dean DeLeo (guitar), his brother Robert (bass/backing vocals) and Eric Kretz (drums) unveiled their new singer in front of a crowd of industry insiders and dedicated fans eager to see the addition to the iconic band. (Adding to exclusivity: the club forcing attendees to put their phones in locked bags for the entirety of the show, though cameramen were on hand to capture the debut.)

Stone Temple Pilots took the stage around 9:15 p.m., with each longtime member emerging one by one. The new singer made the final entrance, the crowd reacting with understandable remove: Jeff Gutt, best known for competing on seasons two and three of X Factor and a hearty rendition of Leonard Cohen’s “Hallelujah,” sauntered onto the legendary stage, seemingly aware that he might be unknown. With his formerly black swoop of hair styled into a spiky bleached coif, the Detroit native wore sunglasses and a nametag across his chest, branded “Hi, My Name is Jeff” that he removed a few songs in.

For the most part, banter was kept through a minimum throughout, even when fellow Detroit rocker Wayne Kramer of MC5 came out to shred an extended guitar solo on the group’s classic “Kick Out the Jams.” Tonight, Stone Temple Pilots let the music mostly speak for itself. It was a tour through their catalog, from hits like “Interstate Love Song” and “Plush” to “Vasoline” and “Down,” which opened the show. The only time the energy wavered throughout the hourlong set came when Gutt announced new Stone Temple Pilots single “Meadow,” meriting a lukewarm response that turned to intrigue once the band ripped into the attacking track.

Between songs, one concertgoer remarked, “It must be shitty to fill in not just for Scott’s shoes, but for Chester’s shoes, too.” That didn’t seem to be of concern to Gutt, who seemed fully aware of the pressures and appreciative of the opportunity, grinning throughout (and at one point singling out his son, who flew in from Detroit to watch his dad from the balcony). He inhabited the spirit of the singers that came before him, his powerful voice toggling between soft moan to powerful roar, his fluid dancing recalling Weiland’s serpentine movements. It was clear that inhabiting the role of Pilots’ front man wasn’t intended to detract from its legacy, but merely to add to it — nothing could fill the big shoes left empty, and he seemed respectful of that.

The rest of the band, meanwhile, lived up to the expectations they’ve set throughout the decades, as tight as any aging rock group with masterful command of their instruments. The notion that they’ve become something of a glorified tribute band to themselves didn’t seem to hold weight as the night came to a close — this new incarnation may have deep roots, but it certainly felt fresh.

For those who couldn’t make the show, the concert is set to air on Friday (Nov. 17) at 5 p.m. ET on Sirius XM’s Howard 101 and Lithium channels.

(Source: Billboard Magazine)

IAMA (International Acoustic Music Awards) has discovered entrants for the past 14 years that have gone on to get signed and hit the Bllboard Charts. Its past winners include: Meghan Trainor, whose debut single hit #1 on the Billboard Charts and sold over 15 million copies worldwide, her debut album debut at #1 on the Billboard 200 Album Charts and she won a Grammy for Best New Artist. For more information on the 14th Annual IAMA (International Acoustic Music Awards), go to: http://www.inacoustic.com

 

Share

6 Music Recording Secrets of the Beatles

logo

6 Music Recording Secrets of the Beatles

by Jessica Brandon

The Beatles in the Recording Studio

         The Beatles in the Recording Studio

The Beatles is undoubtedly the greatest and most influential band in the history of pop music.  Along with revolutionary producer George Martin, ‘introduced the recording studio as an instrument’.

Yet the first two Beatles albums, Please Please Me and With The Beatles, were recorded on very simple BTR two track machines; with the introduction of four-track machines in 1963 (the first 4-track Beatles recording was “I Want to Hold Your Hand”) there came a change in the way recordings were made—tracks could be built up layer by layer, encouraging experimentation in the multitrack recording process. This is a far cry from the unlimited tracks you are able to create on a laptop today.

How did they do it? Here are some examples of creative music production techniques used by their producer George martin and the group and the talented crew of engineers that helped create a catalog of albums that have sold well over two billion copies:

 

  1. Half-speed recording on “In My Life”

There were three separate recording sessions booked at Abbey Road, in which George Martin was there to record the baroque-style piano overdub onto “In My Life”.

Martin initially tried a Hammond organ solo, but was unhappy with the results. He then attempted to play a part on a piano, but had difficulty playing the complex solo in time. Eventually he instructed engineer Stuart Eltham to slow down the tape to half speed, and played the solo an octave lower, so upon playback it gave the desired effect.

There are numerous other examples of the engineers using this technique on Beatles recordings, including extensive use on “Strawberry Fields Forever.”

Using the “varispeed” mode in Pro Tools’ elastic audio can perhaps yield similar results.

 

  1. Backwards Tapes

As the Beatles pioneered the use of musique concrète in pop music (i.e. the sped-up tape loops in “Tomorrow Never Knows”), backward recordings came as a natural exponent of this experimentation. “Rain”, the first rock song featuring a backwards vocal (Lennon singing the first verse of the song), came about when Lennon (claiming the influence of marijuana) accidentally loaded a reel-to-reel tape of the song on his machine backwards and essentially liked what he heard so much he quickly had the reversed overdub. A quick follow-up was the reversed guitar on “I’m Only Sleeping”, which features a dual guitar solo by George Harrison played backwards. Harrison worked out a forward guitar part, learned to play the part in reverse, and recorded it backwards. Likewise, a backing track of reversed drums and cymbals made its way into the verses of “Strawberry Fields Forever”. The Beatles’ well-known use of reversed tapes led to rumours of backwards messages, including many that fueled the Paul is Dead urban myth. However, only “Rain” and “Free as a Bird” include intentional reversed lead vocal in Beatles songs.

The stereo version of George Harrison’s “Blue Jay Way” (1967, Magical Mystery Tour) also includes backwards vocals, which is actually a backwards copy of the entire mix, including all instruments, which is faded up at the end of each phrase.

Essentially every modern DAW has a reverse audio capability, but actually taking the time to write out the performance before the effect is applied will definitely result in something unique.

 

  1. Splicing tape loops together on “Being for the Benefit of Mr. Kite!”

In a 1968 interview, Martin recalled that he achieved this “by playing the Hammond organ myself and speeding it up”. In addition to Hammond organ, a 19th century steam organ was found for hire to enhance the carnival atmosphere effect.  After a great deal of unsuccessful experimentation, Martin instructed recording engineer Geoff Emerick (as instructed by George Martin)  to chop the tape into pieces with scissors, throw them up in the air, and re-assemble them at random.

The resulting effect is quite unique, and fits in perfectly with the rest of the psychedelic Sgt. Pepper’s Lonely Hearts Club Band.

This type of effect (if desired) is not only much easier to do in a modern DAW, it is certainly cheaper than mangling sought-after analog tape.

 

  1. Muffling Techniques

The use of tea towels and other drum muffling techniques on multiple recordings are one of the big trade secrets of the Beatles. As early as 1962, Ringo can be seen using John’s Harmonica to dampen his snare drum.

Whether it be how hard or light he hit a drum, a cigarette pack or wallet on his snare, masking tape or tea towels on a tom, creative mic placement or the type of mic used, the tightening, loosening or complete removal of a drumhead, the use of  calfskin or mylar drumheads, etc. Ringo was a creative genius in the use of basic drum kits and getting the most out of them. It’s amazing. This list of techniques may seem ordinary by today’s standards but Ringo is the guy who knocked down the door in the recording studio with these simple and effective ideas.

Using tea towels or other muffling devices can allow for more control over the volume, attack and decay of individual drums. Especially considering it was common for the engineers to apply extreme compression on Ringo’s kit with a Fairchild limiter, dampening the drums allowed for a tighter, more focused sound.

 

  1. Outtakes, Vocal Warm-ups, Practicing singing on “Oh! Darling”

Performing a song until the performance sounds the way the artist wants it to — what a concept!

McCartney later said of recording the track, “When we were recording ‘Oh! Darling’ I came into the studios early every day for a week to sing it by myself because at first my voice was too clear. I wanted it to sound as though I’d been performing it on stage all week.” He would only try the song once each day, if it was not right he would wait until the next day. In order to make sure he got every precious first take right, McCartney would practice the song in the bathtub. He once lamented that “five years ago I could have done this in one take”.

 

  1. Artificial double tracking

Artificial double tracking (ADT) was invented by Ken Townsend in 1966, during the recording of Revolver. With the advent of four-track recordings, it became possible to double track vocals whereby the performer sings along with his or her own previously recorded vocal. Phil McDonald, a member of the studio staff, recalled that Lennon did not really like singing a song twice – it was obviously important to sing exactly the same words with the same phrasing – and after a particularly trying evening of double tracking vocals, Townsend “had an idea” while driving home one evening hearing the sound of the car in front. ADT works by taking the original recording of a vocal part and duplicating it onto a second tape machine which has a variable speed control. The manipulation of the speed of the second machine during playback introduces a delay between the original vocal and the second recording of it, giving the effect of double tracking without having to sing the part twice.

The effect had been created “accidentally” earlier, when recording “Yesterday”: loudspeakers were used to cue the string quartet and some of McCartney’s voice was recorded onto the string track, which can be heard on the final recording.

It has been claimed that George Martin’s pseudoscientific explanation of ADT (“We take the original image and we split it through a double-bifurcated sploshing flange”) given to Lennon originated the phrase flanging in recording, as Lennon would refer to ADT as “Ken’s flanger”, although other sources claim the term originated from pressing a finger on the tape recorder’s tape supply reel (the flange) to make small adjustments to the phase of the copy relative to the original.

ADT greatly influenced recording—virtually all the tracks on Revolver and Sgt. Pepper’s Lonely Hearts Club Band had the treatment and it is still widely used for instruments and voices. Nowadays, the effect is more often known as automatic double tracking.

ADT can be heard on the lead guitar on “Here, There and Everywhere” and the vocals on “Eleanor Rigby” for example. The technique was used later by bands like the Grateful Dead and Iron Butterfly, amongst others.

 

With today’s technology, you have pretty much carte blanche to create any music you want on your laptop, without even stepping into a recording studio. Your technology you have on your laptop is far more advanced than the recording studios the Beatles used in the 60’s.

 

For more information on the 14th Annual IAMA (International Acoustic Music Awards), go to: http://www.inacoustic.com

 

Share

6 Secrets to Produce Great Recordings at Home

logo

6 Secrets to Produce Great Recordings at Home

by Jessica Brandon

Home Recording Secrets

                     Home Recording Secrets

Remember the old days of recording on a 4 track cassette recorder and find out that the recordings are to plain and you need to go a 24 track recording studio to get a great recording? Well, those days are over. An old laptop with some inexpensive gear can now produce high fidelity recordings that can rival those made in expensive studios!

However, many musicians who aren’t recording engineers can find the task of recording and producing a great track really daunting. Here are 5 great tips that home recording enthusiasts can employ right now to start getting more polished recordings…

 

  1. Obtain a Preamp

Plugging a guitar or microphone directly into your recording interface can often produce a very transparent sound that lacks the warmth and volume that a great track requires. There is an easy and inexpensive way to get a better source sound: plug the guitar or microphone into a preamp first.

A decent preamp one can be obtained for as little as $50 and will immediately add volume and warmth to everything that you record. A few technical things to note: First, if you buy a tube preamp, it’s best to junk the tube that comes with it and replace it with a better one (doing so requires nothing more than a screwdriver) which you can buy at a guitar shop.

An example, I used PreSonus Studio Channel for a mic preamp and it really made a difference in my recordings. I used LR Baggs Beltclip Preamp with Passive 2-band EQ for an acoustic/electric steel string guitar and it made a bug difference in the sound quality.

Secondly, keep in mind that the output of the preamp will require a balanced audio cable such as a TSR or XLR cable. Don’t try and connect the preamp to your interface with just an instrument cable, even though it will fit into the input.

 

  1. Obtain a Large Diaphragm Condenser Microphone

It is important to get a good condenser microphone. I used a Audio-Technica AT2035 Large Diaphragm Condenser Microphone for just $150.00 and I could hear the big difference compared to my previous use of Shure SM57 microphone. The Audio Technica AT2035 is widely regarded as the ideal first mic for anyone starting a home studio on a shoe-string budget. Among the dozens of terrible mics in this price range, the AT2035 is one of the few that actually delivers on its promises.

I strongly recommend that anyone mastering their own recordings, even on a shoestring budget, make purchasing a large diaphragm condenser microphone mandatory. The reason I believe in this item so dearly is that in addition to recording vocals, you can also record acoustic instruments (banjos, acoustic guitars, mandolins, etc.), light percussion (tambourines, bongos, etc.), and a whole host of other things.

If you start buying separate condenser microphones of various shapes and sizes for all of these different tasks then your wallet is going to take a beating, and the results really won’t change all that much.

 

  1. Obtain Good Mastering Software

I use a product called Ozone 7  by Izotope. You can get it for about $250, and older versions of the product can be had for even less. This gives a pretty cohesive, pleasing mix, with enough dynamics to master.

One thing that virtually any new home recording enthusiast inevitably says is, “my track is done, but it’s not as loud or punchy as my favorite band’s tunes are.”

Many folks will then turn to professional engineers to master their finished songs. While these consultants often do great work (at increasingly cheap rates), it is no longer required that artists use them.  If you are like me and like to record a lot of material, using a lot of outside engineer help is just too expensive.

 

  1. Obtain Decent Monitors

Many home recording honchos fall into the trap of buying really expensive monitors for playback. But if you are on a budget like me, nothing fancy is required.

I used a pair of PreSonus Eris E5 5.25″ Powered Studio Monitors, and I obtained it for just $275.00. These speakers sound fantastic; very balanced, plenty of Bass, plenty of volume, etc. At this price and size, you can’t go wrong.

The only important thing is to simply know how your monitors compared to other speakers. Listen to your tracks, as well as commercial recordings on headphones, car stereos, and cheap computer speakers and compare what you hear to the sound profile of your monitors. Maybe your monitors don’t project certain frequencies especially well so you know to turn those up a little bit when mixing. If you follow this rule your tracks will be just as well mixed as the guy or gal who is using an exceptionally expensive monitoring system.

 

  1. Avoid the overuse of Auto-Tune and other Effects

A common mistake that many musicians make when attempting in-home recording is to rely on “Cher inspired” Auto-Tune and other effects that they hear on radio, both pre-amp and post-recording, to make up for the lack of clarity, warmth and overall quality of a recording. Here at USA Songwriting Competition, we have listened to demo tracks where the auto-tune, reverb and other effects overwhelm the song to the point that it is hard for the judges to listen to the actual melody and lyric.

The most commonly over-used effect is reverb, which is all too often used to make recordings sound less ‘flat’ or ‘more professional’. However, the proper amount of reverb to use to remove the flatness of a vocal recording is rather difficult and is why so many make the mistake of drowning out their recordings by making them so ‘wet’ with reverb that the notes become slurred together and indistinguishable.

A rule of thumb should be to always try to record each track as clean as possible, avoiding pre-amp effects whenever possible, and then only using effects to do minor touch-ups or additions afterwards.

 

  1. Obtain a decent Mixing Control Surface

If you use a DAW (Digital Audio Workstation) , you may want to use a decent DAW controller. I used a PreSonus FaderPort 8 Production Controller for less than $500. This 8-fader control surface features motorized, touch-sensitive faders that handle effortlessly and follow automation precisely. Channel controls include all the standards, such as level, pan, solo, mute, and record arm, and a full set of digital scribble strip displays also help to keep you on track. The great thing is that this FaderPort 8 has native support for PreSonus Studio One DAW (got this a few years ago for less than $400).

So, do you have any more tips you wish to add? If so, please add your comments below!

For more information on the 14th Annual IAMA (International Acoustic Music Awards), go to: http://www.inacoustic.com

 

 

Share

How to Improve Your EPK/Press Kit in Six Steps

logo

How to Improve Your EPK/Press Kit in Six Steps

by Kari Estrin

EPK/Press Kit

An EPK/Press Kit

Having an effective Press kit or Electronic Press Kit [EPK ] will not only increase your chances of getting gigs, but will ensure you receive better publicity for the ones you get. Also, that more strategic publicity you’ll receive usually results in attracting more audience members, with the chance for better pay scales and more CD’s/merchandise sold. However, you would be surprised at how often press kits don’t give the important information and delivery that venues, festivals and publicists need. Unfortunately, when your kit is not only ineffective in providing info to entice a venue to consider your booking request, another artist that may not be as accomplished as yourself, but with a well thought out and professional kit, might be the one who snags the gig instead!

Here are six elements of a good EPK which I’ll also explain below. I recommend hosting your EPK on your own web site, as either a separate tab or a link solely for booking, as with your own site you can control the format and the data while sending the venue to one source for everything. You can still keep an alternate kit set up on other digital sites, but I would encourage artists at every turn to ultimately drive the traffic to their own website. It is not uncommon when a platform other than your site is the host, entire kits can be wiped away if you don’t keep up with communications from them.

What Makes an Effective EPK

1) an informative bio

2) a quote page and/or review shorts

3) various publicity shots

4) music to stream

5) video

6) downloadable posters

7) stage plot, sound requirements in your basic contract rider

 

Explanation of Each:

1) An informative Biography

This is perhaps the most misunderstood component of a press kit by artists – as to what makes a good bio and what you should include about yourself. I highly recommend hiring a writer for this, as they will know how to look at your life, musical achievements and make it an interesting and effective read. But if you’re writing it yourself, here are a few tips. First, A bio should captivate the reader with a strong first sentence – perhaps to pique interest or to give an intriguing summation of the artist and what s/he does, filled out in the first paragraph’s subsequent lines. The second and third paragraphs might delve more into specifics about the artist’s current sound, musical life and past achievements. If you’ve received lots of songwriting finalist awards, no need to list them all in a sentence. You can summarize your achievements. Then usually, the last paragraphs might talk about where the artist was born and grew up with some more historical information. Be prudent here, giving homage to your 5th grade teacher or that role in the school play is not usually interesting to others. That said, in general, when writing your bio, when looking at our own lives, we often leave out some of the most fascinating things about ourselves that may stimulate human interest in your story. It’s that memorable content that helps you stand out from a crowd. The trick is in how to incorporate it. Again, If you are unsure of how to write about yourself, talk with friends who may be accomplished writers or hire someone who professionally writes bios. It will be worth it!

2) A Quote page and/or Review Shorts

If you have received some reviews and/or quotes, it’s quite illustrative and impressive to include these in your press kit. The key to selecting quotes when they are three to four sentences long is to create a shortened version of the quote for quick reading. You want the reader to be able to skim over the quotes, not to be weighed down in them. It’s ok to edit out some of what is said – to make the quote have more punch! But, this is also an art, you can’t put words into their mouth, and your edits must keep their intention the same. However, taking out extraneous words or even thoughts focuses the reader to know what the most important take away is. As to reviews, it’s fine to print them in their entirety if they are well written and informative, but many times there will be a lot of filler information found elsewhere in your press kit, so feel free to reproduce a paragraph or two from a longer press clip. If you have a particularly strong and brief quote that sums up the essence of what you do, that may also be included on the front of your website; the top of your bio, placed under your name; on a business card; etc. Do not include fan quotes; try to get quotes from reviewers, people in the business who run/book venues, other well-known musicians, etc. One last caveat – you can use a quote if it is published or asked for, but if someone says something or writes to you personally, it’s best to write back and ask for permission before using – and at that time, they can even clarify what they said once they know you’re looking for a quote.

3) Various Publicity Shots

It’s important to have a good publicity shot – one that is something a newspaper or venue can use to generate interest and attract attention. Depending on your image and branding – having a shot that also can reflect your music is a plus. Clothing, settings and good lighting and camera work are important in getting your shot chosen over others for print. Sometimes a photo editor picks the pictures for previews and it is not uncommon for an unknown artist with a better photo to have it printed larger than someone famous! Therefore I advise hiring a photographer, since if you find one whose work you like, you will usually get a picture that will be more professional which will garner attention. Whether you are looking at the camera, looking away or are relaxing, the shot should convey something about you and your music, albeit in abstract terms. A professional photographer can help you find your best and most interesting camera angles, encourage you to relax and give your shot the polish and nuance it needs. Please avoid taking your pictures in front of barns and brick walls – these backgrounds are overdone. You can scout out interesting backdrops for your photo, or your photographer will have some in mind. If shooting indoors without natural light, your photographer will have the proper lighting with them. You can have a variety of types – head shot, full body shot, horizontal and vertical. The final shots should be available and downloadable in both hi resolution pictures (300 & 600 dpi)and low res (72) for computer screens and should be indicated as such on your site.

4) Music to stream/download

Of course, your kit should include your music – this is easy if you have a CD – you can either include a few (5 or so tracks) from your CD – or stream the CD itself. And if making your music downloadable, you can also have a private link on your site for your whole EPK, or just the music in full, so that only venues/festivals can have that access to your press kit and music. If you don’t have a CD, then put together maybe five or so tracks of your music, well recorded. Indicate if you are about to record an album and that these are some of the songs that you will include. If you are a band, whether in a recording, demo or video, record your sound as you usually perform. However, if you are a singer songwriter and usually perform solo, your CD most probably will include other instruments that you don’t take on the road, but that enhance your sound. Venues look for what is somewhat reproducible in your performances, but not literally. Instead, leave off those drum kits and electric guitars if you don’t perform with them, but it is fine to add bass and some additional instrumentation that doesn’t dominate your sound. Read on to the next section as venues not only need to know what you sound like on CD or recorded, but also live.

5) Video

When booking a gig, it is important for many presenters to know how you are live in performance, not just what you do on your CD. So instead of hiring everyone who played on your CD to record your booking video, when you may only intend to bring two or three or go solo, be sure to include at least one video on your site that represents you in performance. It’s always a plus to have a two or three camera edited shoot, but not necessary if your video, which can even be recorded on an iPhone, is recorded up close enough to see your face, (not from a distance where you are barely visible) that is not shakey (!) and that the sound is not muffled or distorted. That type of video will turn off a promoter. Also, If you’re planning a nationally-released recording, it is always an advantage (but not necessary) to have a story-line type video, in addition to a straight-up performance. Some artists also may include a video of their own story – a bit of a biography – and these can be fun. Just keep them to roughly 3 minutes or so, to hold the attention of the viewer. If you sometimes play solo, but can also bring a trio, record the trio – when you negotiate your contract, then you can see if their offer allows you will bring the trio, come as a duo or perform solo. The booking agent for the venue will have an idea what they are negotiating for either way, you can quote a price for the trio – then if there is not enough money for all three of you, can offer to just bring the duo or come solo.

6) Downloadable Posters – yes, some venues want a poster or two to put up – usually 8.5 by 11 is sufficient, as there is not always space for a larger one. You might even have postcards they can reproduce with your info. But you can have these different sizes on your site, including something larger like 11 x 17 – with the artwork completely done except for the white space where the venue can print their information and reproduce for their own purposes. Your graphic designer can assist you with this. Make sure your design is professional, clean and easy to use – and having it downloadable frees you of the responsibility of having to mail them to the venues, if they can use the downloads.

 

7)  Plot, Sound Requirements and a Basic Rider (optional)

 

If you can, include this as well on a presenter only link on your EPK, it is helpful to the venue to know where you are standing on stage, where the equipment is placed, who is performing with you and what their sound needs are. There are drawing programs on your computer – where you can create a pro stage plot without much fuss. You can indicate where you are standing, what side the microphone is placed, where the equipment will be, etc. That is referred to the stage plot. You can also include a list of equipment that each person needs, you can suggest brands you prefer and list some alternate brands as well. And all of this can be included into a basic “rider” – a document where you let the venue know not only your sound/light specifics and preferences, but for backstage purposes, what you might appreciate and any other special information in making your performance more comfortable and less confusing. For new performers who are not in demand, you do not want to ask for too much, it is more a guide for your sound and backstage preferences, if the venue can provide them. Just remember, when you send this to a venue, they will read it over, then “mark it up” – deleting provisions they don’t provide – then send it back to you for your signature. But here is a good place to indicate if you have an oversize vehicle to park, if you need a keyboard, etc., so this can all come into your booking negotiations. It just allows the presenter to have the best possible picture before making an offer to you.

Kari Estrin

Kari Estrin

Summary:

I hope these tips have been helpful as a general guideline. Each of these items has a wealth of information to delve into further, but this post will start you off on knowing what components to consider including. It is always preferable to seek out help in areas where you or those around you don’t have the expertise to create your most professional press kit – in terms of graphic design, photography, writing and video, if you are looking for better gigs and to improve your overall profile. You don’t have to spend lots of money for this or record in and with expensive places/equipment. It just has to look well done and sound clean. ­If you don’t know anyone in your area, networking with other musicians may be helpful to help you find these resources. And graphic designers and writers can be found at any distance to complete your work. A good press kit will pay itself back over time in better gigs and more of them! www.kariestrin.com

 

For more information on the 14th Annual IAMA (International Acoustic Music Awards), go to: http://www.inacoustic.com

 

Share

7 Rules of Recording the Singing Guitarist

logo

7 Rules of Recording the Singing Guitarist

by Jessica Brandon

Recording the Singing Guitarist

Recording the Singing Guitarist

The challenge of recording a vocalist/guitarist singing guitarist is that you are, in effect, trying to capture two sources at the same time and in close quarters. The microphone choice and placement that gives you the perfect guitar sound might completely foul up the vocal sound, and vice versa.

Plus, you would think recording an acoustic guitar would be easy. And yet, 9 times out of 10 when I hear a mix from a home studio recording, the acoustic track sounds thin, harsh, muddy, and just downright disappointing. A bad acoustic guitar track can bring the quality of the entire mix down considerably.

 

Rule #1 – Acoustic and Any Noise to deal with

Are you’re dealing with a relatively quiet source, or do you have noise pollution from whirring air conditioning units, computer fans, central heating pipes, buzzing fluorescent tubes, traffic outside and so on? This can be murder, so be sure to vet both your recording setup and recording environment appropriately.

 

Rule #2 – Do Not Record With A DI

Direct boxes are often referred to as “DI” boxes. This stands for “Direct Injection” as their main purpose is to convert unbalanced and/or high impedance instrument signals into a format suitable for direct connection to a mixing console’s mic input – without the use of a microphone.

The rule is never record your acoustic guitar through the internal pickup into a DI. Why? This is because it sounds bad.  I have seen acoustic electric guitars being plugged into DIs on stage at church and other venues but in a recording situation, the recording turns out sounding horrible and unnatural. No one ever listens to an acoustic guitar with their head inside the sound hole. So why do we try to record that sound?

Instead people hear acoustics from outside the sound hole. We like to hear the strumming and the entire body and resonance of the guitar (more on that below).

So please – trust me on this. If you are currently recording your acoustics through the pickup and through a DI, stop today. Use a microphone instead. It will sound infinitely better.

 

Rule #3 – How to Mic the Vocals & Guitar

Try to use separate close mics for the vocals and the guitar, to achieve the most pleasing sound possible on both, and to gain, if possible, a useful degree of separation between the two, which will allow independent treatment at the mix: different reverbs, level rides, EQ and so on.

A friend of mine recorded his vocals on a Shure SM57 microphone with a vocal filter a separate Shure SM57 microphone on his acoustic steel string guitar. He liked the results of his recordings on his tight budget. To my ears, though, while the vocal sound from the SM7 is perfectly usable, it doesn’t come close to that of the Neumann, and personally I would choose the better vocal sound over increased isolation in this case. (If you want that level of isolation with the clarity of a condenser mic, you could try one of the modern stage condenser designs such as the Neumann KMS105, Sennheiser e965, AKG C5 or Shure Beta 87a.)

Another option is to treat voice and guitar as a single sound source (which, after all, is what any listeners in the room will hear) and use relatively distant mic techniques to capture it all in one go.

 

Rule #4 – Minimizing Vocal Spill

You will need to know how to capture a good guitar sound that is relatively free from vocal spill. The challenge in this situation is to capture a nice guitar sound while minimizing vocal spill onto the guitar mics. Without the added complication of vocals to think about, the most common point to focus on when close-miking a guitar is the area where the neck joins the body.

If that didn’t yield the required sound, or we wanted to add a second microphone for a stereo guitar recording, most of us would probably next shift our attention to the area around the bridge, perhaps just behind or below it.

 

Rule #5 – Miking The Voice

Choosing a microphone and mic position for the top half of your singing guitarist is, similarly, about balancing the twin priorities of achieving a good vocal sound and rejecting guitar spill. And, once again, ‘normal’ vocal miking techniques are often perfectly successful in this application, as long as you don’t go too far away. If you’re using a conventional large-diaphragm condenser microphone (such as Audio-Technica AT2035), and you place it as close to the mouth as you’re comfortable with — personally I’d want it at least four inches or so away — then as long as your singer has a reasonably strong voice and doesn’t move about too much, chances are you’ll get a healthy vocal level without too much guitar spill. I usually try to avoid pop shields, as I feel they color the sound, but if your microphone is right in front of the singer’s mouth, you will need something to reduce popping and protect the mic diaphragm from moisture.

 

Rule #6 – Mixing A Singing Guitarist

When you’re just recording solo guitar and vocals, the options available for fixing things at the mix are minimal. If you didn’t get it right at the recording stage, chances are it will never be absolutely right, although there are certainly rescue missions you can attempt. For example, if there are audible phase problems between the vocal and guitar mic, and you can visually identify vocal events within the guitar track, ‘slipping’ the vocal part by a few tens of samples for better alignment can sometimes help. If you use one of the techniques that aims for a high level of separation, you might also find that you can comp the odd dodgy vocal word or phrase in from a different take without it being too obvious.

In general, compressing either the vocal or guitar mics will tend to bring up the level of any spill contained therein, so don’t be too heavy-handed with the threshold control. As this sort of music can often be quite delicate in any case, I much prefer to keep compression to a minimum, and use automation to draw in level changes. Achieving the right balance between guitar and vocal can be surprisingly difficult, so don’t be afraid to make fairly radical moves on occasion. Also, don’t be too aggressive in muting the vocal mic where the singer isn’t singing, because if there is guitar spill on the vocal track, the guitar sound will suddenly change as soon as the vocal fader is raised.

One of the major advantages of gaining some separation between vocal and guitar mics is that you can use two different reverbs, or at least different amounts of reverb, on the two signals. My own preference for vocals is usually something plate-ish, with plenty of pre-delay, and perhaps a touch of slapback echo. On guitars, by contrast, a much more natural reverb is often the order of the day — perhaps something involving mainly early reflections, just to add a bit of life and zing to proceedings. Separation will, of course, also allow you to equalise the two signals independently if need be, although, again, you need to be aware that adding a large high-frequency boost to the vocals will make the guitar spill much more obvious. If you’re forced to use the output from a pickup as your main source of guitar sound, you might need to get much more radical with EQ or even multi-band compression; both piezo and magnetic pickups tend to put out too much mid-range, which will need to be reined in if you are to achieve a natural sound.

 

Rule #7 – Determine what is it you wish to accomplish

This is probably the most important rule is to ask yourself what exactly it is you really wish to accomplish, how you really want to sound like? Can you envision the sound of your vocals and guitar?

The seven rules above, however, are applicable EVERY time you sit down to record a singing guitarist and they will serve you well. Follow them and your recordings will improve. The rest is open to your tastes.

Do you agree or disagree with these 7 rules? If you could add a eighth rule what would it be?

For more information on the 14th Annual IAMA (International Acoustic Music Awards), go to: http://www.inacoustic.com

 

Share

« Previous Entries

logo
©2013 www.InAcoustic.com | 2881 E. Oakland Park Blvd, Suite 414, Ft Lauderdale, FL 33306, USA - info@inacoustic.com