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Amazing prizes for musicians in the Canadian Songwriting Competition

We have become an official sponsor of a Canadian Songwriting Competition!

We will be providing the grand prize winner our studios to record, mix, master, and package a three-song EP along with a few of our premium services to the runner ups.

This competition is a fantastic opportunity to get your music to the right people. The judges include Kardinal Offishall, Ivan Evidente (Director of A&R, Universal Music Canada), and much more!

We encourage everyone to submit their entry as soon as possible, the final deadline is February 28, 2017. The submission fee is $30 CDN per entry, and you can enter here, after reading the rules here

Proceeds will go towards supporting F.A.S.T. Canada, an organization that works to provide grants to children for after school activities.

 

 

 

 

 

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General guidelines for independent artists looking for recording time

Why should songwriters invest in studio time rather than a DIY/garage band approach? 

Even though the DIY route is becoming more and more widespread, many artists seem to realize that delegating the process to a sound engineer or a producer might yield more productive results. Unfortunately, said artists usually arrive at this painful realization after a few attempts at recording on their own.

The reason behind this choice in most cases can be explained with one simple word: over-involvement. It proves to be very hard and time consuming to write, arrange, perform, edit and mix a dozen songs without falling short in any of these stages or losing focus because of chronic overexposure to your own music. An external pair of “ears”, can help address issues and make crucial choices when needed, and help artists overcome situations that otherwise can undermine their confidence and inspiration.

 

 

What should artists look for in a studio?

 

To the aspiring rock-star who is blissfully unfamiliar with the recording studio, music is undoubtedly a lot of fun – until the idea of recording materializes. This natural transition from a general and “liquid” perception of a live sound to a “solid” and set in stone recording often proves to be an unexpectedly serious benchmark.

To complicate things further, today’s rapid diffusion of home recording gear is giving artists many options for recording their music and, as a consequence, musicians often seem quite confused about how to approach this essential stage of their career.

But how do you choose the best studio and sound engineer/producer for your music?

We’ll have to start with something you don’t want to hear: your budget will be the primary “option filter.” Once you know how much money you can spend, you will know what you can afford and be ready to start shopping around.

Expensive vs Budget Studios

The budget is – for any artist – the biggest limiting factor when approaching the recording stage, and even though the rule of thumb is that more expensive options normally bring more professional results, there are a few things musicians should know in order to get more out of their stretched budget.

 

Studio Engineer

When looking for recording options, our first advice is: don’t start looking for studios – look for people instead

What artists should try to find is – primarily – somebody who truly enjoys their music and who has experience in recording that particular genre (you can find that out by checking out the engineers’ credits and listening to their CD samplers). All sound engineers are passionate music fans: give them a project they believe in and they will go the extra mile, be more enthusiastic and dedicated, and – what you want to hear – might be available to charge less.

Ideally the producer/sound engineer should become an extra element of the band, but a selfless one: somebody who is capable of understanding the artist’s vision and develop it rather than impose his/her own. This member should be a musical person who has both the technical knowledge to lead you and your band mates through the recording process, and the ear to advise the band about issues related to song structure, songwriting, arrangement, and delivery.

Once you have found some candidates – the best ones you can afford – be very clear about your budget and ask them what they reckon can be achieved with it. What you will get at this point are options, and you better start considering all of them carefully.

 

Rooms

Engineers often use different studios for recording: some more expensive, some more affordable. Ask to see the rooms where they would record your songs. As a rule of thumb, be weary of small rooms with parallel walls and ones with almost cubical dimensions. Those kind of rooms should have a lot of treatment on the walls to absorb wall reflections and are probably not the ideal places to record loud and bassy instruments like drums. Bad rooms can affect the sound of your music in several ways (boominess at certain frequencies, excess of reverb, excess of harsh early reflections). Good rooms instead will give your recordings the flattering dressing of “real reverb” and avoid coloring your instrument’s tone with unwanted frequencies.

 

Equipment

Quality and expensive recording equipment (to a certain extent and when handled by professionals who know how to use it) contributes to better sounding recordings. But this kind of equipment is not indispensable to make great records – in particular if your band plays punk, indie rock, or lo-fi. However, cheaper equipment in the recording chain (primarily mics, mic preamps, and analog to digital converters), will give your music a less flattering quality: harshness, lack of depth and focus, and the ominous “coldness” so often associated with digital sound.

Rates

The first thing that musicians should be aware of is that the era of set studio rates is over. If spending $75 per hour for recording drums in a top-notch studio makes sense if you are after a beautiful roomy sound, there is really no point in editing those drums in the same studio at that same rate. Editing can be done pretty much anywhere with just a computer and a piece of software – I personally wouldn’t want to pay more that $30/hr for that. The same applies to recording Bass and keyboards – as they can be recorded directly through D.I.’s or hi-Z inputs. For vocals all you need is a small room properly treated, a good selection of mics and preamps to choose from – and a comfortable, homey environment.

Recording a CD involves several stages. Each one of these requires a different amount of equipment and can be done in different spaces. This is where you can start cutting corners. Ask your engineer or producer how you can maximize your budget. It’s in his/her interest to help you get the best possible recordings with what you can afford to pay. 

Final Thoughts

Both home and studio recording have their pros and cons, but there is no rule that applies to all genres of music. In the indie field – average or plain lo-fi recordings have become true classics: have a listen to the early record by The Cure or Pavement for some serious grittiness. However, making even just a decent sounding recording is a challenge that requires a lot of training and experience. Having a professional taking care of it means more time for you to focus on your music and confidence that you are not wasting your time recording unmixable material.

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What is YOUR tour rider going to look like?

Are you gearing up for a tour? Is your Rider ready? Check out some interesting Riders below!

Johnny Cash needed an American flag, in full view of every audience member.

Trent Reznor needs two boxes of cornstarch (“VERY IMPORTANT”).

The Stones need a room for their travelling snooker table.

Mötley Crüe’s rider asked for local AA meeting schedules, a sub-machine gun, a 12-foot boa constrictor and a jar of Grey Poupon mustard – once, in 1988, frontman Vince Neil found the wrong mustard backstage, lost his shit and threw the bottle at the wall. It bounced back and severed an artery in his thumb.

Marilyn Manson’s list of demands includes Haribo gummi bears (only) and a bald, toothless hooker (according to his management, a joke Manson includes in the hope of one day meeting one).

Hank III has requested a great white shark.

The Bloodhound Gang once asked for a rhesus monkey.

DMX famously demands three boxes of condoms and one gallon of Hennessey – now that’s how you do real ballin’ Aoki.

Queen Latifah, dispelling all stereotypes, demanded a 12-piece bucket of KFC and a 12-pack of Lifestyle or Rough Rider condoms.

Prince insists that all food be wrapped in clear plastic film, to be unwrapped by him only.

Katy Perry’s 45-page rider insists that her driver is not allowed to talk to or make eye contact with her.

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Do you have a plan for the Last Quarter of the year?

Independent Artists always undervalue the last quarter of the year.  Be prepared for the new year and stay ahead of the game.

The 4th Quarter is the most important quarter in the business cycle.  In our business, Fall, or the 4th quarter represents a period in our business cycle where we engage in specific activities required to finish the current year strong, and prepare for the next. Traditionally, the 4th quarter is extremely busy for artists.  Artists who have been working on their material the entire year release their music at the end of the year and major labels make their considerations to sign artists to deals. The music industry cohesively prepares and brands artists for the new year. But If we’re not careful, the end of the year can come quickly leaving us short of our goals with no deal, or shrinking revenues and clients.  We start off the new year under the gun playing catch up.

Feeling anxious or nervous? Being unprepared for the quarter can be stressful and mentally draining. Luckily, we are here to help you. So, If you haven't start planning for the 4th quarter of the year you better start now. So, where do we begin? What questions do we need to ask ourselves to be properly ready for the upcoming quarter? To avoid disappointment? Here are a few key questions you should be thinking about.

Who is your target market?

What is your distribution market?

Do you have a marketing plan and budget in place?

Have you generated revenue from licensing your music?

How much do you project to earn this year compared to last year?

These are only a few necessary questions to ask yourself to be properly prepared. But every artist/business/entrepreneur needs to have their own customized plan and really think hard if their decisions and actions have been effective in moving them closer to their goals. Constantly updating and improving your strategy will make you better prepared for whats to come in the ever turbulent music industry. Consult an Artist Development consultant at artistdevelopment@noizefaktory.com