"Good enough." The death knell. Good enough. Two words I hate. "Just cut and paste the few chords and I'll sing over it and you can tune it for me. Or I'll take it home and do the vocals myself on my laptop. I got this USB mic that sounds awesome!" What kind of pre and compressor do you use at home? "What are those?" I deal with this daily.
I stress that because I couldn't do a live gig if you paid me. However, because of midi, combined with my knowledge of theory and studying the styles and sounds of great players, I can fool people into believing I'm keyboard player. I also can sing, play drums and program incredibly realistic-sounding drums that fool many drummers. Bass? No problem!
We, as musicians, are in the service industry. When most people think of the service industry, they think of waiters, housekeepers, etc. But we are all in the service industry! First and foremost, we must be of service to ourselves! You cannot give your best to others till you have given your best to yourself. Have you truly been honest with yourself?
The car looks fantastic. I chose a '41 Willys in the same color as the car I drive, metallic orange (I like Halloween). The car doesn't simply sit there and do nothing. To add to the cool factor, the engine lights up on either side when the pedal is engaged, along with the headlights.
I'm gonna get right to it today with two words: ergonomics and templates. Ergonomics is how my gear is setup around me in the studio — for minimum movement. Can I reach everything from my seated position in the sweet spot of the control room? Templates are how I set my gear for maximum usage and flexibility, where sound is concerned.
Every producer has his or her secrets. Some use gear, like a certain mic or pre or vintage amp to get a signature sound. Sometimes it's studio trickery. I just like to think of it as being in control of the studio space and the tools at hand. Sometimes the most obvious tracking methods are overlooked by the casual observer. Here are some of those tips. I guarantee a better sound by applying these simple methods.
My recording schedule has been all over the map for the past few months, so sorry for my absence here on GuitarWorld.com! I've been doing marathon sessions to try and complete all of my current and past obligations. I'm cutting back on my studio work to make time for my own musical projects. I still love session work, but it's good to re-evaluate priorities every once in a while.
When you've "been there" for a person for 100-plus songs spread out over various incarnations of solo and band projects, well, let's just say friendships are born. The session world isn't really about making money through music. It's mainly about relationships — how well can you understand the needs of the artist and help fill the vision they have of their art.
If you're like me, you get nervous before a session. I still do. I've even sought help from professionals. I'm not ashamed of my nerves. We all get them. It's how you use them and deal with them that's important. I don't drink or take drugs. I get by with a few basic skills I've picked up throughout my career. Maybe this will help you relax a bit.
For this demo I chose a Shure SM57. This is a dynamic mic and very common in the music world. I also chose a large diaphragm condenser mic; one of my favorites is the Neumann TLM193. Finally, I went with a ribbon mic, the Royer R-121. I mic'd up a Marshall 1960B cabinet. The head used is a Line 6 DT25. The guitar is a JTV-89.