music production

Outsourcing your Music: A Real Asset to the Indie

by claybutlermusic on Feb.04, 2010, under Recording, Uncategorized

I’ve always been a die-hard do-it-yourself kind of guy. I like things to be done the way I want them done, so I tend to try to do everything on my own. After enough time spend trying to do everything myself, I started to reach the point of burn out. I was getting frazzled trying to complete projects, so I never seemed to get anything done. I found that, even though I could do some things decently, I still couldn’t approach the quality of having a dedicated professional do those things for me. The hardest part was being able to relinquish my control to someone else, and risk spending money on something that may not be exactly what I had in mind. But I’ve found that, even in music, outsourcing is a most valuable asset to my operation.

Outsourcing is frequently used in the business world to help get things done faster, better, and cheaper than one could do himself. On the other hand, outsourcing is rarely thought of when it comes to music. Sure, you would outsource your music to a replication house such as Discmakers, but there are other avenues to consider when it comes to completing your recording project better and faster.

Hiring a Producer. Most people hate the notion of handing their creative control over to a producer. Somehow, it’s equated with selling one’s soul to the devil. But consider this: if you’ve worked on a project for a considerable amount of time, particularly if you feel like you’ve been spinning your wheels, then a producer’s fresh ideas may just revitalize your project. If you’re starting from scratch, a good producer will help you zero in on a particular creative direction, help you stay focused, maintain organization, and generally help a project get to completion faster.

Using Session Players. Unless your specific project is a solo one-man-band album, then hiring session players highly recommended. I used to be adamantly opposed to the idea, preferring to try to play all the other parts on my own in order to save money, until I realized that hiring great, professional players only helped to make me look better. Somehow, I used to think they would make me look bad by playing better than me, but, in the end, the opposite was true. They played the parts solidly, with more feel, and faster than I could on those other instruments. Since they’re truly professional players, they know what “fits” within the context of the song, and they deliver quickly and consistently every time. Session players are a must for singer/songwriters, songwriter demos, and solo instrumentalists.

Mixing. If you’ve recorded your own music, then using a professional mixing engineer (or at the very least, one other than yourself), will breathe new life into your project. In general, a project will benefit from a fresh set of ears. As a project progresses, a person tends to develop preconceived notions — right or wrong — about how a particular mix is supposed to sound. A pro engineer will invariably help you maximize your sonic possibilities with new ideas and techniques.

Mastering. If there’s only one area you can afford to outsource, make it mastering. In fact, you can’t afford not to have your project professionally mastered. Mastering is the final step before pressing and release. In essence, makes your program “radio ready” with the use of compression, limiting and equalization. Mastering is what helps your recording to sonically compete on a professional level. Most importantly, however, it is conducted in a finely-tuned, acoustically treated room. Not only is it a good idea to master your project, but it’s best to have it be performed by someone other than the mix engineer. Here again, a different set of ears will do wonders for improving the overall quality of your recording project.

I know most “Indies” are staunch do-it-yourselfers. I also know outsourcing may cost a little more up front. But I also know it will help you get your recording project done faster and at a higher quality, with less stress than taking it all on yourself. That will, in turn, make your fans more likely to buy your music. Happy recording!

For your next project, let Butler Productions help you with your audio outsourcing with recording and production services, session players for your tracks, or disc duplication.

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My Music Sounds Fine, Why Do I Need to Learn Music Theory?

by claybutlermusic on Jul.29, 2009, under Music Theory, Recording, Uncategorized

Right now, I’m headlong into teaching a Music Theory for Producers class. My students are struggling with the reasons behind having to learn music theory and read music. They question, for example, why they have to know the difference between a simple triple meter and a compound duple meter. What relevance does this knowledge serve? Does knowing make my music better?

If you get right down to it, the answer is no. Many musicians strictly play by ear, and a large portion of musicians in general don’t know the mechanics and theory behind what they’re playing. So, understanding music theory or being able to read music is not an absolute necessity when producing or being a musician. But what it does do is help you communicate with your musicians and session players. Oftentimes, we’ll get an idea in our heads, but we won’t quite be able to convey that idea in a way that others can understand. Learning at least basic music theory will give you a knowledge base that will help you be able to formulate your ideas so you can articulate them. When you’re able to speak to musicians on their level, you are more likely to get exactly what you want out of them. Also, if you’re asked a question, you’ll likely have a better answer. However, if you don’t understand the theory behind the question, you may not have an answer at all!

A second consideration is sequencing. My students are pretty much split equally among three categories: rockers, rappers, and non-musicians (audio engineers or producers only). Understanding music theory, particularly when it deals with rhythm, is of particular importance to those who want to produce hip-hop beats. Not that you can’t “feel” the beat and go by instinct, but understanding rhythm and meter do help a great deal with setting up your tracks and sequencer. For example, if you’re setting up your metronome on your sequencer to record a track, you might question whether to the meter of your song to 3/4 or 6/8 (which is, by the way, an example of a simple triple meter and a compound duple meter). They both contain the same number of eighth notes, but they group the notes differently. Understanding the difference between the two, and being able to hear them both in your head, will lead you to the right solution for your track.

You don’t have to be a master of music theory to make great music. However, understanding how music works can help ease the process, save time, and alleviate frustration.

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Creative Ways to Make a Living with Music (Part 2)

by claybutlermusic on Jun.22, 2009, under Career Building, Uncategorized

In yesterday’s post, Creative Ways to Make a Living with Music (Part 1), we discussed a few ways to earn a living from music. We touched on the following topics:

Teaching private lessons
Being a recording session musician
Being a music copyist

Today, we’re going to dig a little deeper with more options for savvy musicians who don’t necessarily want to tour and gig. Let’s move on to Part Two of Creative Ways to Make a Living with Music!

Production Music/Licensing

I’m sure more than a few of you can relate to this scenario. You produce a CD. You call up Discmakers and have 1000 copies pressed. It’s now five years later and you’ve stopped performing. You have 812 CDs sitting in your garage. Strike a chord with anyone? Been there.

Chin up; there’s hope! You can still earn money on your music even though you’re not actively selling CDs. Your music may be usable in film and television, and it’s easier than you might think. Television shows and films are constantly looking for music to fit different scenarios, for instance, source music (music coming from a source in the story)–a car radio, a bar band, a jukebox. That music has to come from somewhere. It may as well be you. Placements can generate thousands of dollars in up-front monies. Better still, you get paid a little every time the show is broadcast. Those payments can really add up!

Perhaps you’ve been told you’re “too old for a record deal,” or that your music “sounds too dated”. With music licensing, no problem! Some of the more frequently used pieces of music are often the ones that sound distinct to a given time period.

Production music libraries are a source for various types of music. Your music may fit into one of their categories. If so, and you’re able to get connected, they will essentially act as a publisher, actively seeking opportunities for your music. The ins and outs of this topic are too vast to go into great detail in this particular post. Check out www.taxi.com for a great way to get started. (If you sign up, make sure to tell them Clay Butler referred you!) Also, see my book recommendations below for more information on the topic.

Also, if you have a considerable amount of recorded music, you can start your own production music library. By offering your music to local video production house and photographers at a reasonable price, you may be a valuable resource for their videos, presentations, and slideshows. See how I license music on my site. While the ins and outs of music publishing and licensing is a bit too in-depth for this particular post, here are some great books that deal with the topic in great detail:

Jingle Composer

This ain’t your momma’s classic Roto-Rooter jingle market anymore. Today’s jingles are as fresh and relevant as the music on the radio. Think of a jingle as a 30-second pop song. Just like the main objective of a hit songwriter, jingles are designed to stick in the heads of listeners. If you can write a memorable melody with a catchy lyric that sums up a product or company, then the jingle market may be for you. You can hire outside talent to perform the parts, or, if you’re a studio savvy multi-instrumentalist, you may be able to perform them yourself one-man-band style.

Jingle Singer

If you’re not into writing music, then promoting yourself as a session vocalist or jingle singer can provide great extra income if you’re a singer. I’ve made a considerable amount of supplemental income from being a jingle singer on projects all over the country, and it’s a blast! Part of the fun is the challenge involved. One session might be a country session, the next jazz, and the next rock. But the real icing on the cake is that it’s usually quick work. You usually only have to sing anywhere from eight seconds to sixty seconds worth of material (excluding double tracks and harmony parts). On average, after I receive the backing track from the producer, I can have the tracks sung and the files in his email inbox in a half hour. The money goes in my PayPal account or a check goes in the mail.

Part of the success of being a jingle singer comes from having access to a recording studio. But, setting yourself up for jingle singing doesn’t take a lot of equipment and expense. A decent microphone, an audio interface, and a laptop are sometimes all you need. Couple that with some modest acoustic treatment (a couple of thick blankets in the corner), and you could have all you need to get started. The real necessity, however, is that the tracks are clean (free of extraneous noise) and are recorded at a decent level. Usually your jingle producer will handle the compression and EQ.

Here’s a great USB studio microphone/audio interface–an excellent tool used with our free recording software options from the last post:

Producing Other Bands

Nowadays, anyone with a computer and a CD burner can crank out their own CD. That, however, doesn’t always mean that their music couldn’t benefit from some outside help. If you’re solid at arranging parts for your own band, then you may be able to produce for other bands. Again, you will need access to a recording studio, but as we mentioned earlier, most computers now have the capability to record decent quality music. Some even come with music software already installed, like Apple’s Garage Band.

Producing takes some knowledge of music theory, coupled with the knowledge of how to arrange parts so they don’t compete with each other. This happens before the recording begins by arranging each instrument to play in its own register (or octave). Parts are written to complement each other. After they’re recorded, competition is further eliminated with EQ and panning. Combine that with some contrast between the verses and choruses by changing the dynamics, rhythm, and density of the parts.

Aside from the musical aspects, there are other responsibilities as well. A producer is usually organized (which is usually the antithesis of a musician, but who am I to judge?), can plan ahead, has attention to detail, and can work well with people. Although this is a very basic description, if you have the musical know-how, people skills, and the organization, then you may have what it takes to be an independent producer, even on a small scale.

Here are a couple of great books I recommend on becoming a producer:

Now go make a living doing what you love!

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MusicIsMyBiz

Tag: music production

Outsourcing your Music: A Real Asset to the Indie

My Music Sounds Fine, Why Do I Need to Learn Music Theory?

Creative Ways to Make a Living with Music (Part 2)

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