Developing your own style and sound

B. Thomas Cooper - Editor

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

I recently began production on two albums worth of material for two different artists. Rather than record these projects at an established studio in the Phoenix area, we chose instead to build a facility, allowing for greater creative freedom.


Last night we tightened the proximity on the drum mics, resulting in greater punch and articulation. We also discussed stylized recording techniques, such as the Philly or Memphis sound, and the variety in approach... and how these variations have developed over time.

Surprisingly, each city has a tendency to develop a sound that is unique to the region. NYC, Memphis, Philly, Seattle, L.A. Nashville, Toronto, Detroit... each has its own recognizable sound.

My point is that the success of a record is seldom if ever the result of the snare treatment or technical wow! A good record is the result of focusing on any number of creative factors, and nurturing an environment conducive to the creative process. Countless million dollar studios have failed, not due to lack of the latest recording innovations, but because of a lack of understanding.


When I worked at the Power Station, I noticed early on that many engineers attempted to divine magic by imitating sonic trends, rather than allow the sounds to grow and shape naturally. I also became aware of the fact that nearly everyone was afraid the next big sound would come from a kid with a broken four track in his basement. My advise... don't go there!


Instead, we are best served to develop a game plan that can be successfully implemented using the creative tools at our disposal. Expensive mics are nice to have around, but a good performance is much more important. As a vocalist, I have developed a reputation for sounding good through even the crappiest microphones. This happens because I have confidence in my voice to carry the performance, rather than rely on the mic to make me sound good. If I down a handful of suck pills before a vocal performance, there is nothing an expensive mic can do to save me.


There is a fundamental difference between a great recording and a great record. Countless great recordings never see the light of day, but a great record is instantly recognizable... Making a good recording is the easy part. Making a good record, however, requires something a little special.


Brad

B. Thomas Cooper - Editor

Sound and Recording - Sound Foundation - National Newswire - The Infinite Echo - Impeachment Now! - Skate the Razor -
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Reaching over the net - Bands find new ways to record music in digital era

B. Thomas Cooper - Editor

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

Bands like the Gin Blossoms and Skate the Razor are increasingly recording new records over the internet, with musicians sometimes thousands of miles apart.

For many of us, the iconic black and white image of George Martin and the Beatles huddled together at Abbey Road Studios in London will forever represent the high-water mark in recording history. A group a young men sitting together, making magic.

Much has changed within the recording industry in the decades since the Beatles went their separate ways. Stereophonic hi-fi was a catchy little phrase in the sixties, like an old motel sign, quaintly advertising color television. Blink twice, and the sign now reads “high speed internet“, making it entirely possible for musicians to record new music from their hotel rooms, or perhaps even tour bus. It also enables the musicians to come together creatively, even when the members are on opposite ends of the country.

The Gin Blossoms, known for such hits as “Hey Jealousy“, and “Til I Hear It From You” are prime examples, having recorded their fifth release “No Chocolate Cake”, in such a manner. Gin Blossoms lead vocalist Robin Wilson recently relocated to Manhattan with his wife, while the other members of the band continue to live near Phoenix. The first single from “No Chocolate Cake”, a tune called  “Miss Disarray”, has received significant airplay in Adult Contemporary radio, marking a return to the charts for the band.

Skate the Razor, of Western New York, have adopted a similar method for their new CD. Two members of the band, brothers David and Michael Moran reside in the sleepy village of Delevan, New York, an hour south of Buffalo. Vocalist Brad Cooper lives in Phoenix, while guitarist Ryan Hansgen has settled in rural Tennessee.

“The whole process has changed”, states Ryan, a veteran of the recording industry. “The digital age has arrived. We can now record a project in multiple locations. All one has to do is send a digital capture of the work to the next person, open it up on their computer and record their tracks. Most of the out-board goodies such as effects are included with the software, making the whole process cleaner, and more robust.”

Legendary record producer, and designer of the world renown Power Station Studios in Manhattan spoke of having mixed feelings on the subject when interviewed for this article, but fully embraces the new technology, comparing the old system to a buggy whip… a “lost and useless craft“.

Bongiovi recently appeared at CES 2010, the world's largest consumer technology tradeshow, where he spoke about the success of his latest technological innovations, the iHome, the iP1 and the iP2. “Almost all urban music is recorded on computers”, he emphasized. Bongiovi, best known for his work with artists like Areosmith and his second cousin Jon Bon Jovi has watched the industry shift in recent years. Mr. Bongiovi, who has over a hundred gold and platinum albums to his name anticipated the change, moving to Fort Lauderdale, Florida in the late nineties when the studio industry began to feel the pull of progress.

“It‘s simply more practical“. Hansgen added. “It's actually much quicker than having to hop a plane or drive for hundreds of miles to some studio somewhere to get work accomplished. Just press a button and there it goes, on to the next person.“


B. Thomas Cooper - Editor
Sound and Recording - Sound Foundation - National Newswire - The Infinite Echo - Impeachment Now! - Skate the Razor -
Skate the Razor Blog - blogment

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!

B. Thomas Cooper - Editor

Sound and Recording - Sound Foundation - National Newswire - The Infinite Echo - Impeachment Now! - Skate the Razor -
Skate the Razor Blog - blogment

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

Sound and Recording - Sound Foundation - National Newswire - The Infinite Echo - Impeachment Now! - Skate the Razor -
Skate the Razor Blog - blogment

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

Sound and Recording - Sound Foundation - National Newswire - The Infinite Echo - Impeachment Now! - Skate the Razor -
Skate the Razor Blog - blogment

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.

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.

Microphone Placement for Recording Amplified Guitar

Sound and Recording
B. Thomas Cooper
Editor

I recently spent a couple of very short hours advising some rather talented friends of mine on the fine art of properly ‘micing’ a guitar cabinet for recording. Over the course of the evening it occurred to me even the finest seasoned musicians can use a refresher course on common sense every now and then. Myself included.



Fortunately, this group of guys tend to be sensible by nature, a rare commodity for musicians as a whole. Our goal was to record ‘scratch tracks’ of the lead guitar lines for two tunes, and ‘keeper tracks’ for a third. We were recording in Sonar Studio Pro, I believe, an inexpensive, but highly recommended digital recording software.

Scott, the guitarist for the project attended the ‘old school’ of ‘big rock‘, if you catch my drift. We’re talking the classic, early sixties Gibson SG through a Marshall half stack. Of course, the Marshall ‘four twelve’ cabinet needs to be kicked pretty hard, just to get the old girl to bark. (translation: the amplifier needs to go to eleven) This is where our story really begins.



We are set up in a living room, with the computer and various interfaces off to one corner. The Marshall amplifier has been rolled into an adjoining bedroom. The occupant of room, along with his pet Salamander, have been given the boot.

We set the cabinet in the bedroom pointing the speakers toward the right side of the corner, across the length of the bed. We are careful not to point the cabinet directly at the wall, or directly into the corner, as both may produce unwanted response. Sound travels much like water. A pebble in still water will create even concentric ripples, whereas a larger stone is apt to make quite a splash.



At higher decibels, sound also tends to make quite a splash. Especially so, in cramped quarters. One of our greatest concerns will be avoiding the afore mentioned, and truly dreaded ‘square wave’.

The cabinet is about three feet from the edge of the mattress, at perhaps a forty degree angle. It is obvious the old Marshall tube amp will not produce the desired tone at a lower volume, so we don’t even drive down that alley.
Instead we concentrate on controlling the physical properties of sound.

A small collection of throw pillows are arranged on the edge of the mattress to create very subtle baffling. I don’t throw a blanket, or any other object around the cabinet. It normally isn’t necessary.

Next comes the actual ‘micing’ technique. ‘Micing’ is the term used to describe the process of microphone placement. More often than not, microphone placement is a forgotten art form. It is a process often neglected, or simply misunderstood.

There are no hard and fast rules. Use your imagination. That having been said, let’s discuss our situation before progressing any further. Simple guitar tracks, right? Perhaps.

One microphone, or two please? Would you like your sound dry and boxy, or would you prefer a tad of ambience? In other words, do we place the microphone close to the speakers, or far away. How close, or how far away, and why? Does the type of microphone make a difference?

For this situation, I highly recommend an ordinary, medium priced Dynamic microphone. Nothing fancy, mind you. Here’s my reasoning. The polar pattern of most dynamic stage mics responds most favorably within five to fifteen inches of the sound source. Get much closer, and the mic starts to get a little punchy. Back off too far, and the mic doesn’t reproduce transients. Transients are those are the little things, the stuff of which your sound is made of. We really don’t want to lose them in transmission.

The cabinet we are ‘micing’ contains four standard twelve inch Celestion speakers. Our goal is to place the mic close enough to catch the little things but far enough so as not to do the freak. Here’s a few quick don’ts. Don’t ever drape the mic over the front of the cabinet. Sound doesn’t work that way. Don’t ever put the microphone directly against the grill cloth or speaker.
Don’t ‘mic’ the center of a four twelve cabinet, and don’t point the microphone directly at the center of the speaker. That round looking thing in the center of the speaker, well, that’s a dust cover. It does not reproduce sound. Whenever possible, aim the microphone at an angle parallel to the paper of the speaker cone.

We set the mic about s foot or so from the cabinet, and after a quick listen, we moved the microphone forward perhaps two inches. It was all very simple, and very productive. Very little time was squandered twittering knobs and wiggling stands.

The session was a success on multiple fronts. Scott got to keep his tone, and Jon, the producer, got to keep his sanity. It was a pleasant evening for all. The moral to this story? Think about what you are trying to accomplish, take your time, keep it simple, and by all means, enjoy the process.

More Tips For Recording Vocals

Sound and Recording
B. Thomas Cooper
Editor

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.

Recording Drums and Percussion

Sound and Recording
B. Thomas Cooper
Editor




Recording drums and percussion instruments can be tricky at times. Every sound engineer has his own story to tell. Noisy symbols, poorly tuned drum heads, questionable room acoustics etc. All can contribute to the chaos, a kind of sonic dysentery. We can't actually cure the disease, but we can treat the symptoms.

The underlying problem can be attributed to those pesky transients. No, not the ones under the overpass. Transients are those sounds that come out of nowhere, like the crack of a snare drum, a sudden burst of signal, or the grinding smash of a distorted guitar or a crash symbol. Drum related transients often tend to be especially problematic. So where do we begin?

For starters, new drumheads and a decent pair of drumsticks seems obvious, but never overestimate a musicians common sense. Invest in your craft. You are only as good as your tools. Dampening the drums heads is often necessary, but certainly not mandatory. When recording, capturing a workable signal is tantamount. Learn to strike your drums in a manner conducive with good sound management. Pardon my saying so, but garbage in, garbage out.

Next, let's go over room acoustics, as a bad room adversely effects those afore-mentioned transients, and any listeners within earshot. A live' sounding room, like a garage or a nite-club will be subject to various bounce back' issues, such as unwanted room echo or worse yet, the dreaded square wave'. You can't see it, but it's stalking your studio, even now. The louder you play, the angrier it gets. Acoustic treatments will usually do the job, but each room is different. Sound baffling, bass traps etc. all play an important roll, but ultimately, it's up to you to get it under control.

Finally, we reach the subject of microphone placement and technique. The possibilities are limitless, so I'll cut to the chase. The more microphones you set up, the more sounds you must dial in. Some engineers can successfully mic an entire drum kit with a pair of overhead room mics, but as a rule, I recommend a minimum of at least four, adding a mic for the kick drum, and another for the snare. The overhead microphones can be adjusted to pick up signal from the toms and the symbols. The two produce radically different signal response, so crosstalk and cancellation usually aren't a factor.

Here's something to keep in mind. Most drum isolation booths are far more trouble than they are worth, so don't bother. The drums are the foundation upon which your song is being constructed, so set them babies up in the big room. Let the guitarist set his rig up in the iso' booth, as his tracks may need to be re-recorded later anyway. Today, it's all about the drums.

Keep an open mind and learn all you can about your craft. Leave your ego home, and play what is best for the song. Recording music is really not that hard, but capturing the magic often takes a little time. Just keep banging away, and by all means, enjoy the process.

Recording Drum Tracks

Sound and Recording
B. Thomas Cooper
Editor



Recording drums and percussion instruments can be tricky at times. Every sound engineer has his own story to tell. Noisy symbols, poorly tuned drum heads, questionable room acoustics etc. All can contribute to the chaos, a kind of sonic dysentery. We can't actually cure the disease, but we can treat the symptoms.

The underlying problem can be attributed to those pesky transients. No, not the ones under the overpass. Transients are those sounds that come out of nowhere, like the crack of a snare drum, a sudden burst of signal, or the grinding smash of a distorted guitar or a crash symbol. Drum related transients often tend to be especially problematic. So where do we begin?

For starters, new drumheads and a decent pair of drumsticks seems obvious, but never overestimate a musicians common sense. Invest in your craft. You are only as good as your tools. Dampening the drums heads is often necessary, but certainly not mandatory. When recording, capturing a workable signal is tantamount. Learn to strike your drums in a manner conducive with good sound management. Pardon my saying so, but garbage in, garbage out.

Next, let's go over room acoustics, as a bad room adversely effects those afore-mentioned transients, and any listeners within earshot. A live' sounding room, like a garage or a nite-club will be subject to various bounce back' issues, such as unwanted room echo or worse yet, the dreaded square wave'. You can't see it, but it's stalking your studio, even now. The louder you play, the angrier it gets. Acoustic treatments will usually do the job, but each room is different. Sound baffling, bass traps etc. all play an important roll, but ultimately, it's up to you to get it under control.

Finally, we reach the subject of microphone placement and technique. The possibilities are limitless, so I'll cut to the chase. The more microphones you set up, the more sounds you must dial in. Some engineers can successfully mic an entire drum kit with a pair of overhead room mics, but as a rule, I recommend a minimum of at least four, adding a mic for the kick drum, and another for the snare. The overhead microphones can be adjusted to pick up signal from the toms and the symbols. The two produce radically different signal response, so crosstalk and cancellation usually aren't a factor.

Here's something to keep in mind. Most drum isolation booths are far more trouble than they are worth, so don't bother. The drums are the foundation upon which your song is being constructed, so set them babies up in the big room. Let the guitarist set his rig up in the iso' booth, as his tracks may need to be re-recorded later anyway. Today, it's all about the drums.

Keep an open mind and learn all you can about your craft. Leave your ego home, and play what is best for the song. Recording music is really not that hard, but capturing the magic often takes a little time. Just keep banging away, and by all means, enjoy the process.

Taking Song Lyrics Literally

Sound and Recording
B. Thomas Cooper
Editor

Other than love, music may be the closest thing to real magic most people will ever experience. A song can lift us up or bring us down, inspire us, or maybe just help us fall to sleep at night. Music can be a very personal experience, or shared by thousands.

As a professional musician and songwriter, I find that my opinion often falls from the fray, as I neither adhere to, nor do I encourage reliance on a formulaic approach to lyrics. Instead, I prefer to concentrate on the essence of my song-craft with the understanding that the lyrics are an integral aspect.

Cryptic messages or entendre hidden within song lyrics are certainly nothing new. For centuries, many found this to be the safest way to express political or religious dissent. The Mother Goose Rhymes are a classic example. Some lyrics rely on the nonsensical turn of a phrase. A particular rhyme scheme should be guided by the muse, and little else.

Of course, each song should be approached individually. If your goal is to write a hit song, the rules begin to get slippery. Obviously, the lyrics for a dance number should reflect the spirit of the mood. One can't be afraid to "get down and boogie oogie oogie" when that is what the song calls for. By the same token, one shouldn't ignore the value behind lyrics like the overtly pedantic "The Wreck of the Edmond Fitzgerald".

When writing for myself, I always write what I feel, and for me, the little twists and turns are all part of the puzzle. This of course, explains why you have probably never heard my records. Legendary record producer Tony Bongiovi likes to describe hit songs as "Cheeseburger Music", easy to identify with, and easy to digest. The more twists and turns you throw in, the less your chance of connecting on a grand scale.

Still, where would we be without lyrics like "I am the Walrus" or "Gabba Gabba Hey"? Both, although seriously stilted, represent delicious song-craft. There are no rules that can't be broken. Don't be afraid to challenge yourself.

I am by no means suggesting you find a way to excuse bad ideas. Settling for less than your best will not bring lasting satisfaction. Push those lyrics hard, and then push them a little harder. Be brave and be diligent. Make those words count.

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.

Building a Respectable Home Studio

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.












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 in the recording software. Most of the clumsy cables have long been chucked into the trash. We like to run a clean shop around here.

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. Take your choice. For beginners, I would recommend Sonar for the initial recording and SoundForge for the mastering process. It's really not as hard as it sounds, and these days even a caveman like me can afford it.