Recording and Distribution
Mostly going to be talking about this is once you've probably been signed to a label a lot of time but not for yourself these days because you can run your own label or your own business yourself, but there is a process to everything has to be done so you could do all of these things yourself or if you're on a label, you're going to have a lot of other people involved in the process like a lot of bands are doing now they're they're they're putting their own records out and doing their own work and khun goto places like in groups and distributed you know you're like a regular label, so the first thing that has to happen you've got to record the song presumably have already written it on and created the idea, but you need to actually put that report it did not go to the studio and write the songs in the studio that kids very pricey because you're paying for time in studio, so have the song be prepared to use your time efficiently if you're paying for studio space or you can record at hom...
e using cem modern technology you know that's the that's the thing is it goes back to being the efficient business model now when I first worked with some bands, I just remember working with nine tails they were writing the songs that were rehearsing the battle come into the studio when you get to this point we could be ready to record be ready to do it because it all everything costs money and it's eventually coming out of someone's pocket and the deals now that are more like fifty fifty deals and you're sharing everyone's responsible to stay more efficient so some of the people involved in this process we're gonna have the musicians of course that are going to create and play the songs that are being recorded I want to talk a little bit about a recording engineer that engineer is the guy that really kind of is the technical that knows how the studio works the process of recording works a lot of time in you know they're the guys that the producers sometimes doesn't really have he comes in and it kind of gives them how he wants it but the guy in the back is turning like the knobs and moving things in engineering and moving here around miking things you know really understanding the technical aspects of audio engineering where I've seen producers will talk about recording engineers are guys that you know I think that is something you could you know, some people have learned of the engineers on their own but I really believe going to a school to learn how to be an engineer is not a bad thing because there are so many nuances of actually recording it's something unless you're just that born guy but you know, we're not that born guy all the time, but there's some technical skills and there's some being able to know how to use the equipment that you can really benefit from some some school tio absolutely and quickly get on the job front and that engineer can sometimes also be the producer a lot of times, it's just the same person doing both things, but, you know, when you're getting a point where you're bringing in a producer and it's funny how many producers come from guys that were in bands, you know, one of our biggest ones and are seeing john feltman was in the band goldfinger, and everyone wants him to produce their albums that right now he's on fire, especially because he was involved with five seconds of summer this, you know, so I hear his schedules gotten very busy in the last month, so if everybody wants him to produced albums, what is it that he's bringing that other producers are? What does he bring to the experience? Finishes get known for their like, sonic their whole presentation, how they're really going to tighten it up, you know that it's there they helped craft the sound, the song sometimes that's why I always think sometimes band guys contract transfer into becoming the lead singer's contracts for being coming into the into a producer because they understand song structure they could take a step back from the artist because you come an artist in the really passionate scribbled on all around and then it's not his song but it ended you know adding a word here pulling something out working with you on the song structure you know they coached the artists I think that way keep going back to psychology where I always say a road manager should take some psychology classes tour manager should the manager of the day today manager ah producer in the studio studios for a lot of artists are very difficult I'm not like I'm that guy that campion I hate being around a studio just to the darkness keep moving moving moving, moving moving so sometimes you bring that lead singer that bannon such a live in office and you've got to bring out that sound I think that's what's really cool is pretty circuit get things done quickly he can work with people and get in the persons had to get it done because if you sometimes if you stay in the studio too long it doesn't get better live performances sound great and authentic and have a lot of energy and sometimes it's hard to translate that into a studio where there's not an audience and a producer can help bring that out I think the producer a lot of time is really you know people are getting enough credit for controlling that budget controlling the time in the studio what we're bringing into the studio what we're trying in the studio no we don't need twenty six fender amps for you to try while you're in the studio things like that producers there are good and producers now it's strange other they're paid different producers use could pay big big money for doing albums you don't get paid the money for albums but then you become that producer efficiency is the one that I know they're getting paid on they may get paid in different they're getting paid but the guys that are efficient and could get stuff done are the guys in the van right now so this is this whole segment is gonna have there are some other creative live courses where you could get really much further in depth and how to do these things gorilla market the gorilla recording how to make an awesome record and your practice space or bedroom with producer bo bushell my saying that right um would be a great class to take if you wanted tio learn a little bit more about the details of how to record yeah that's a gorilla recording with bo burchell he is vocalist, guitarist, producer and founding member of samson so I know a lot of people out there are probably watching this love on dh that is october thirteenth and fourteenth so if you go and check out guerrilla recording that's ju ae are you really in our upcoming catalog that's where you can check that out that's a two day class right? Because that's how much I have to go into it we only have like two minutes way everything we do we have done to seven hours the next step in the process is mixing which is actually combining the different tracks that have been recorded to sound the way you want it to sound so you have one one track that's drums one track that's guitar one track its base one check that's vocals and making that sound the way you hear it on and then that mix can could bring out the tone of the album like keeping won't really know heavy driven based on where they're going mix it all to that kind of level so it sounds sonically correct across the whole record uh you know it's nothing sometimes weird like you go grab things when you hear a poorly mixed album your constant going way bring up the trouble bring up the place you know it's kind of because what if you get it you get dialed in and pretty is going to sound about you know, a nice listening experience and it's interesting mixing is a refined art when as our sound compression got stronger you know harder harder toe you know it wasn't that important but now people are going backto one and good mixes and good consistent mixes so the mixing engineer could either be the recording engineer or it might be a mixing specialists, so they're theirs people that really have specialize in these different steps of the process and depending on where you're at in your career and your budget, you might choose to have a specialist come in. Yeah, and you know guys who turned from artists that you look for l williams and things where he's gone with all his and his basic comes from the studio backgrounds always turn into an artist, but he understands the studio as well as anyone in the world and how to mix and get the best sound of an artist. If you look at some point, he had, like, twenty songs of the top forty songs in the country. One point he was involved in. Well, yeah, impressive. Yeah. There's another class coming up on creative live fundamentals of mixing rock and medium with jesse cannon that was in our catalog. You can actually check that out literally right now if you want it, although you should probably watch the rest so after this then you could go by that didn't go check it out. Yeah, it's called fundamentals of mixing rock and gm by jesse very regal then the third step in this process is one that maybe people don't know about as much it's called mastering who bassinets always where'd you get all this stuff you get all your stuff together then you send it off to the mastering studio on that's where it's really just dialed in everything's ready to be able to put it on your storage device so it goes into mp three cd vinyl you know it's just getting final mixed to data storage really that's what it is now and then it's ready to go in any format you're going to d'oh it's you know you always get tracks they're unmasked erred you know I always get this because I'm hearing demos all the time and things they're coming up so most of the music I'm listening to of bands that will be awarded to our next year or talking about music they're playing the unmasked and so how does that sound different to you than if it had been master? Nothing sounds differently. It all sounds like I have toned up I hear like, you know, all these cute thinking from the roots was here the other day says I hear the beats between the sound that's why I come here a good strong but I hear things differently and that's like if you've ever seen me dance on video, I'm always dancing different listening to different, you know, just but that's a time to be on his recording this is probably my biggest weakness in the myspace I probably I just I am kind of tone like I hear a song, but I don't it's two attenuation, you know, it's like like I'm so your buds are fine for me to hear I can hear the song and know if people are gonna react. So if you were not that, you would be able to tell the difference between a yes, absolutely master you want track, you do so it's an important step in the process and it really like, brings the album together as a whole to kind of unify the sound right might be the recording engineer that does that, but it might be the, uh you might have a say. I'm never getting encouraging here. Probably you guys sitting around a room trying to figure out this is sound the best it possibly could if you could afford to send it out to a mastering before you start putting it around and selling it to kids on the street, which you usually can't. But if you can it's a good thing to actually get done and it's going to give it a really professional sound. Um jesse can and also has a class on on this d I y mastering so it is something you could do yourself and learn how to do it. That's probably passed like that. Now you could just buy a piece of software. He'll teach you plug. It is three year for it and learn how to control things.