Career Songwriter

When it’s time to record a few tunes, it can be a daunting task to decide how to go about it. Over the years I’ve learned a few hard lessons, and I’d like to share some of what I’ve learned from the perspective of an artist and songwriter recording her own material. To make sure I’ve got my facts straight, I’ve asked my long-term recording engineer Jan Teddy to help me out.

Major facilities are appealing in that they offer the gear and the service we’d like, but can place somewhat of a strain on our budget. Home studios are great if the system is working and we’re well versed in how to achieve the sound we need from production to engineering. But as anyone who has built a home studio knows, it often takes a huge time investment with a long learning curve to come to the point we’re recording our music without too much resistance from technology and the process.

In my most frustrated moments, I’ll admit I’ve wished technology had stopped growing with the introduction of the 4-track tape. Fortunately for me and many other artists and songwriters recording their material, my wishes don’t come true and we can get close to the sound of a major facility right in our basement or office, at least in terms of the equipment. The know-how of an experienced engineer/producer is unfortunately not duplicated quite as easily. I have a few opinions based on personal experience and the experience of colleagues that I’d like to share on choosing and building a recording process. However, as with everything you read, do your own research and learn from those around you as well as take into account your own experiences. My thoughts here are only guidelines, and so please use this information to strengthen your craft and business rather than limit it.

One mistake I have made myself and watch other songwriters make is going out and buying a recording system that requires more of an investment than the buyer is willing to make. I’m not only talking about money but rather time and energy into the art itself of recording. Recording, arranging, editing and mixing as well as production are arts that are as deeply complex as writing great songs time after time, and so it can be very wise to get real about your expectations. As many years as you’ve dedicated to becoming a better writer is how many years someone skilled in mix engineering has dedicated to being a good mixer. Now, that’s not to say you can’t be both a decent songwriter and producer, or songwriter and mix engineer. However, being great in more than one of these disciplines is unusual. Also, you are depriving yourself of the second or outside opinion which is part of the producer’s job description. Particularly with songs you have lived with and played for a long time, your objectivity in terms of quality control and emotional impact will most likely be limited. And if your approach to the recording arts is not as intuitive as your writing, there is a good chance you will experience the frustration of having sunk a hefty down-payment into a system that left you screaming into your pillow at night, unable to make music for lack of an understanding of the gear.

The degree to which you outfit your studio can depend a lot on budget as well. There is a wide range of hardwares and softwares out there that all offer the same basic service, but to varying degrees of financial investment. Technology is constantly changing, and what was cutting edge one year may be old news 6 months later. The important thing to remember is that trying to stay current with the latest gear may only leave your pockets empty and your studio constantly under renovation. Don’t let your gear determine what you want to create with your music, but let your music determine what you need from your gear. In the end, the best studio for you is one that allows you to create the music you want to create. For some, that’s a more serious personal studio, and for others, it’s just the bare bones.

Below are some options you might consider when researching a studio setup that’s right for you. I’ve listed some prices next to the options as ballpark figures.

Personal Studio Option 1 (about $1500)
-Apple iMac ($1000)
-Digidesign Mbox Mini ($250)
-Rode NT1-A ($250)

Personal Studio Option 2 (about $3,000)
-Apple MacBook ($1500)
-Firewire Hard Drive such as Gtech ($300)
-Digidesign Mbox 2 or M-Powered ($400)
-Shure SM58 ($150)
-Rode NT2000 ($600)
-Headphones ($50)

Serious Personal Studio (about $6,500)
-Apple MacBook Pro ($2000)
-Firewire Hard Drive such as Gtech ($300)
-Less “High Performance) Firewire Hard Drive for backup ($100)
-Digidesign 002 or 003 ($1200)
-API LunchBox w/API 512c x 2 ($2,000)
-Rode NT2000 ($600)
-Rode NT4 ($500)
-Headphones x 2 ($100)
-Pop Filter ($25)
-Mic Stand ($25)

As you can see above, some of the elements of a personal studio are:
-Computer (Mac or PC)
-Computer Performance (RAM, Hard Drive)
-Audio Interface (Motu, RME, Frontier Designs, M-audio, Presonus, Apogee)
-Optional Pre-Amp (API, Manley, Universal Audio, Focusrite)
-Microphones (Neumann, Shure/AKG, Rode, Peluso, Studio Projects, etc.)
-Accessories (Pop Filter, DI, Mic Stand, Headphones, etc.)

Then there are software options to consider:

Softwares include Apple Garage Band, Fruity Loops for starters, and Ableton Live or Propellerheads Reason for a little more well-rounded approach. You may have heard of DigiDesign Pro Tools LE/M/HD, which is the industry standard, proprietary. Steinberg Cubase and Nuendo, Apple Logic (which is mac only), and MOTU Digital Performer are all softwares used by professionals in major facilities, as well as more serious home or project studios. The main point of having specifically Protools in your studio is a matter of compatibility, since they have been the guys that have been there from the very beginning, and are therefore the most widely distributed software/hardware solution. Many great records have been made on Logic, Cubase, Digital Performer, etc. These software solutions are quite comparable to ProTools, especially the LE version, but there is something to be said for the ability to go back and forth between your home studio and a world class facility without compatibility headaches. The other consideration to be made are driver conflicts … it just doesn’t matter how good the software feels, and your hardware sounds if they don’t play well together. Yet again a point for Digidesign’s ProTools, since hardware and software are specifically created for each other.
Frequently, audio interfaces will actually come with a lite version (really a teaser) of a particular software. Play with that and see if it appeals to the way you think, work, and create. After spending about 100 hours with it and things still feel awkward, maybe it’s time to try something else.

If all this seems a little overwhelming to you, (and there’s no shame in simply being a great songwriter), I encourage you to become familiar with the most basic recording setups, read a couple books, and stay clear of too many radical commentaries in online recording newsgroups/blog sites. Most of the guys that I really want to hear opinions from are busy …making records Whether you find yourself at your friend’s house recording, or at a major facility, you’ll be glad you took the time to understand a little about signal flow, patchbays, compression, microphone basics, etc. You’ll be able to empathize a bit more with the engineer tracking your session as well.

If you do choose to go the way of a major facility, consider your options here, too. How much you shell out for those gleaming platinum-record lined hallways depends on how much time you spend there. The more you rehearse before the studio, the more money you’ll save. Studios charge by the day, sometimes by the hour, whichever you’ve working out with them, and the cost can range from $50 - $250 per hour. Many times day rates are less expensive. My advice would be hiring and engineer that works in that particular room all the time. For one, it will ensure that the engineer frequently works in high end facilities, and at the same time this person will know the ins and outs of that particular room. That will save time and save you money. Most larger studios will be able to connect you with an engineer like this.

You might decide to record a solo demo if you’re a singer/songwriter, thus cutting out the cost of hiring a full band. You might decide to use a full band but only record an EP instead of a full album. Fewer songs mean less time investment and less money.

In my experience, I’m happier with the final product when I’ve done adequate pre-production, over-budgeted the time it will take to record, and hired musicians capable of achieving the sound I want. I would personally rather record two songs with musicians and an engineer I can count on in a decent facility, than record 4 songs in an expensive facility with buddies of mine who mean well but can’t execute what I need them to get on tape. For you, the situation may be different, but I encourage you to give it some thought. The more you know going into the recording process, the better your experiences throughout this exciting leap into the next phase of your music career.

Having a convenient way to record our ideas and working versions of our songs is such an important part of songwriting. When we’re faced with a tangled mess of cords, software gliches, setting up microphones and balancing lyric sheets atop our guitar, we sometimes opt not to bother laying down the demo at all. I’ve found this to be true for myself, and so I took some time to look around for products on the market that could solve my problem.

What I needed was a quick and easy way to lay down a good guitar/vocal and piano/vocal. I needed to have the capability to transfer the files quickly onto my laptop, without much hassle. It also needed to have good, clear sound so that I could play the working versions for my publisher without a lot of disclaimers.

What I eventually ended up buying was the Edirol Field Recorder by Roland. Here’s a brief overview:

Pristine 24-Bit Recording to Go
Over the past year, EDIROL sold a staggering number of R-1 and R-4 recorders, making “Portable Recording” one of the most successful product categories in the company’s portfolio. Now comes a new addition to the red-hot lineup: the R-09. Building on the success of the R-1, the R-09 takes many of the most desired features — 24-bit uncompressed recording and a built-in stereo mic — and shrinks it all down into a more streamlined, stylish, and affordable package.

It lists around $450.00, but check your local music store for discounts or consider buying the display model.

In my experience, it’s well worth the money. It goes wherever I go, and makes wonderfully clear recordings already in MP3 or wav form.

To check it out, visit:
http://www.edirol.net/products/en/R-09/

A question that we all have to deal with as songwriters in the commercial market is how to demo our songs. Whether we can afford a studio and full band, or we’re limited to a simple piano or guitar and vocal, how we display our song greatly affects the way our songs and our artistry are perceived. The market we’re pitching our material in can shift our production and mix direction drastically. Whether we’re recording our songs for our own record or for others to sing also affects our final destination with the recording.

As we finish a batch of songs and choose the strongest to demo, the next step in getting our music out there is to reflect our intentions with the recording. Clarifying what our intentions are can spare us significant confusion and frustration later on.

A songwriter who desires to pitch his/her demos to other artists will probably approach the demo process differently than an artist whose main goal is to sell records to fans. Some considerations of songwriters in the commercial market are to make the demo accessible to several artists and avoiding production ideas that alienate a particular artist from seeing that song on his/her next record. Some considerations of artists are whether they want to appeal to a particular market, pitch to specific film and TV music supervisors, or simply produce music that is true to his/her niche and the fans that support that niche.

Doing our research and finding out what characterizes a particular genre sound is important in marketing ourselves within that genre. Even within the major music markets production techniques vary. To those not familiar with the genre, country music might seem characterized as a lyric that includes the word “ya’ll” and incorporates a pedal steel. But those immersed in the country music scene know that the sound is much more than that. Listening to the radio and becoming familiar with artist’s songs and sound who are topping the charts is an excellent start to clarifying where your music stands in relationship to that genre. Talking with others who specialize in that genre, players as well as mix engineers and producers, helps to strengthen your understanding of what really constitutes the sound you’re going for.

My philosophy when producing my demos is that a great production won’t make up for a weak song. Recording a simple guitar vocal or piano vocal allows the song to shine while exposing any weak areas I might like to go back and rewrite. Then, when I’m convinced the song is working as a guitar vocal or piano vocal, I may decide to take the demo a step further and record a full band.

Finding a friend with a studio in a spare bedroom, or booking a day at a professional facility can both yield the same great sound quality, but they come with vastly different price tags. Before spending a good deal of your hard earned resources on studio musicians and studio time, I suggest spending some time in pre-production with a competent engineer and producer. Find those people who are as passionate about recording as you are about songwriting. Use their strengths to compliment your strengths rather than attempt to accomplish the whole process alone. As much time as you’ve spent honing your songwriting craft, a good engineer and producer has spent working to expose a song’s true message and bring out its authentic character.

For pitching purposes to Film and TV, watch your favorite shows to find out what quality of sound you hear accompanying the scenes. Is it primarily male singer-songwriter with minimal production? Is it mainly piano-vocal music, or Indie rock band? Consider your own goals and seek out the places where your music is appreciated, whether it’s the commercial mainstream market, or the thousands of other places where music is played. If your lyrics drive your song appeal, then make sure the vocals are clear and words are easy to understand. Ask fans of your music what their favorite songs of yours are, and notice any similarities between the way those songs are produced.

In the end, a simple demo with minimal production that is competently executed is often more desirable than a demo layered with production that distracts from the song’s message. Doing the best we can with what we have is better than delaying the demo process another 6 months. Do your research. Clarify your goals. Allow the strengths of others to enhance your own. After awhile, you’ll soon realize you’ve built a catalog of songs you can be proud of, geared towards your market and your vision.