A Wonder of Science - Working With Samples and Loops

B. Thomas Cooper - Editor

Sound and Recording - blogment -
National News wire - The Infinite Echo

A Wonder of Science, indeed. Here is an interesting anecdote on the subject of home studio recording. A few years back, when I was first learning to utilize the various audio software products available, I was experimenting with creating loops from commonly available samples, and soon found myself caught up in the moment.



I had begun by looping a simple guitar riff, added a bass line and some percussion samples, and before I could catch my breath, I had dialed in a dynamic microphone, and was recording thick layers of vocal overdubs. At the time, I was still under the impression I was only testing the new software, but soon hooks and melodies began to develop. The song was writing itself. I was on a roll. Such is the peril of the creative process.

I quickly lost count of the endless cups of coffee I was consuming, at an ever more rapid rate, I might add. As the evening progressed, I soon found myself returning to the original samples, creating what would become the verse and pre-chorus sections of the song. Again the lyrics and melody came quickly, and with little of the usual self loathing or trepidation.

Before the session could draw to a close, I realized I had written an entire song, starting at the end of the song, and finishing with the bridge section. The irony was in the working title, which wound up being the actual title, and the theme of the song as well, The song, A Wonder of Science, is about advancements in technology, and how they effect our culture.

You know, I still listen to the song with a bit of amazement myself, having written countless songs, but certainly none in the manner in which I composed Wonder of Science. In all, I believe I recorded somewhere in the neighborhood of forty-six vocal overdubs for A Wonder of Science. It was quite an experience.

In fact, I later recorded a video for 'Wonder of Science, which is, of course, available on YouTube, MySpace, Spike, etc. Staying true to the original theme of the song, I also handled all of the camera work and video editing chores for the project. If you should feel so inclined, please take a few minutes and go check it out some time. It was a unique project, with an interesting outcome. The project successfully demonstrates what even a beginner can do with some of the new, reasonably priced digital software. Yes, I know; I don't really qualify as a beginner, but you get my point. A Wonder of Science, indeed!

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Soundproofing Your Studio

B. Thomas Cooper - Editor

Sound and Recording - blogment -
National News wire - The Infinite Echo

A close friend of mine, record producer and studio designer Tony Bongiovi has an unusual way of approaching the theory of soundproofing. It is a mindset that has served him well during his four decade-plus career in the music industry, and it helps explain why he gets paid the big bucks to arrive at such obvious conclusions.

Mr. Bongiovi is primarily remembered for his work with artists like Ozzy Osbourne, the Scorpions, Jimi Hendrix and others, but in the music industry, he is also known for designing world class recording facilities. His crowning achievement being the incomparable Power Station Studios in New York City, where Tony had a hand in the recording of over four hundred Gold and platinum albums.



But just what does Tony know about soundproofing that the rest of us don’t? Nothing, really. It’s all common sense, admittedly, a rare commodity when addressing sound pressure issues and learning to control transient response.

Sound travels much like a rubber ball in a handball court, or perhaps like that little cube in the old ‘pong’ video game. Sound does not stop when it reaches an object. It keeps bouncing around. When sound encounters an object, some of the sound is absorbed by the object, some bounces off the object, and some travels through the object and is transferred to other objects. The sonic properties of each and every object within the studio will ultimately effect the sonic properties of the original sound.

Volume can be a major issue in even large studios. High levels of sound pressure will adversely effect the recording process. Your guitar may sound great on eleven, but the room doesn’t like it, and even expensive microphones can’t effectively reproduce the sound emanating from your speaker cabinet.

So what then does any of this have to do with Tony Bongiovi or soundproofing a recording facility? I was just about to get to that.

As Tony would say, first, ask yourself the following question. Am I soundproofing to inhibit unwanted sound bleeding into other rooms (like say perhaps the neighbors office next door) or am I primarily concerned with gaining control of the sound being produced within the studio? Obviously, these are two very different questions requiring very different solutions.

As I stated earlier in this article, every physical object in the studio will effect the sounds being produced. Padding the interior of the room walls with high tech soundproofing material is a great start, but it won’t cure all of your problems. Microphone placement plays a major roll in the process. The closer the microphone is placed to the sound source, the greater the sound pressure, producing a punchier, sound, and reducing potential transient interference. Placing the microphone further from the sound source increases ambience and producers a warmer, smoother response, but becomes more susceptible to sonic clutter.

When considering soundproofing for your studio, try to visualize the sound waves traveling in your room. Learn to recognize the cause and effect relationship between the sound source and the recording environment. Be patient and absorb all you can about sound and recording. Most importantly, enjoy the creative process.

B. Thomas Cooper - Editor

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Warner Music Pulls Plug, Drains YouTube Talent Pool

B. Thomas Cooper - Editor

Sound and Recording - blogment -
National News wire - The Infinite Echo

Negotiations between Warner Music Group and YouTube have hit a snag, sinking what once appeared to be a lucrative agreement for both parties.

Warner Music Group has announced it will no longer allow its artists to be featured on the video site, and ordered YouTube to immediately begin pulling videos, a move that will undoubtedly send ripples throughout the industry. Warner (WMG) controls the licensing for many of the music industries most successful acts, including mainstays, Madonna and Metallica, as well as more recent acts like My Chemical Romance. WMG was also the first major label to pursue an agreement with the internet upstart, which in 2006, led to Googles acquisition of YouTube for a staggering $1.65 billion dollars.

Unfortunately, the entire enterprise straddles on the precipice of becoming just another unsuccessful partnership. Although pay per click profits amount to less than a penny per click, it was believed the shear magnitude of hits would generate huge sums of capital for all parties. Apparently, however, such has not been the case, as WMG reports returns have fallen far short of projections.

The failure of this agreement does not bode well for either party. Although both are expected to survive the rough seas ahead, the future remains uncertain. YouTube is the most popular video site on the web, and prospects are good. Warner, however, stands to lose millions in lost revenue and will be facing increasing difficulty as consumer trends change. What seemed like a marriage made in heaven only two years ago, may have been a harbinger of struggles to come, as the entertainment industry adjusts to a rapidly changing market.

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Thirteen Things An Aging Rock Musician Should Never Do... Again!

B. Thomas Cooper - Editor

Sound and Recording - blogment -
National News wire - The Infinite Echo

Greetings, 'rock' fans. Halloween is nearly upon us, so let's see if we can't get this party started. I have compiled a list of thirteen (newish like) things an aging rock musician should never, never, ever do again... at least not with the door unlocked.
Enjoy.

NEVER NEVER NEVER:

1. NEVER grow your hair back down to your shoulders, (unless you happen to be Britney Spears, who has a damn good excuse, or Jon Duff, who doesn't, but looks cool anyway). Save yourself the embarrassment... leave it short, like a book report.



2. NEVER get a second job moonlighting at Sam Goody’s. You are not hip, in spite of your recent hip surgery. Leave that line of work for the experts… teenagers. Here's a word of advice... a 'flat screen', and a 'flat-line' are not the same thing.

3. NEVER sing about getting drunk and chasing groupies around at the Implodium. That whole shtick is now the domain of modern country radio.

4. NEVER wear a one piece jump suit to the Van Halen re-union concert at the Implodium. Face it, little dreamer, uni-tards are not retro cool, old school, or not.

5. NEVER play air-guitar every time 'Panama' comes on the radio, even when driving seventy on the toll-way, (like say, en rout to the VH re-union at the Implodium).

6. NEVER hold a lit cigarette lighter aloft whenever 'Enter Sandman comes on the radio.



7. NEVER brag about jamming backstage with former members of Trixter.

8. NEVER drag all of your old backstage passes, (not even Trixter) along with you to Parent Teacher conferences.

9. NEVER brag about hanging out backstage with Anson Williams and Donny Most at the 'Happy Days' re-union.

10. NEVER encourage your audience to hold lit cigarette lighters aloft when your band breaks into the opening riff of 'Ain't Talkin' 'bout Love', (This is especially important in small clubs with low ceilings).

11. NEVER brag about all the drugs you partied away back in the eighties.

12. NEVER brag about all the parties you drugged away back in the eighties.

13. NEVER pine for the days when Sammy Hagar still sang with Van Halen.




Happy Halloween!

Brad

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Band Reviews: Queen

B. Thomas Cooper - Editor

Sound and Recording - blogment -
National News wire - The Infinite Echo

Band Reviews: Queen

It’s difficult for me to imagine seventeen years could have passed since the death of Queen vocalist Freddie Mercury. When I close my eyes, I can still hear him singing ‘Lilies of the Valley, as if he were standing right in front of me. His contributions to Rock n’ Roll can only be measured in broad, grandiose strokes, of creative genius. His loss will be measured in the pure poetry of time.

When Freddie passed, he left behind an insurmountable legacy. It seemed unlikely the remaining members of Queen would continue without him. Ultimately, a replacement has been found in the form of Paul Rodgers, himself, one of the greatest male vocalists in the history of Rock music. Rodgers, vocalist from ’Free, and later ’Bad Company, prospered in the music industry for five decades before joining forces with Brian May and Queen. Having now toured together throughout the world, this line-up will soon release an album of all new material, under the combined title, ‘Queen + Paul Rodgers. Look for it to be out soon. Queen also has a collection of classic Queen material available on I-Tunes.

Queen, known for their extraordinary harmonies, and breathtaking anthems continue to awe throngs of mesmerized fans with this new line-up. The Band was originally formed by Brian May, Freddie Mercury, Roger Taylor and John Deacon in London, England back in 1970. The ‘seventies were good to Queen. The band released a number of successful albums, including the seminal ‘Night at the Opera, containing the incomparable opus, ‘Bohemian Rhapsody. Although popularity of the band dropped off somewhat during the mid eighties, Queen arguably stole the show with their adrenaline fueled performance at ‘Live Aid In 1985.

Today, the band continues to perform many of the hits that made them famous, including ‘One Vision, The Show Must Go On, We Will Rock You, and of course, the anthem of all Rock ‘n Roll anthems, ‘We are the Champions. Indeed, they are. John Dean has since retired, but his contributions to Queen are obvious. Roger Taylor remains in the band, and the addition of Paul Rodgers is a better mix than one may readily expect. I must admit, I am looking forward to the new queen album with great anticipation. It may not be the Queen we left behind with the tragic death of Freddie Mercury, but it’s a fresh sound and a fresh start for one of the greatest bands in the history of modern music. Queen, you are indeed, the champions. Long live ‘Queen.

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More Tips For Recording Vocals

B. Thomas Cooper - Editor

Sound and Recording - blogment -
National News wire - The Infinite Echo

When it comes to recording vocals, misconceptions abound. So many wonderful singers, so little dependable information. We are all instantly capable of recognizing a strong vocal performance, but what goes into capturing that performance usually isn't so obvious.

It all starts with a good singer and a good song. From there, choose a reliable microphone. Many engineers prefer using large diaphragm condenser microphones, but I have no preference. After thirty years of intensive studio experience I have learned to rely on the vocalist, not the microphone. While working as a staff producer at the world famous Power Station Studios, I had at my disposal, nearly every mic imaginable. One quickly learns that not every vocal should be captured with an expensive ribbon mic. Think hard about what it is you're trying to accomplish. Feel free to experiment.



Remember, good microphone technique and proper singing habits will profoundly effect your vocal performance. A mic can only capture what you produce. Once the performance has been captured, it can be enhanced through various means, including reverb, compression, etc. but all the reverb in the world will not drown out a bad performance.

Singers tend to be a finicky lot, a fact I can personally attest to. Still, no two vocalists are alike. Do whatever it takes to make the singer comfortable and confident. A good headphone mix is crucial. If you can't hear what your doing, you stand little chance of doing it well. I can honestly say the Power Station had the best headphone systems I have ever experienced. It is little wonder to me why the studio produced so many hit records.

From here, things get somewhat slippery. A producer like Terry Date will not approach a vocal for the Deftones in the same manner Jim Steinman might approach a Meat Loaf recording. Even at the highest levels of the industry, approach can be radically different.



Unless all indications suggest to the contrary, go with the flow. In other words, don't rock the boat. Learn all you can about recording, and keep an open mind. A vocal track can make or break an otherwise average recording. It is our goal to recognize the difference.

B. Thomas Cooper - Editor

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Product Review SONY MDR-V600 Dynamic Stereo Headphones

B. Thomas Cooper - Editor

Sound and Recording - blogment -
National News wire - The Infinite Echo

Product Review

SONY MDR-V600 Dynamic Stereo Headphones

This is a fine offering by Sony, a sturdy set of headphones, with firm, comfortable ear pieces and a warm, desirable frequency response. In simple words… a good investment for anyone looking for a reliable set of headphones.



I purchased my first pair of few years ago, and have really appreciated their durability and sound quality. After unconscionable abuse, the material on the ear pieces was beginning to wear thin, so I went in search of a new set, not really expecting to settle on another pair of Sony V600’s. However, once I’d listened to about two dozen different sets, I found myself eager to lay down the very reasonable ninety-nine dollar retail price. I suppose I could have saved myself some time and money by ordering the MDR-V600’s online, but hey, it was well worth getting out there and hearing for myself what was available. The result is that I now own two pair of MDR-V600‘s. I rate the product very highly.

Driver (40mm Aura-Normic Designed Driver)
Impedance (45ohms)
Frequency Response (5Hz to 30,000Hz)
Rated Power (500mW) *1/2 watt*
Max Power (1,000mW) *1 watt* (not recommended)
Cord Length (9.8 feet)

B. Thomas Cooper - Editor

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Harry and the Monologue

B. Thomas Cooper - Editor

Sound and Recording - blogment -
National News wire - The Infinite Echo

It’s only Tuesday, and already, it’s been quite a week. I have been working away on a monologue I am set to deliver this Saturday at Flower Street Station in Phoenix.

As you might guess, listening to a monologue and delivering a monologue are quite different, and composing this first monologue has not proven a simple task. For several days now, I have shouldered the burden of great anxiety over the content, you know, just trying to find the right words to share on such a momentous occasion.

In fact, it has begun to adversely effect my sleep to the point where I am experiencing nightmares. Usually I don’t recall my dreams, but one in particular continues to haunt me.

In this dream, I’m sitting in the front row of what begins as a typical show here at Flower Street station, but then suddenly morphs into a large, exquisite auditorium, complete with orchestra pit, and an entire orchestra, with a pair of cellists sitting just below me, perhaps no further than three or four feet away. In this dream, I am so close to the musicians, I can see the eyes as they follow along with the dots on the sheets of music before them, strange, as I should have been staring at the backs of their heads. May I remind you, it was, of course, only a dream.

On stage is a large, pearl white grand piano. Playing that piano is none other than singer, songwriter, Marc Cohn, known primarily for his one big hit, Walking in Memphis released back in 1991. In fact, Mr. Cohn is performing a rather moving rendition of Walking in Memphis, and is just about to admit to being a Christian of convenience, when out of the blue, in swings Terrible Ted Nugent, high above the crowd, one hand grasping a rope, the other a cross-bow. Terrible Ted is quite old in my dream. He appears to be in his late seventies, perhaps older. Like many his age he has little body fat… he is all skin and muscle, and he is wearing nothing more than a deer skin G-string and a camouflage-colored military style beret that makes him appear as though he is wearing camel genitalia on his forehead. It is not a pretty sight, mind you, and it’s about to get downright ugly.

Just as the song is reaching it’s dramatic crescendo, Ted aims with precision, discharging his trusty cross-bow. Ted, as you know, is a master marksman and bow hunter. He scores a direct hit, striking Mr. Cohn in the center of his heart, which explodes on impact, sending a stream of blood gushing onto the pearl white grand piano, and covering the nearly naked Nugent. As Ted reaches up to wipe the blood from his eyes, he looses grip of the rope and falls into the orchestra pit below, impaled on a cello. There he lies, obviously mortally wounded, poked through the middle like a shish kabob.

I react as any man would. I lean over the orchestral pit, and I ask the mortally impaled Ted if he is alright. Of course, he isn’t alright, and I believe he would have said as much if he hadn’t been so delirious. Ted is in shock now, and his time on this Earth slipping away. Again, I speak to the dying man, asking if he has any last words before moving on to that great used car lot in the sky. He looks at me with a kind of a look only a nearly dead Ted Nugent can conjure up, and with his final breath, mutters the words,,, Harry Bedurchy.

Harry Bedurchy, and then he just slumps back on the cello and dies. Harry Bedurchy, I repeat, as the house lights come on and the crowd begins to shuffle out. Harry Bedurchy, indeed, and with that I awakened from my dream. Even now, I have no idea what may have prompted this nightmarish scenario. I can only wonder.

Well, I suppose it’s time to wrap up this, my first of monologues. I hope you’ve enjoyed it, and I hope the next time you hear the song Walking in Memphis, you think of an aged Ted Nugent sporting camel genitalia. I know I will. Good night everyone. Oh and by all means, Harry Bedurchy.

Brad

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Show Time at the County Fair Pt. Two

B. Thomas Cooper - Editor

Sound and Recording - blogment -
National News wire - The Infinite Echo

The show last night at the Maricopa County Fair was a big success! Thanks to everyone who took time out of their afternoon to attend. The sound was a little rough in spots and the reverb was just too much, but the band played all but flawlessly.

We are still picking through the video footage, which may take a few days, but we have already posted several photos of the show, in this and in part One of this article.




B. Thomas Cooper & Friends perform
at the Maricopa County Fair

In all, we played a total of ten tunes, which is a first for us. It’s much like preparing for a ten round middle-weight bout, only we get to sit on the stool most of the time. No spit bucket, of course. (Kudos to Don Biscoe, who stood in for Michael Buffer).


(L-R) Nick Gill, B. Cooper, Jon Duff

I hope you enjoy the photos. Try back in a day or so, and don’t be surprised when you find we have posted a slew of the new.

Once again, thanks to everyone who contributed. I owe you big time!

Brad

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Show Time at the County Fair Pt. One

B. Thomas Cooper - Editor

Sound and Recording - blogment -
National News wire - The Infinite Echo

Today is the day. B. Thomas Cooper & Friends perform at the Maricopa County Fair. It’s a nifty ‘eighties’ flashback, indeed! And a nifty ‘seventies’ flashback and judging by the set-list, a psychedelic ‘sixties’ flashback as well!

It is 10:26 a.m. and Nick and I have commenced to watching ‘This Is Spinal Tap’ , a ritual before most gigs. Currently listening to ‘Cups and Cakes’. Life imitates art.

Our bass player Jon Duff will be arriving at 12:30 or so. We go on at 3:00 p.m. for a forty-five minute set, while strangers eating fry bread point at us with their sticky fingers. Ah, spring is in the air.








Jon Duff at Fairgrounds


Nick Gill performing at fair

We’ll be shooting lot’s of digital film. In fact, our camera crew is larger than our stage crew. (Listening to 'Lick My Love Pump.)

We are expecting the temperature to a be a very agreeable 85 degrees. I’m very much looking forward to a great time. More on what transpires later.



See ya' there!

Brad

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Flower Street Station, March, 2008 - Part One

B. Thomas Cooper - Editor

Sound and Recording - blogment -
National News wire - The Infinite Echo

Flower Street Station, March, 2008 - Part One

For those of you new to Sound and Recording, I’d like to welcome you, and perhaps explain the premise of the site. About once a week we post a new story or article related to sound and recording.

I began SoundandRecording about two years ago at the urging of others. I had my sights set elsewhere, but eventually I acquiesced, and today it’s my most successful blog, with world-wide readership. This is in fact, posting number fifty.



For those of you that are return visitors to SoundandRecording, welcome back, and thank you for supporting our website. We have several new articles in the works, but I can only complete one at a time. Maintaining a successful website is not as easy as one may think.

On to the topic at hand.

B. Thomas Cooper and Friends performed for an intimate crowd at Flower Street Station in downtown Phoenix on the last Sunday of March. Here’s a video culled from Sunday’s show. Enjoy.


B. Thomas Cooper & Friends
Recorded Live at Flower St. Station in Phoenix

In Part Two, I hope to provide you with a little of the inside poop on how a show like this is put together, including the micing techniques applied during recording. I’ll also be posting some photos of the show, and more videos, as well.

In Part Three, I’ll be sharing with you a little about the artists who appeared on Sunday’s bill. This particular bill was special, or so they’d like you to believe, but we’ll go into more on that later.

The artists, in order of appearance were: Paul Bruce, Don Biscoe, Koi Stuertzel, and B. Thomas Cooper & Friends, which included Nick Gill, Jon Duff, and myself, of course.

It was one of those rare nights when nearly everything went well. Not right, per se, as nothing ever goes right, but certainly well. I’ll tell you all about it. You can judge for yourselves.

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Tips For Recording Bass Guitar

Sound and Recording
B. Thomas Cooper
Editor

Believe it or not, the modern bass as we know it today has roots dating back to the 17th century. The first electric bass, however, was invented by Lloyd Loar during the 1920’s while the legendary luthier was working for the Gibson Guitar company. Pardon the pun but during the last half a century, the bass has become instrumental in the development of modern music.

Recording the bass however, depends greatly upon the setting, and likewise, the recording techniques applied can vary tremendously. Let's get started, shall we?

We will start with the acoustic bass, a mutant string instrument designed to be plucked with the fingers. There are no frets on an upright acoustic bass, as the instrument has much in common with it's cousin, the cello. This puppy is anything other than simple to 'mic. The preferred method requires attaching a contact condenser microphone either to the inside of the of the instrument, or to the bridge of the bass ( the part where the strings pass over the saddle of the instrument.)

An acoustic bass can also be recorded or captured' using ambient microphones placed at a distance from the instrument, creating a warmer sound with less attack. However, this method is subject to bleed over, or cross - talk from other instruments in the room, thus the need for a direct signal.



The electric bass is an entirely different beast, and proper recording methods probably shouldn't even be covered in the same article. As such, I'll try to keep my explanation short and simple.

An electric bass is connected to an amplifier, preferably using a shielded cable to prevent signal interference. The amplifier is then mic'd' using an array of microphones, although, no more than two at a time, thank you. A direct line may also be employed in order to capture a clean signal. The engineer then has the option to use various combinations of the recorded instrument to create an acceptable sound. The same applies to live performance or recording situations. Take your time, and think through the process, as it is almost never as easy as some would like you to believe.



Having spent the better part of three decades recording, I am still surprised by the sheer volume of of unadulterated misconceptions about the process. For those readers serious about learning to record bass track, there are countless articles on the subject available online and perhaps even your local library. Learn all you can about your craft, and by all means, enjoy the process. After all, isn't that really what it's all about?

Tips For Recording Vocals

Sound and Recording
B. Thomas Cooper
Editor

When it comes to recording vocals, misconceptions abound. So many talented singers, so little dependable information. We are all instantly capable of recognizing a strong vocal performance, but what goes into capturing that performance usually isn't so obvious.



It all starts with a good singer and a good song. From there, choose a reliable microphone. Many engineers prefer using large diaphragm condenser microphones, but I have no preference. After thirty years of intensive studio experience I have learned to rely on the vocalist, not the microphone. While working as a staff producer at the world famous Power Station Studios, I had at my disposal nearly every quality microphone imaginable. One quickly learns not every vocal should be captured with an expensive condenser or ribbon mic. Think hard about what it is you're trying to accomplish. Feel free to experiment.

Remember, good microphone technique and proper singing habits will profoundly effect your vocal performance. A microphone can only capture what you produce. Once the performance has been captured, it can be enhanced through various means, including reverb, compression, etc. but all the reverb in the world will not drown out a bad performance.

Singers tend to be a finicky lot, a fact I can personally attest to. Still, no two vocalists are alike. Do whatever it takes to make the singer comfortable and confident. A good headphone mix is crucial. If you can't hear what your doing, you stand little chance of doing it well. I can honestly say the Power Station had the best headphone systems I have ever experienced. It is little wonder to me why the studio produced so many hit records.

From here, things get somewhat slippery. A producer like Terry Date will not approach a vocal for the Deftones in the same manner Jim Steinman might approach a Meat Loaf recording. Even at the highest levels of the industry, approach can be radically different.




Depending on the vocalist, an engineer may determine it necessary to use a ‘pop screen’ or ‘wind screen’. The purpose of this device is to soften the ‘sibilance’ or hissing noises associated with singing. It might also prevent you from spitting into an expensive microphone. The distance one should sing from the microphone depends on a number of variables. Again, think it through, and don’t be afraid to experiment.

Unless all indications suggest to the contrary, go with the flow. In other words, don't rock the boat. Become a part of the process. Learn all you can about recording, and keep an open mind. A strong vocal track can make or break an otherwise average recording. It is our goal to recognize the difference.

Notice of Public Appearance

Sound and Recording
B. Thomas Cooper
Editor

Greetings,
It appears we are about to get busy, ready or not. Of course, this is old hat by now, and it’s a well worn and comfortable fit. I foresee nothing but good.

We, by the way, are B. Thomas Cooper and Friends, which includes myself, Jon Duff, and Nick Gill. In fact, the three of us will be performing at Joe’s Grotto in Phoenix next Wednesday evening at 9:pm. (That’s March 12th, for those of you with calendars.) Following our set, I will make myself available for questions, etc. I’m sure the others will as well.

I realize only a small handful of my readers are located in the valley, but fret not, we intend to hit as many spots on the map as we can before we wrap this thing up. After all, we’ve only just begun.

The appearance at Joe’s Grotto will be in front of an intimate crowd, providing an excellent opportunity for recording the performance. Joe’s Grotto always has great sound and lighting. You are welcome to bring your cameras. We will be bringing ours. The set will only last about a half an hour, so I suggest you arrive early. Oh, and while you’re there, be sure to ask about Echo.

Later,
Brad

Submitting Your Demo to a Record Company or Producer

Sound and Recording
B. Thomas Cooper
Editor


It's the dream of every aspiring musician. Whether one is a member of the hardest working club band in town or the next fresh face on American Idol, rest assured they long for a crack at that mythical pot of gold, the recording contract.

But what exactly is a recording contract? If you just shrugged your shoulders you answered correctly. You see, there are as many types of recording contracts as the mind can imagine.



As a staff producer for Power Station Records, one of my duties was finding and developing new talent for the label. In the music industry this is usually referred to as A&R, or Artist Development. The larger record labels may have several persons working A&R. None of them think alike and thus each may specialize in a specific genre. Furthermore, just because one guy in the office hates your new demo doesn't mean everyone else in the room feels the same.

A motivated musician learns quickly to become a resourceful musician. The old clich that one gets but a single chance in this business was not true twenty years ago and it's not true now. If you really want it bad enough, you will do whatever is necessary to bring your talent to the attention of the industry.

Although some might wish you to believe otherwise, record companies are not magical entities controlled by super-humans. They may sometimes appear larger than life but behind the curtain the man pushing the buttons needs you as bad as you need him. Believe me; if records companies thought they could make their millions without developing new talent, they would have attempted it long ago. Without you, the talent, the entire faade that is the music business, would crash to the ground.

Try not to feel intimidated by the scope of your endeavor. Surround yourself with equally talented people and learn everything you can about your craft. When approaching a record company or a producer with your demo be confident and be prepared. No-one expects you to hand them a finished record, but if you don't take your craft seriously, why would you think these individuals would take you seriously? Be sure you present yourself in a professional manner. Hire a reputable photographer and be prepared to hate every single photo. Like it or not, repeat the afore-mentioned process until the desired results are obtained. Having a friend or family member shoot your photos is generally not a good idea, unless of course this person happens to be a photographer.

Find some-one to write a bio that doesn't read like a bad book report. You really only need three or four paragraphs. Go light on the clichs, stuff like talent shows and battles of the bands. Be sure to have your contact information at the top of the page and be absolutely certain your contact number appears on the actual cd itself, as it is not uncommon for the cd to become separated from the jewel case.

Here comes the fun part.

Once you have your package organized and ready for presentation, I want you to pay a visit to your neighborhood office supply. Ask an employee to escort you over to the 91/2 X 121/2 clasp envelopes.
Select the most brilliant solid color available, like bright green or orange.

You see, somewhere within three point range of the A&R persons desk is a large cardboard box or plastic bin filled to the brim with demo packages, many which get neglected for no better reason than because it's lost in the pile. I always recommend you contact the person you are sending the package to, and let some-one know it's on the way. You should always follow up with a phone call as well. E-mail is nifty, but in this instance, it's apt to be ineffectual. Don't ever assume anyone on the receiving end will have any idea where your package went. This is where the large, brightly colored envelope pays off in spades. It's infinitely easier to pick out of the pile.

It is true that many of the larger record companies don't accept 'unsolicited materiel' but what does that mean, really? Truthfully, it makes good business sense for these behemoth companies to adapt such policies, as it limits possible copyright disputes. Don't let this minor little speed-bump deter you. Fear not, brave heart, there are limitless avenues one can pursue. Once again, I implore you to take yourself and your craft seriously. The best advice I can offer is to do your homework and do it well. Don't focus your energy on landing a record deal. Instead, I suggest you prepare yourself to be ready when opportunity comes knocking.

Tour Announcement

Sound and Recording
B. Thomas Cooper
Editor

Greetings,
In recent days, I have been hinting at an announcement. I suspect there is no time like the present, so here’s the deal. I have agreed to participate in a spring and summer tour of the southwestern United States, beginning with an appearance at the Maricopa County Fair in Phoenix on Saturday, April 12th. Myself and the other musicians involved will be billed as ‘B. Thomas Cooper and Friends’. So far the guys include Jon Duff on bass and guitar, Nick Gill on keyboards and guitar, and of course myself on keyboards and acoustic guitar, as well as vocals.

Hopefully, we’ll be dragging other friends along as well. I’ll keep you informed of any new developments. Meanwhile, we have been working up material, and have in fact, posted a performance of the song ‘These Little Wonders’. Don’t panic, I am in the process of procuring limited digital rights. We’ll see how that comes down, I guess.


Left to Right: Nick Gill, B. Thomas Cooper, Jon Duff

The video was shot in front of an intimate crowd at Flower Street Station in Phoenix. As I’ve alluded to in previous articles, I highly recommend you record or video every performance possible. It is an extremely valuable tool in assessing the various aspects of the performance. You know, stuff like arrangements and stage presence, set order… things of that nature. Likewise, the players are able to make personal adjustments, little mental notes to self, etc.

And that’s precisely what we are up to. We can learn more by recording one gig than we can learn at a dozen rehearsals. It just good science.

Which reminds me. On April 1st. 2008, we are officially releasing the long awaited ‘Echo’ CD which includes songs written and recorded by myself and a cast of really great guys. The CD sounds amazing! I kid you not! It’s isn’t the heavy stuff, as that comes later. These are the tunes we will be featuring to promote the upcoming tour. I’ll be providing more specifics in the following days. Until then, keep the faith.

Product Review: SONY MDR-V600 Dynamic Stereo Headphones

Sound and Recording
B. Thomas Cooper
Editor

Product Review

SONY MDR-V600 Dynamic Stereo Headphones

This is a fine offering by Sony, a sturdy set of headphones, with firm, comfortable ear pieces and a warm, desirable frequency response. In simple words… a good investment for anyone looking for a reliable set of headphones.



I purchased my first pair of few years ago, and have really appreciated their durability and sound quality. After unconscionable abuse, the material on the ear pieces was beginning to wear thin, so I went in search of a new set, not really expecting to settle on another pair of Sony V600’s. However, once I’d listened to about two dozen different sets, I found myself eager to lay down the very reasonable ninety-nine dollar retail price. I suppose I could have saved myself some time and money by ordering the MDR-V600’s online, but hey, it was well worth getting out there and hearing for myself what was available. The result is that I now own two pair of MDR-V600‘s. I rate the product very highly.

Driver (40mm Aura-Normic Designed Driver)
Impedance (45ohms)
Frequency Response (5Hz to 30,000Hz)
Rated Power (500mW) *1/2 watt*
Max Power (1,000mW) *1 watt* (not recommended)
Cord Length (9.8 feet)

Choosing the Right Guitar

Sound and Recording
B. Thomas Cooper
Editor

So you’re thinking of learning to play the guitar? It sound’s great, doesn’t it. I don't blame you, really. The guitar has been one of the most popular musical instruments for nearly a half a century, and was a major factor in the development of modern music.



While players like Duane Eddy and Carl Perkins defined the guitar sound of 1950's pop culture, innovators like Les Paul and Dan Armstrong were pushing the technical limitations. As the quality of the instrument improved its reputation grew exponentially, until no self respecting teenager would be caught without one. Where would Rock' music be today without the advent of the electric guitar?

There are many styles of guitar available for purchase, each with a specific purpose in mind. In this article we shall attempt to cover the basics without boggling the mind. It al began with the Classical' guitar, an acoustic instrument strung with genuine cat-gut' strings. These days however, most classical players prefer nylon strings, plucked or strummed with the fingers. By the onset of the US civil war, C.F. Martin had ventured into guitar production, manufacturing guitars that had much in common with the violin.

Soon the acoustic ‘Dreadnaught' became the guitar style of choice. Unfortunately, the guitar remained a rather personal instrument for many years. Because the instrument was not loud enough for an ensemble setting, it was relegated primarily for use by folk musicians of the era.

Around 1945 that all changed with electrical amplification. Within a decade, pop music as we know it would change forever. Songs like "How Much Is That Doggy in the Window" vanished from the airwaves, overwhelmed by the new sound coming from groups like The Ventures. Already it was becoming apparent the electrified version of the guitar was far more versatile that it's acoustic counterpart.

Even now, the guitar continues it's domination over other musical instruments. Guitars are readily available, and relatively easy to learn. Still, and you may quote me on this no two guitars are exactly alike.

When choosing the right guitar, one should never be afraid to ask questions. Although the purchase price will almost certainly be higher at your local guitar dealer, I strongly suggest you begin your search with the experts. Unless you really understand what your needs are, I encourage you to steer away from the pawn shops, as they seldom have your best interest in mind. Whenever possible, take a friend along, preferably one with knowledge of guitars. Don't hesitate to think twice. Take your time and choose your instrument wisely. As your playing improves your taste in guitars will become more discriminating.

Learning to play the guitar can be fun and rewarding, but the wrong guitar will only cause you grief. Ultimately your choice of instrument will be determined by your personal taste and experience. The decision is yours, make it with confidence.

Networking With Other Musicians

Sound and Recording
B. Thomas Cooper
Editor


Networking. Some bands are good at it, some are not. Some musicians understand how important it is, others don't. Frankly, some people, musicians included, are simply too concerned about they're own egos to do the right thing. What is the "right thing"? working together, of course! Networking, so to speak.

Don't be afraid to get involved. After all, it's your career, and your opportunity to shine. Far too many young musicians believe the club scene is some kind of dog eat dog' scenario, but it doesn't need to be that way.

Nowhere has the pressure been greater or the egos larger than on the Sunset strip in Hollywood during the Big Hair' era. Still, my band, based in Phoenix nearly four hundred miles eastward, played alongside Guns & Roses, Poison, and other future legends without getting sucked down by personal egos. We were always supportive of the bands on the scene, and it paid off for us in big ways. One should not think of music as a competition.

Of course, there are numerous ways to be helpful and self serving at the same time whether it be creating and distributing fliers for the next gig or maintaining a website. Cooperation, as well as determination, are tantamount to any bands' success.

This reasoning applies onstage as well. I often urge my band-mates to help the other bands strike the stage, for example. After all, the sooner the stage is clear, the sooner my band can set up. Doesn't this just make good sense?

Ultimately it's up to you, but having personally booked literally hundreds of gigs at dozens of clubs, I can assure you that a band with a bad reputation is far less apt to be offered the choice gigs, no matter how cool they may think they are. On the other hand, if you can't network on the local level, what ever gives you the idea you'll be ready to work with the big boys?

So get out there and get it done! Making excuses is not going to get you where you want to go in this industry or any other. Don't be shy to show your meddle and remember, networking is your friend. Now that's what I call sound reasoning'.

Building A Home Studio, Revisited

Sound and Recording
B. Thomas Cooper
Editor

Once upon a time, not too long ago, mind you, building a respectable home studio' required a rather substantial investment in time and money.

Back in the day, so to speak, we were still recording in analog, and a decent eight track tape machine cost a few thousand dollars at a minimum. Then there was the console (desk, mixer, etc.) consisting of perhaps twenty-four channels, which cost another couple grand. Of course, no home studio was complete without at least a couple racks of outboard gear. We had doozles and raddoids and multiple compressors and delay devices, each guaranteed to muddy up the mix. All of this was then routed together with cables and wires and strewn about in disarray. Getting it all to sound good was never an easy task.


Nick Gill in Studio A

These days things are little different. The advent of digital technology has changed much about how we record sound and music. Oh, we still have our share of doozles and raddoids, but now they are called add-ons' and they are included with the recording software. Most of the clumsy cables have long been chucked into the trash. We like to run a clean shop

Over the years, I have designed and overseen the construction of countless studios. It's one of those things I do. From coast to coast, from sea to shining sea. Big rooms, little rooms they are all the same. The trick is to create an environment conducive to the recording process. The best advice I can give is learn to keep your sound pressure levels under control. Deafening volume levels are not a good idea in small enclosures. When in doubt turn it down.

There are numerous companies offering digital recording software at reasonable prices. The choice is yours. For starters, I recommend Sonar for the initial recording process and Sound-Forge for the mastering process. It's really not as hard as it sounds, and these days even a caveman like myself can afford it.

In any studio, a bad headphone mix is as inexcusable as it is predictable. How in the name of Marilyn Manson can anyone expect to lay down strong basic tracks if you can’t hear what the other musicians are doing? The same holds true for the overdub process. A musician is only as good as his (or her) ears. If the sound in your cans doesn’t rock, your not apt to perform at your best.

For this, I recommend Samson 4 C-que 8 headphone amplifier, ideal for small studio applications, addressing many of the problems associated with typical inferior headphone mixes.

With a retail price of around $149.00, the Samson 4 C-que 8 is a safe and affordable solution. It fits nicely on the desk or console, and my unit has yet to throw me any curves. This is a quality device with no apparent drawbacks. I would recommend the Samson 4 C-que 8 to anyone serious about their workstation or studio headphone mixes.

Obviously, you will also need reliable headphones. Again, you are only as good as your ears can hear. I suggest a couple pairs of Sony V600’s These are a fine offering by Sony, a sturdy set of headphones, with firm, comfortable ear pieces and a warm, desirable frequency response. In simple words… a good investment for anyone looking for a reliable set of headphones.

You will also need an array of dependable microphones, but this subject is covered in great depth in a separate article. Also available at Helium. If you are new to recording, take a few minutes and read a few articles on the subject. You just might learn something!

Recording Keyboards and Synthesizers

Sound and Recording
B. Thomas Cooper
Editor

Over the years, I have learned not to be surprised by people who go to great lengths pontificating on subjects they no nothing about. Unfortunately, this happens far too often, and the subject of recording synthesizers has proven no different.

For starters, it is very rare to record a synthesizer running through an amplifier during a studio session. I have known exceptions, of course, but not many. This is simply bad science, and is not indicative of the process. Put away your microphones, we are running this baby direct.


B. Thomas Cooper

As a staff producer for the legendary Power Station, I worked on an array of projects, ranging from standard Jazz to Meat Loaf. Most of the Meat Loaf keyboard arrangements were recorded meticulously over a period of many months. This was usually assigned to a studio wizard by the name of Jeff Bova, who worked in his own facility, with no other musicians in the room. He would have little use for an amplifier under these conditions. A good set of headphones however, were of priceless value.

Live recording is somewhat different, but even then, a direct signal is tantamount. Unless the sound you are trying to achieve can only be accomplished through an amplifier, why would we even haul the amp out of the closet?

Furthermore, and like it or not, when a major act records live, you can bet the bank the recordings were brought back to the studio, where entire parts are added or re-recorded. A keyboard part run through an amp would likely be replaced for fidelity reasons alone. This is big business, folks. We don't make junk when we don't have to.

Still, feel free to experiment as you wish. There are no hard and fast rules that can't be broken. Recording should be fun, and the results artistically satisfying. Approach each aspect of recording with an open mind, and again, by all means, enjoy the experience.

Fresh As a Daisy - Chasing Unique Sounds

Sound and Recording
B. Thomas Cooper
Editor

For myself, one of the more intriguing aspects of the recording process is the merging of art and Science. When the two work in tandem, the results can be magical.

As such, it has long been the desire of many an artist or producer to create fresh sounds, something indeed unique. Predictably many long studio hours have burned away during such pursuit. Guitar tone, drum sounds, even vocal treatments are fair game, but just how much of this is really necessary?

For starters, let's try to focus on the song. When the song is right, it will usually tell you what it needs. A good producer will often recognize a songs strengths or weaknesses rather quickly. It's all about the song. A good song will always outshine the production sensibilities.

Of course, over the years there have been a number of songs that greatly befitted from unique recordings. Early examples include Do the Mess Around, written by producer Ahmet Ertegun and recorded by the legendary Ray Charles. The recording itself is of very poor quality, but the performance is truly and purely magical.

Another example of a unique recording comes to mind. Telstar, recorded by English producer Joe Meek, represents some of the most imaginative techniques ever applied to recording. Of course, Joe himself was more than a tad unique. I strongly recommend his work to anyone interested in the history of recorded music.

There are many more. Crimson and Clover, by Tommy James, and more recently, the early recordings of Nine Inch Nails, and industrial genius, Scraping Fetus From the Wheel. In each case, the uniqueness of the recordings were tantamount to their appeal.

The question as to how one should approach such a process is subjective at best. Obviously, if creating fresh sounds was really that easy, everyone would be doing it, which is far from the case. Let the song dictate what it needs and try to keep an open mind. Most of all relax and enjoy the ride. This is your experience. Make the best of it.

Choosing Furniture For Your Studio

Sound and Recording
B. Thomas Cooper
Editor

During my thirty plus years of recording, the subject of studio furniture has never been the hot topic of conversation. Understandably, of course. Who can really say for certain what kind of furniture is appropriate for a recording studio?

Still, myths abound. As such, I see where room for some clarification may be in order. For starters, very few studio settings are alike. There are basic rules governing sound re-enforcement, but frankly, the door is wide open. What you do once inside, is really up to you.

Admittedly, there are aesthetic considerations, but these are always trumped by the sonic properties of the room. Black leather couches are all but standard in most major studio lounges, but one must learn to differentiate the studio from the lounge. Even with a digital workstation such as mine, neither the gear, nor the most comfortable furniture will greatly effect the performance of the musicians.

Remember, these are the same cats sleeping on some drum riser in Fresno, or on a table backstage in Detroit. I kid you not when I say I have seen a clean, well organized studio throw some musicians into a funk, not unlike a fish out of water.

True, it’s nice to feel at home when recording, but let’s be practical, shall we.
Wood paneling provides a soft, warm sonic solution. Carpet, bass traps, baffling, etc. should also be realistic considerations. As for the couch, I suggest you leave it in the lounge, as most musicians do not play their best when sprawled out. It’s simply bad science.

I recommend tables close to the ground and away from sensitive equipment. Trust me on this. Spills will happen, and they will happen often. Ash trays and beer bottles topple with regularity. You can keep some stuff out of the room entirely, but something always slips through the cracks. Just be prepared.

In closing, choose you studio furniture based on your pragmatic needs rather than aesthetics. Be confident, be comfortable, and by all means, enjoy the experience.

Sampling Vs. Stealing

Sound and Recording
B. Thomas Cooper
Editor

Sampling Vs. Stealing.

Although I have never had the success of say, Madonna, Montana, or Metallica, I have written my share of tunes, some which have charted. As such, I may offer just a tad of insight on this subject.

Over the years, I have been confronted with a variety of these situations, in a variety of settings. I have been sampled, borrowed from, quoted, and mentioned by name. On multiple occasions, I have even had the opening act feature my songs in their set-list.

I for one, find the process amusing, and artistically satisfying. As a musician, I started out as an artist first, and my interest remains primarily at the creative level. The business end cannot be neglected, but hey, business is business.

Although I have always been the principle lyricist in my projects, I have never been under the allusion that those words belong to me, and can never be uttered in that particular order again without my consent. Lifting an entire chorus line sounds artistically intrusive, but each situation is unique.

The record companies, however, are somewhat less concerned about my artistic integrity and tend to focus on maximizing profit margins. In fact, they are contractually obligated to do so. Although my attitude may seem relaxed in comparison, the bevy of attorneys minding my books have very little sense of humor.

Keep in mind, the one thing Madonna, Montana and Metallica all have in common? Money, the most important ‘M’ word other than ‘mother’.

Here’s the low down. Chances are, unless you are seeing a substantial profit, no-one is apt to notice or even care if you have sampled without permission. Furthermore, some work like parodies for instance, are above the fray, protected under constitutional right of free speech and expression.

In closing, let’s just say this isn’t your normal cup of soup, folks, I’m afraid we’ve opened a can of unknown substance, frothing just below the surface. My advice, approach with caution. Sampling isn’t a crime, but stealing is unconscionable. Ultimately, you must make the call. Make it a sound one.

Merchandising for Musicians

Sound and Recording
B. Thomas Cooper
Editor

Listen up kiddies, this one is real important. I want you to step away from your TV remote, turn off your Ipods and cell-phones and pay close attention to what you are about to read. It’s about your money.

Being a musician carries an air of romanticism unlike any other profession. People tend to think of musicians as something special. I have my doubts.

Reality reminds me of the countless musicians sleeping on other peoples couches and smoking other peoples cigarettes. I can recall a parade of fellers arriving at rehearsal, some call it band practice, with a six pack of brown ale and no drum sticks, or guitar strings, etc. Most of these cats talk a big game, but can’t walk a straight line. My advice? If your going to talk the talk, you really might want to consider walking the walk.

Are you paying attention? I doubt it.

I’m not sure you’ve noticed, but contrary to mythology, it is not raining money in the music business. Oh, of course, if you add up all the numbers, it appears big, but by the time you divide it all up there isn’t much to go around. There is even less for the independent acts.

The exception is the live gate, which is attracting huge dollar signs and some remarkable liquidity. A big chunk of that change comes from merchandising. Of course, you aren’t apt to sell as many t-shirts as Hanna Montana, but you can certainly sell your share, providing you have the good sense to approach it as a potential revenue stream.

There are some basic rules you need to follow when venturing into the realm of merchandising. Break these rules and you will severely compromise your chances of being successful. Ignore these rules, and suffer the consequence.

I’m going to focus primary on t-shirts, but the rules apply to all products.

Rule number one: set your standards high. When designing a t-shirt, think quality, and be prepared to take a substantial hit to the wallet. Two dozen poor quality t-shirts distributed among friends is a cop-out. That is not merchandising. For starters, I recommend no less than four or five dozen. The old adage about spending money to make money generally holds true. Don’t throw away your investment. Spend the money necessary to produce a quality product.

T-shirts are available in a variety of quality and price range. A higher quality t-shirt will obviously cost more, but is also well worth the difference. A hundred percent cotton is advisable.

Be sure the artwork and graphics you have chosen are worthy of printing and distribution. Don’t let your shirts look like every other band shirt circulating.

Either hire a pro to do the job or find someone capable of producing the work of a pro. Trust me on this. Bad artwork will come back to haunt you. no-one wants to wear a t-shirt that makes them look trashy. That shirt won’t get worn.

Rule number two: Don’t give away your t-shirts. Are you insane? You just spent a bundle on those shirts. Who do your friends think you are? Are these same friends who are pushing for free t-shirts going to shell out hundreds of dollars so they can give free stuff to you? Of course not! Don’t be a sucker!

Likewise, before you give a shirt to some blonde back stage, reach into your pocket. If you don’t have enough money in that pocket to pay full asking price for the shirt, you are robbing yourself and your band-mates. This is perhaps the biggest mistake. Where are all those t-shirts you gave away now?

Rule number three. Don’t just leave your t-shirts lying around in a milk crate stage left. “ Hey man, like we got these cool t-shirts for sale, you know, so if you’re interested come see our drummer after the show.” Not! How in God’s green earth are you ever going to sell shirts with that pathetic shtick?

Set up a merchandising booth. Buy your own folding table if you must. Drape the table with a black cloth or what not. Set your booth up in a brightly lit spot, and display your shirts in a positive manner. You’ll need someone you trust who is willing to stay with the booth throughout the event. Keep a ledger, and store all monies in a locking cash box. Keep track, dang it!

Here’s some advice. Fix your price and stick to your guns. You can always ask more than your fixed price, but you should never accept less. Furthermore, don’t spend your merchandising money on beer, pizza, or anything else for that matter, other than for re-investing in more shirts. This is not beer money. Merchandising requires serious commitment. If you don’t think you are ready for such a commitment, perhaps you shouldn’t bother.

Well, my friends, stand up, take a deep breath and stretch a little. I’ll pick this up again next week and we will go ever a few tricks for optimizing sales. I know what your thinking, but relax. It’ll all be worth your effort!