Ok... I have a secret to share... my website not only tells me how many people come through my site, it also lets me know what they were searching for to get here. Many people have found my first post about whether to do EPs, singles, or albums... but tons of people search about costs.
I've held off writing this for a long time... mainly because I couldn't decide how to approach it (and keep it under 250,000 words) and because there are so many things to take into consideration. If you've ever read "Confessions of a Record Producer", a highly recommended read by the way, there's a great section discussing REAL WORLD recording budgets. ... the scary ones where EVERYTHING is accounted for... those $100,000+ ones! ... well scary because you might be realizing now quality costs money... and how your hobbyist friend with Cubase probably isn't going to help you record the next Bohemian Rhapsody... based on observations at least. So I'm going to approach this from a typical 5 piece (drums, bass, guitars X 2, vocal) band perspective, since I work on these types of projects quite often. First question out of the gate... who is producing this donkey show? Are you hiring a producer? Self produced? Co-Produced? ... and I already hate writing this... that last bit alone I can rant about for an hour... 2 of those 3 options are kinda stupid. ... anyway, you should choose this at the beginning and sorta stick with it... UNLESS you pick self produce or co-produce. If you pick either of those, know that during the process, eventually someone (typically the engineer) will be producing the project... making sure it gets done, to the best of your ability, on time and somewhat on budget. It just depends if you decide to let them know upfront AND decide (or at least attempt) to pay them for their expertise. I'm also just going to talk about the cost of a basic rock song "time wise" and then we can multiply that for EPs/albums. So... basic studio time (engineer included! very important!) necessary to record a 5 piece rock band rock song! ... that rocks. DRUMS - I'd give 45-90 minutes to record, 90 minutes to comp/edit... so let's just say 2 hours. *Note: I'm not including setup time for drums... or anything for that matter. Drums typically take half a day (4-6 hours) to get the actual drums set up, mics on, sounds, and to get comfy. Obviously you don't have to setup each time for every song, but some studios charge, while others don't for drum setup... oh wait... this is the charge everything budget! Except for this/setup times. BASS - Anything longer than 45 minutes tracking bass on a 3 minute song and I start reaching for the hemlock. I talk a lot though and I'm a nice guy so let's just round it up to 1 hour. GUITAR - This is where it can get tricky... sometimes you can blast through 6 tunes in a day, sometimes you're grinding through 1. Typically you can do 2 songs worth of basic rhythms/leads in a 10-12hr day. Why does it take so long? Because Bohemian Rhapsody is a masterpiece and we care about being in tune. Tuning means you care. One song is a half day so let's say 5 hours factoring in my legendary storytelling. VOCALS - This can really vary from producer to producer... I typically get through a lead vocal in 1.5 hours, then another hour to do any harmonies/doubles. Factor in another hour to comp/edit, 2-3 hours to edit further and "fine tune"... and then you probably got yourself a half decent vocal track... or at least one that makes Axl happy enough to stop mentioning they woke up with a sore throat that day. So vocals, 5 hours. DRUMS - 2 BASS - 1 GUITAR - 5 VOCALS - 5 ========= TOTAL 13 Hours! ... oh wait... what about mixing and mastering? MIXING - Straight up... if there's a place to spend money on a recording, outside of drums, it's mixing. That being said, don't think a great mixer can polish your el cheapo, home brew, aural ass blast into something it was never meant to be in the first place. I take good recordings for granted because I think they're pretty simple to do at this point... considering you have the right ingredients to begin with. A great mix will really bring out a songs best... while a bad mix can ruin something that could've had a chance. Most mixers need a few hours to prep and organize (and edit if necessary) the mix session... or have their assistant do it overnight... and then a day or two to mix and pick away at the tune. So... to keep things simple... let's just say 10 hours total. MASTERING - Mastering is important, especially on projects more than 3 songs. Get a fresh set of ears on the tunes... don't be fooled by people who are mixing and "mastering" their own mixes. Yes, eventually we will be mastering more of our own mix projects, but we aren't there yet. If it's a serious project, don't be cheap. Bottom line, they have higher hourly rates... 2-3 times most recording studios... so we'll say 2.5 hours to be safe and compensate for their hour. DRUMS - 2 BASS - 1 GUITAR - 5 VOCALS - 5 MIXING - 10 MASTERING - 2.5 ========= TOTAL 25.5 Hours! ... and mastering screwed up my alignment... thanks mastering... you always find a way to make me feel bad. ... what about producer fees? PRODUCER - Well... I'll be honest... most bands below a certain level flat out refuse to understand how producers can charge for their time and experience ON TOP OF recording, mixing, and possibly mastering their project. That's the day and age we're in though. Typically, if you were to pay for a producer, just plop another $1,000-$3,000/song onto the budget. For the sake of this example... we'll just say 15 hours. Roughly the time spent up until mixing... plus a couple hours to cover some of their psychiatric costs. DRUMS - 2 BASS - 1 GUITAR - 5 VOCALS - 5 MIXING - 10 MASTERING - 2.5 PRODUCER - 15 ========== TOTAL 40.5 Hours! Now... keeping this simple, here in Toronto, I'd say the average studio hourly cost is $60/hr for a place with a competent, experienced engineer. Again, rates vary, do your homework, and adjust your expectations however necessary... but know full well you're going to get what you pay for at $15/hr, while you might not need a room (for an entire project at least) that's $100+/hr. $60 hr X 40.5 hours = $2,430 Now... in my mind at the beginning, I really wanted to just say $2,500/song... and doing this quick budget, I'm amazed at how close we got. Now, minus that ridiculous $900 producer fee ($60 X 15 hours) that no band can ever seem to understand because why in the world would you think someone who brings a general overview and years of experience to make sure the project gets done on time, on budget, and to the best of everyone's ability is worth something... and you'll find yourself at $1,530. ... but again, this is the EVERYTHING counts budget... so $2,430 it shall remain! Single - $2,430 5 Song EP - $12,150 12 Song Album - $29,160 ... and for those of you bad at math and/or can't read between the lines. Single - $1,530 5 Song EP - $7,650 12 Song Album - $18,360 So there you have it... how much does an single, EP, or album cost? That's the ballpark I think a decent sounding, professional, commercially viable product typically costs these days. Of course again, MANY (and I do stress the word many!) other factors can come into play, especially political ones... but you simply need to weigh the pros and cons with these types of investments. Still, always remember is not the cost of the hour but the value brought to the hour. If you can get the end result you want for less, perfect... but just because one person can work wonders in an hour, doesn't mean they should charge the same as someone who's completely inexperienced and realistically takes 10 hours to do the same job BUT working for $15/hr. By all means, make records with them though... by the way... what's your time worth? - Mike ***Note: Stuff like strings, drum skins, alcohol, session players, rentals, time off work, FOOD, etc, have been left out... but everyone should factor them into their own budgets... they can really add up if you're aiming for "cheap as possible"... which always works out costing more in the end because you didn't prepare and usually scrambling to fill gaps in your project... and that's your own damn fault for not doing your homework!***
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Straight up... there's a shit ton of money related topics so I might as well tackle one of the easiest to deal with.
Odds are everyone in the band have different levels of income, and just as important, their own list of expenses and responsibilities. Life costs money... but your band, which if you're reading this you're trying to run like a business, also costs money to get up and running and maintain... way more money than most of you think. A common problem discussing recording budgets is the one person who basically goes "I can't afford that." ... and? (lol) It's a band expense... not a personal one. Is the band supposed to be held back because someone has a lower income or higher expenses? What if one or two people in the band can handle the financial investments/costs of running a band while the other two can't? Is that fair? Is that unfair? I can understand it's easier politically if everyone contributes equally but life rarely works out that cleanly... especially when there's this many people involved. The way around this... have a serious sit down a few times a year to see where people are at financially. You're a band. You're somewhat all partners in a business. You have to have the money talk sometimes. There are guys I've seem bank roll the entire project for years and guys who've said up front they can bring no help financially whatsoever. Both are ok... just know that if and when money starts to come in, the ones who invested get to put their hands in the pot first (or at least have way more say regarding what to do with the money... this also applies to potential issues with private investors), while the ones who didn't invest/contribute need to keep their hands in their pockets. Really keep in mind money equals votes/say in the band... and the band needs to be your baby. Whatever baby needs, baby gets. You'll see this is common among the hardcore folk in any passion... or vice. That alone should motivate you enough to do what it takes, see the big picture, and make sure finances get dealt with. Don't cripple your band (aka business, aka baby) trying to set your budget according to whoever is able to contribute the least, regardless of the reason. If you are, this should be a red flag it's just for fun and not really worth investing in in the first place - Mike. #DearBands: Stop Jamming.
I hate jamming... straight up. I was originally thinking of calling this "Stop Practicing" because I dislike practicing just as much as jamming... but I don't mind practicing... I just hate when people show up to rehearsal to practice. What's the difference? Well, it get's down to what your focus is. Most of the time when I hear people are getting together to jam, what they actually mean is they're getting together to get high, have a few beers, sit around, run the set, play 2 chords over and over pretending they're writing a song, etc. Jamming is a focused, complete lack of focus, that bands will do 3-4 times a week, months on end, pretending they're being productive within their rehearsal space. This is not productive. This is hobbyist, recreational, weekend warrior, friends and family nod their heads when you talk about the band, shouda, coulda, woulda, in textbook form. So still, what's the difference? Practice: In a band sense, something that should be done on your own time. When you shit the bed at rehearsal, take those soiled sheets home with you, and practice on your own time. Police yourself. You know what you have to work on if you have any competency in your ability whatsoever. It's one thing to run over a part a couple times in rehearsal in order to clarify something in context... but if you flat out can't play a part, don't know a part or the arrangement, or can't remember the words/melody. Practice. At home. On your own time. Rehearsal: In a band sense, something that's done to prepare for shows and/or recording. Although it does apply to preparing for the studio, usually the goal is to iron out the set... you're practicing the set... not jamming out the set... unless you 100% plan to jam it out on stage. What you do in the rehearsal space is what you're going to do on stage... and bands wonder why they end up getting drunk and stoned at shows, spending huge amounts of time with dead air between songs, meanwhile still "killing it" to an empty room. Writing: In a band sense, this can be mistaken for jamming, but writing is introducing new ideas with the goal they become new songs. You can pretend your hero's get in a room and jam... but they're actually writing. It's premeditated. There are ideas brought to the table, a pecking order to vote up/down ideas, and there's focus. Most of the time they aren't doing most of their writing in the rehearsal space anyway... they core writers are doing that on their own time, and refining the ideas there, with the rest of the band. The amount of times I've heard bands run over the same two chords for 20 minutes, truly believing they are breaking new ground, especially in the rock world, just to show the idea to the singer, and expect them to make some lyrics fit. This is the wrong way to do it. Sure some bands get lucky... I've seen it first hand... but most of the time trying to jam and stumble across a new song... it's going to suck. We all heard that song Paul McCartney and Dave Grohl did... they were "just jamming and it's what they came up with"... that's along the lines of what Paul said to a massive crowd... the ol' pre-song disclaimer. Think about that. Paul and Dave jammed... wrote a new song... and it was sucky. ... and they knew better. ... and you think jamming is going to work out for you? ... it's not a good choice... I'm telling you... as a friend. Personally, I think they knew it kinda sucked (hence the disclaimer) but because of who they are, they knew people would eat it up... or at least forgive them for jamming when they could've been writing... then again some days you sit down to write and nothing comes out. ... I'm getting a little off topic, but you get the idea. Stop jamming unless the main goal is to simply have fun. If you're trying to run your band as a business... every time you pick up your instrument, have a goal in mind. A goal to practice, to rehearse, to write, or as much as I hate to say it, even to jam (fart around). Your time is valuable, especially since you most likely have a day job and other commitments. Jamming should be at the bottom of the list once you get going, or at least once you decide to start going... because once you get going, you'll quickly learn how little time you actually have to spend playing music. ... yup, read that last bit again. :-) - Mike Ok... so I don't know if I'll actually hit "101 Tips" but I've decided right now I need a place to extend some of my #DearBands into mini rants.
... yes mini rants... rants under 10,000 words. So the last week I've been going through a digital stack of demos submitted, and my ever growing list of bands to check out online. It's hard stomach at times, but when I have a spare hour or two, and I don't feel like doing something WAY better with that spare hour or two, I go through a 15-20 bands on the list, and email the ones I like. I typically get a response 24-48 hrs after emailing... but some of the responses really show the person on the other end really didn't do their homework... at all. #DearBands, do your goddamn homework! Seriously... anybody emails you, check their signature, and be a dick. Put on your dick coat, dick glasses, and dick hat... and play detective! That's what Google is for... and Facebook... and ReverbNation, and BandCamp, and iTunes, and SoundCloud, etc. I'm not saying I'm going to change your life, but it should take 90 seconds to do your homework on me, or anybody else that emails you, and have an idea of what they can bring to the table. Some of you make such asses of yourselves in emails it's insane... insane and entertaining... meanwhile your band might be really good! Imagine it was a label, management, or another award winning producer (cough)... I'm pretty patient with people but time is always valuable... and after 3-4 messages back and forth... and it seems like whoever is on the other end is writing you back on their iPhone while sitting on the toilet... c'mon. I quickly forget about them and move on to bands that are ACTUALLY somewhat serious... or at least seem to be trying a little. Most of you complain nobody out there is helping you and you're trying to get by on shoestring budgets. Do your homework, network, make the most of meeting anybody at any opportunity. Do your homework. Please. As a friend. - Mike "10... 9... 8... 7... 6... I think he wet himself..." The holiday season is over... and I'm officially back to work without interruption... finally.
Christmas and New Year's Eve... they're kind of a big deal. There's a lot of anticipation, excitement, and hype around the holiday season that just passed... but what if you had to choose one over the other? Christmas Vs. New Year's. While I do love Christmas and all the fun it has to offer... mainly eating chocolate and guessing gifts, I'd choose New Year's... hands down. It's probably one of the most important days of the year... socially speaking. For most, Christmas (or whatever you celebrate) is about taking a few days off work, spending time with family and friends, good food, and sharing gifts. It's a time to get people together and... you know... remember what's important in life. If you really think about it though, it's forced... and it's selfish. Pretty much everything around you during this time of year (the deadline that is December 25th) is pushing you to do these things because it's the norm... it's expected. Come up short... you'll know it. ... but what if we made the effort to get together more often throughout the year? What if we simply gave gifts throughout the year out of pure generosity and thoughtfulness? What if we picked up the phone, texted, emailed, skyped, whatever, to let those we haven't heard from in a while know we were thinking about them? The Christmas most people, willingly or not, participate in is based around stores clearing out their inventory and prepping for the next year... but with Black Friday and Boxing Week sales, do we really need to play pretend anymore? Maybe keep the December 25th event for the kids... for fun... similar to how we keep October 31st going... but we really wouldn't need to put nearly as much hype into Christmas if we kept the true spirit of Christmas alive and well throughout the year. New Year's/New Year's Eve on the other hand is a time to get together with friends and family, perhaps exchange a few gifts and party... wait... that sounds a lot like Christmas... oh yeah, and ring in the new year! So... how is New Year's really that different than Christmas? What gives it the edge? New Year's to me is about one thing... resolutions... a fresh start... time for change! Many of us aren't self motivated. We can't just think of a new plan today and start tomorrow. Most of us need a nudge to get going and that's why we see so many people signing up for gym memberships, looking for new jobs, going back to school, starting diets, etc, the week of January 1st. Unlike our Christmas lists, which are wants, our New Year's resolutions are needs! Those lifestyle changes and improvements we've been thinking about for who knows how long, January 1st is that hard date where socially everyone is on the same page. Everybody wants to get a good start to a better year. It's the one free pass where anybody can make an abrupt lifestyle change and nobody will be surprised because it's a New Year's resolution! It's the day to stop thinking about it and start doing it! Again, Christmas is fun but I feel like it's a pacifier for our wants and a band-aid for, most honestly, our ego. It feels good to give and receive gifts. It feels good to see the smiles on our loved ones faces when we come through the door... but often it's an attempt to make up for a years worth of being too busy to make the time or give the thought... kinda like that guy who only buys a girl (or guy, this is 2013) flowers on their birthday. It's the thought that counts, but it's kinda cheapened once you factor in the circumstances. New Year's resolutions are personal. They're a chance to take a step back, look at how your last 12 months went and what kinda changes you think will make the next 12 better... and in response, you make a commitment to self improvement. Work toward your goals and enjoy the sense of accomplishment. Improve your quality of life and you will improve the quality of life of those around you as a result... think about it. It always comes down to the individual... and I'm the type to make tweaks throughout the year... but I love hearing and seeing the changes in people's lives this time of year. While new socks and boxes of chocolates make people happy... it's the commitment and hard work... the progress and payoff... that's what gets the serotonin going... and that's a gift that keeps on giving... because it's like chemicals in your brain. - Mike "... use it or lose it." September was one of those months I feel like I did a bunch of stuff… but don't know what I did exactly. I had a few hours to think about what I wanted to write about during my flight back from Edmonton the other night… a common thread for last month? Professionalism. There's a couple main points I'd like to make and I'll do my best to keep this to a toilet sitting's length. Early in the month I finished mixing Sarah Shafey's next album. First and foremost, Sarah, and Donna Grantis (who c0-produced the album) were a pleasure to work with and I think we're all happy with the results. Initially though, my radar went off that Sarah could potentially be difficult to work with. This is nothing personal, this is based purely on past experiences with similar artists. "... if it happens once..." Sarah is very organized. How is this a potential problem? Over the past couple years I've accepted a few things about musicians… one of them being, be cautious of musicians who don't act like "musicians". That doesn't mean they have to be a complete train wreck… but there's typically a large grey area around details like timelines, deadlines, payment schedules, reading/comprehension, financial priorities, common sense, etc. You know… little things. They'll get done, you just have to accept the patience necessary that come with the lifestyle. Sarah showed up to the first mix tweak session with point form notes, for all the songs, and copies for each of us. "Amazing. " I love point form notes for mix tweaks… tell me what you want, not how you feel. There's lots of code names I can decipher (eg. "warmer", "darker", "brighter", "Bohnam"), but for the most part, just tell me in almost primal terms what you want.
It's simple that way. It's not being rude, it's being specific. You don't have to describe the neighbourhood when what I really need to know is the address. Sarah also mixes and engineers, and this is her album. "... you're here to ruin everything... aren't you." We all have our ways of doing things and what sounds right to us… sometimes knowing too much about what happens behind the curtain is just as annoying as assuming you know what happens behind the curtain. This wasn't the case at all with Sarah though, it just made it easier for her to articulate what she was thinking. Bottom line, being organized has a couple ends. On the bad end, it's simply an obsessive attempt at micro-managing with a side order of unrealistic expectations. Instead, you should be able to roll with the setbacks and not prevent progress when there are opportunities to get ahead. Another problem with badly highly organized people, is they're always aiming to hit the bullseye as opposed to crossing the finish line. They'll constantly reset the cycle, thinking another attempt will give better results. Imagine you're driving and you see the same intersection 4 times… yes, you're still moving but chances are there's something wrong with your directions and/or your sense of direction. I think that's the problem with artists that can't finish in general. We don't always have to come in first or hit the bullseye. Completing art is about getting it across the line... that being said, where you set the line is up to you. On the good side of being organized... efficiency, focus, and endgame vision. "Smart." Next. I did a spec mix for a band early last month. I do spec mixes often and although my track record for getting the project is pretty good… sometimes I don't, they let me know, and it's totally cool. Considering our initial meeting, this particular project seemed like it was for sure, just going through the normal paces to know what I'm getting into time wise. They explained early on how the previous studio they'd recorded at had screwed them over a little (red flag) and that they had a tight timeline. I turned over the spec mix within the week and explained it'd be best to have the rest of the songs asap if they wanted it done by the end of Sept/early Oct. One week goes by… nothing. Two weeks go by… still no response. Response from management was they didn't know what's up either. "... something seems off." Fair enough. By this point I'd already assumed I wasn't getting the project but it wasn't official until I saw the band posting about mixing at the original studio on Facebook... Facebook official!? It's not like people aren't going to find out what you're up to, it's just that you look like a bit of a knob for leaving people in the dark or directly attempting to indirectly mislead them. Then again, with some people, it just doesn't cross their mind to say anything for whatever reason. "... most of the time, it's better to say something, all of the time." The main annoyance isn't the poor communication though, again, musicians being musicians. It's the time I don't get back. I blocked out a chunk of time to do the project since they were on a tight schedule and it seemed like all things were "go". It's not about how long the band/artist thinks a project will take... I do a mix on spec to see how long I know it'll take me. I don't want to cut corners or wear myself thin trying to hit a deadline if it's unnecessary. It sucks to look in the mirror and see dark circles under your eyes from a project that just wasn't worth it. So lack of communication is one thing, and I know the band will have their excuses, but the long and the short of it is, it's unprofessional… not to mention it leaves a mark on the people who referred them. Will it end someones career? Of course not… but acting unprofessional rarely helps in the long run. So bands/artists, just keep these things in mind when someone doesn't bend on budgets, timelines, and deposits. Another band or artist before you is to blame. They got there first and messed it up. It's up to you to break tradition. "... just stay the fuck away from this tradition." So, with that out of the way… I was blessed with the presence of The Pecan Sandies later in the month who were in to record a few more tunes for an upcoming release. They were in earlier this year and were just as much fun this time around. It's a simple 2-piece, baritone guitar and drums driven rock outfit, and easily one of my favourite acts in the city. They talked about a few of their video ideas and I can't wait to see them completed and out in the real world… two great musicians making simple music they love and have fun playing. What a concept. Lastly, as I made a slick reference too early in this post, I was in Edmonton last weekend to record drums for some new Tupelo Honey songs. I love mentioning these types of gigs to people… their response is a mix of "that's cool!" to "why would they bring you all the way out there? Is there nobody out there who could record it? Are you actually THAT good at recording drums? Am I in the presence of drum recording royalty or somethin'??"… yeah that last bit sounds better in a Joe Pesci voice… seriously though… some people make comments like anybody could do it... which is 100% true… to a point… but when it gets down to it, it's shitloads more fun to work with your friends, and much easier to work with people you've worked with a lot in the past. "... good times... it's a team sport." The recording process is just that, a process. The more you work with people, the more you understand their process and don't have to say much to know what's going on. Like most things in life, it's more fun when you're good at it. Put a good producer, a good engineer, a good drummer, and a good assistant (to glue everything together) in a room for few hours, good things happen… and we have fun in the process. I usually see the Tupelo guys when they're in Toronto… it's been years now since we first met and the visits are frequent enough I forget they're on the other side of the country. We've flown Greg to Toronto a couple times to track drums here, so it was fun to go out there for a change and I'm glad Jeff (producer) threw the idea by me and the invite. It was a quick trip but felt more like a visit with friends than actual work. … then again work rarely feels like work... and on that note... "do, do, do, do, do, duhdoo, do
do, do, do, do, do, duhdoo, do do, do, do, do, dooooo0000." "... for every question, there's an answer." August… let's start with the easy. The Parabelle album is out… it actually came out like 5 times it seems like. I woke up one morning to see posts on Facebook about how the Kickstarter folks had received a zip file over night with the new album in it. This was a bit of a surprise since they were aiming to get them the physical copy 2 weeks before the actual album release date (August 28th)... but manufacturing hiccups set things off course a bit. (... shut your big damn mouth Big Bird.) These days, I say just put it out. Once it's ready… just put it out and let it roam free on the internet. I think the days are gone of the big hype machine for an album… considering the days of the full length album are in question anyway. If people are waiting for it, they'll hype themselves up. We can still let people know when something is coming out… but I find it kinda lame when bands get a little too hype-y about something nobody is waiting for. We all need exposure for the music, but ultimately word of mouth is the best way for it to get around. This takes time, especially in the beginning. Not long ago, if a single or album didn't react right away, say within the first couple weeks, we'd consider it a flop. These days, it can take months for something to catch on and even then, you should still be constantly working on and releasing new quality material. Granted Kevin has been releasing material for 7+ years through Evans Blue and now Parabelle, one band has 140k+ likes, while the other is approaching 10k. That's the difference exposure makes though... EB had a couple songs on the radio early on... Parabelle... close to no radio support so far. They've been working other areas, building up their fan base through regional touring and word of mouth... being approachable and reachable at shows and online creates an engaging relationship. The fans feel like they're part of the process opposed to of just a consumer. This builds core fans and it's all about the core fans, they're the ones who keep you alive. (... it's all about meeting people and makin' friends.) The response has been great for the new album though. I'm always a little anxious when an album gets released… I imagine it's similar to that "kids first day of school" feeling… quite fitting right now. I know I like it… I know the band (unless they're lying) like it… but that doesn't mean the fans will... and pleasing your fans is part of the equation. It's about creating a balance between trying new things, but still keeping enough of the familiarity. You have to leave time to experiment during the writing process as well as in the studio. Sometimes you hit on something you feel is great first try, other times, you know there's a good idea in there... it just takes a while to refine it. When it's right though, you know it... and that's where listening to your gut comes in. One of the hard parts of producing is learning and knowing how to listen to your gut. It's not always the most popular opinion in the room… but when it thinks it's right, or more importantly thinks something is wrong, it'll keep you awake at night until you act on it. (... and if you don't, it'll haunt you forever... until you die... and then a bit past that.) Another surprise... they decided to post some of the album demos on BandCamp. Throughout the year, they passed me about 20+ demos and from those we went over some ideas and directions for the album. The demos posted included a few tunes that, although we still felt were good, just didn't fit with what we were aiming for or were simply replaced by a stronger tunes later on. I think it's neat for fans to be able to hear "demos". The process of record making is pretty raw and messy at times, so being able to include some "behind the scenes" content so easily these days is awesome. It's safe to say most of us on this side of the glass have heard the raw Motown, U2, and Led Zepplin tracks by now… we geek out over them because we can hear the in between stuff... the kind of stuff I refer to as "hiding the body" during the mix stage. We get graded on the final result… but there's lots of gems and lessons in the process for those who are listening. (... you have to understand the angles of your audience.) ... I've made 5 albums with Kev now ( 2 w/ Evans Blue, 3 w/ Parabelle)… just thought of that. I should do a post on 'Melody' sometime. I have a lot of memories from that record... not to mention how much I learned making that record. It was the first one (label wise) I felt I really had a big part of... I knew people were going to hear it. There was very little pressure on me and only had one person to report to, that being the producer (Trevor Kustiak), but I can only imagine how much pressure was on him. Considering the success of Cold (but I'm still here) I'm sure all the higher-ups wanted to get their fingers in stuff... feel like they're contributing. There's lots of people who feel the need to put in their $0.02... especially if they feel it's their money being spent. The record turned out pretty good and seems to be a favorite from EB fans. I still get emails from EB fans saying everything from simply "great stuff!" to "I wish we could work on an album together". Considering that album came out 2006... I'd consider it a success if people still care about it. (... and it feels good.) So... back to August, for those who are wondering, I have been busy this past month. It was split pretty much 50/50 between producing some new Morgan Sadler tunes and mixing Sarah Shafey's next album. I'm equally excited about both but I'll start with Morgan… Morgan is a singer/songwriter/pianist. When we talked about what she wanted to do (hear), we spent quite a bit of time listening to references and talking about where we'd like to draw inspiration from. All these references are "full band". Morgan is a singer, songwriting, and plays piano. One of the things that grinds my gears is when producers steamroll what an artist is, at their core. This is often under the disguise of "development", but if you strip away all the extra instruments and production, does the artist remain intact? Do they still know what makes them "them"? Can they still write songs they're happy with if the producer is out of the picture? A good producer will bring out the best in a band, but with solo artists, you really have to listen to what they want to do, and decide before you start, or very close too, if you think you can deliver. You can still put your sonic signature on a recording but it shouldn't overpower the artist. We're a spice, not a main course. The initial chemistry between artist and producer is the key to understanding where the limits are... and experience working together builds the trust needed to push them. I'll keep this short since we're both pretty excited with how its turning out… it should be all wrapped up this month… and hopefully it comes out on YouTube not long after. YouTube is the new radio… just a reminder. (... yip.) The Sarah Shafey album is a mix project referral from Donna Grantis. Donna and I met a couple years ago during a quick tour playing together in Dane Hartsell's band. It's nice hearing from old friends and always fun to hear and see how others track their records. There are some solid players on this album! It's nice hearing great takes and people playing together. We're just into the mix tweak/touchup stage but I'll be sure to pass along some links once it's released. Some side notes… Both of my hockey teams made it to their division finals which took place this week. One just came up short 4-3, the other took home the top prize in a shoot out. Both were great games and it's always fun feeling some pressure. Fall/Winter season starts up in a couple weeks... it's always nice to get a fresh start. That's one of the things I love about my job... with each new project, I feel like I get a fresh start. You're always learning new things throughout the process when you take a project from start to finish. I achieved 100% failure rate in heading to the cottage last month. Too busy. Way she goes… but if it stays warm… that's the plan this month. Plus, considering how much it's rained recently, the fire bans are definitely off now. I haven't had a summer until I've roasted marshmallows. - Mike (August... we got some new shit on Mars.)
"I have a lot of friends on here that are producers and Engineers. Most of them work 12 hour days, 6 days a week making music. They are dedicated and passionate. Their main goal is to make people happy and make their lives richer with great music. This is a shout out to all you guys burning the midnight oil!" - David Bendeth If you don't know who he is… Google him. He's produced some pretty serious records the last decade and had his hand in shaping the sound of modern rock. I, like most people, scan through my Facebook news feed each morning and he posted that a couple days ago (yeah we're Facebook friends *cough*). I think it was quite late at night but it put a smile on my face... and that's always a great way to start the day.
We ARE dedicated and passionate. Our goal IS to make people happy and make lives richer with great music. Music professionals love what they do to a point they probably can't do much of anything else… we're distracted by our passion, be it recording, playing, mixing, performing, composing, or often all of the above… until one day it consumes us and shows us we can make a living doing it. Also, it's safe to say just because we aren't in the studio or holding an instrument mean the working process stops… we go through our day to day life thinking about it more or less 24/7. To some we're "workaholics". To some we're obsessed. To us, I say we're simply in love. There's a relationship between anyone and their craft. You decide how much time you make for it and you decide how it's nurtured. We all have relationships in our lives outside the conventional ones that aren't easy to identify and explain to others… everything from sports to fashion to books to food to partying. What do you care about? What do you make time for? What's on your mind? It's not about how we spend our money… it's about how we spend our time. I know how I spend my time… and I laugh and smile about 400 times a day because of it… and yes that was a Krispy Kreme reference. - Mike P.S. I actually have more I'd like to say on the topic but it can wait for another time… it's more venting... and I like to be in the mood to go off on certain things. It's more along the lines of dealing with people who think it's ok to abuse our time, ignore our value, and downplay our experience... mainly because they feel music, or whatever it is you do, is a hobby... since it often is for them at least... therefore we should be on an even playing field right? (... best laid plans...) … so it's the end of May already… what have I been up to? Well… where to start... I should probably start with April… since maybe, according to my #DearBands tweets, all I do is take shots at bands all day… which does give me joy… seriously though… some of you are painful to watch function... but that's not to say I don't get what you're doing, where you're coming from, or why you're doing it. After all, we "play music" for fun... and some of us do have lofty goals. So April… I ended up shuffling the schedule around to fit in tracking the new 20 Amp Soundchild EP. Let me say something off the top about scheduling… when you're self employed, motivated, and love what you do for a living... since you'd be doing it in your spare time anyway… holidays mean nothing… and even less than nothing if they don't show up on your iCal. The plan after Juno Weekend was to do some pre-pro and then track drums the following weekend. I like having the full band in for guides/bed tracks. I think it's important to have everyone playing together for vibe and comfort… plus, if it sounds decent as a full band off the floor, everything else we do should only improve the end result. You'd be surprised how much you can keep from initial guide tracks when the isolation is decent (which it is at my place) AND provided we've done some prepro so people know wtf they are doing. … so it turned out the first weekend of April was Easter Weekend… and everyone had family stuff to do… well… frig. (... thanks.) Way she goes… I rarely stress about schedules these days, schedules being different from deadlines though. We ended up having a great prepro session the following week and tracked drums that weekend. I had Parabelle scheduled to come in April 24th, so we were watching the calendar a little, but all good. We zipped through 90% of what we needed and got a good chunk of vocals done before I had to switch gears. Again… being prepared makes a HUGE difference saving time while recording. When you're prepared, you play with confidence… I'm not after 99% accuracy… this is not RockBand… but you'll play it with "feel" since you know how it goes. … and on a side note... if I know how your songs go better than you do after hearing them 5 times… that's not good… and these days I will tell you. :-) So Parabelle arrived April 24th as planned… they brought a drummer this time but no bassist… and we still had a few tunes to sort out and they wanted to write a bit while they were here if time allowed. … ok... I know what you're thinking… (… but Langford, you just said you shouldn't go into the studio unprepared!?) (Allow me to answer... BBQ style.) This is not my first BBQ with Parabelle nor in general under these conditions. Being prepared is half of the equation, the other is experience. This will be my 3rd album with Parabelle and 5th with Kevin (original singer of Evans Blue). I know how Kevin works and I know what everyone involved brings to the table. They could show up with some mumbled ideas on voice memos and I know in a few days we'd have the songs up and running. This time we had a great batch of demos to work from plus a handful of other ideas already a'brew. This could be a headache (or a financial blessing) for someone if they just booked studio time and tried to work out ideas there… but working with a producer, it's not about being on the clock as much as being efficient with time. I know what we're after and I feel the guys trust me… and that trust is a two way street. Even when people get a bit pissy, I know we're still having fun and it's only because we care. At the end of the day listening back to a record you worked on is like looking back at pictures from summer camp... it's the little details that remind you of the good times. ... I never actually went to summer camp growing up, but I'm assuming that's what it'd be like… you know... if you… took pictures... and looked at them after. (... probably would've looked like this.) (... or maybe... more like this.) (... present day it'd look like this... just minus the kids and the smile... then add some dry tears, imagine some beach boys tunes in the background... and it'd be 7am in a public park.) So anyway… I'll leave all the juicy stuff out of recording the new Parabelle album since they brought in a videographer to grab some behind the scenes footage... curious to see what he uses first. Upfront, I normally hate having extra people around the studio… especially film/photo folk since they get in the way. (... so where can I set up my lights?) The guy we had though, Mr. Mike Hough, he was great… almost invisible… near-ninja… or the ideal intern/studio assistant. … so I'll wait a bit to post more on that… just like my Juno trip, it's 90% written… just not finished and posted. That brings things to May 17th… bless you iCal. I spent the next week mainly getting the rest of the vocals for the 20 Amp Soundchild EP, editing, and mixing it… I've been back to Parabelle this past week working on the "singles" aka the first 3 they want to let roam the internet... definitely looking forward to getting this album in the can as well. Historical Fact: Within 8 hours of releasing 'Reassembling The Icons', it was on many major torrent sites AND cracked the top 10 rock albums on US iTunes… and then The Beatles released their catalogue on iTunes the next day… and that was the end of that. Still awesome to see independent bands putting in the work and having it pay off… steady build… onwards and upwards. (... u mad bro?) This weekend I have the boys from Left Turn City coming in to start a couple tunes. I've seen them a half dozen times around town. Last year's Hallowe'en set was one of my favourites by a local in a while… picture Freddy, Jason, Michael, and I think Leatherface doing covers… that's how you should do Hallowe'en shows people… awesome covers. Anyway, they have a few originals I thought always stood out so when they told me which ones they were thinking of doing, I was pretty stoked… and sonically, I think they're one of the fullest sounding rock bands in the city. It'll be good… it'll be loud. … and I guess that brings things up to May 31st. ... happy summer. :-) - Mike FAQ: "Hey Langford… what are you listening to these days?!" - Turbo Von Bromeister III Great question Turbo Von Bromeister III... people are always asking me what I'm listening to… generally I'm just listening to what I'm working on… or what's on the iTunes radio station I try for a couple weeks (currently Music Machine). I don't pick the playlist, just the genre… maybe I'm lazy, but I like having new bands catch my ear... and I think that's important to keep in mind… besides, do you mean listening for sonics or song?
"as you can imagine, s**t is just fkd up right now. but i wanna say thank you to all our friends and family (which are kinda one in the same) for all the love and support. i'm glad to know that all the love that Yauch has put out into the world is coming right back at him. thank you. (sic)" - Ad-Rock (May 6th, 2012) … I'm pretty even keel as a person… but this is the first musician passing that actually threw me off a little. I knew he was battling cancer, but when I'd heard the news online last Friday… I was shocked… shocked and sad… enough that I indirectly told the band we're going to take it easy that evening… feel free to make a trip to the LCBO… we're watching the hockey game tonight. "To The 5 Boroughs" was on repeat while I initially cleaned and set up The Pawnshop… late nights and early mornings, for several weeks. Passive listening, but the album created a vibe and put me in a great mood. We all have soundtracks to our lives… Beastie Boys definitely have at least one song on mine. They weren't just 3 dudes rapping… or Sabotage… or the Intergalactic video… or Fight For Your Right (… to party). They were a lifestyle and a band… a fucking band. (... ok for a lot of us... it was all about the Sabotage bass line.) Once you hit a certain age (usually early 20s), you make a choice to put down your axe, pack up your kit, or sell your decks. In my eyes, that's the line in the sand. Musicians are lifers. Musicians never think of stopping… why would we? That doesn't mean you can't finish school, get a day job, and have a family. It means you can't imagine living a life without making a sound. Musicians and artists in general create, in their head, everyday, all the time. Once they discover their weapon of choice, it comes out… and the rest is history. (... as long as we're loud enough, we'll enough have time to figure out what we're doing.) What's wrong with most bands? In short… they aren't a fucking band. If only people could see how bands operate off stage, in private… then they'd understand where that chemistry comes from on stage. You can't fake it… it comes from countless disagreements, pushing each others buttons, hearing about either others personal lives (in great detail), knowing and understanding each others joys, fears, goals, etc. I've always thought people loosen up (get weird) after midnight. Bands spend a lot of time together after midnight… in the tour van, hotel rooms, 24 hour diners, you name it. When people open up, real relationships are built. Imagine how well you know your band after 25+ years of late night. That's beyond a fucking band… that's family. (... you can't make this stuff up.) (... but they did.) Next to that… nothing about musicians pisses me off more than ones who understand they have a platform to speak out about change, but choose not to. What a waste. During recent mentoring sessions, I've been encouraging artists to consider 2-3 things in life they wish they could do more to share and educate. Everything is fair game… we know music is a big part of our lives but what else defines you? What else do you read up on and love talking about. If a 1-dimensional object could ever exist in the real world, it's an artist with nothing to say. "I know, we should have tweeted and instagrammed every sad, happy and inspired thought, smile or tear by now. But honestly the last few days have just been a blur of deep emotions for our closest friend, band mate and really brother." - Mike D (May 6th, 2012) After reading several articles about Adam's passing… I thought about what I knew of his life and band from a fan perspective… it'd be a better world if all people could live a life surrounded by friends, family, driven by passion, love, and positive change. (Hey!? ... sharing is caring.) Success in life isn't about climbing mountains littered with dropped packs and frozen corpses from failed attempts… where reaching the top makes you a member of an exclusive club, granting a great view, and a moment of clarity… "I made it... now what." They say it's lonely at the top... and I think this what they mean. Success in real life is an array of rooftops and balconies. They come in all shapes and sizes… their usage, decor, and vibe as diverse as life itself. They're places to share with friends and family, or to be alone. They all have one thing in common though… to enjoy them, you have to find them… and to find them, you have to find your way up. How you reach them is your choice… and once you reach them, you'll see others enjoying the same views as you do. True happiness is a shared sense of accomplishment. All goals are attainable when you see the big picture and find your place within it. RIP MCA (1964 - 2012) "Well I got to keep it going keep it going full steam,
Too sweet to be sour too nice to be mean, On the tough guy style I'm not too keen, To try to change the world I will plot and scheme." - Adam Yauch |
Mike Langford - Official BlogBeing on both sides of the glass, I get the chance to wear many hats in the music industry. This is a place to share my thoughts, views, predictions, rants, stories and news! Categories
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