by Michael W.

Dean and Chris Caulder

www.diynow.org

A guide to making a living making music out of your backpack, from anywhere, and everywhere.
Released under Creative Commons, attribution and share-alike license (Cc-by-sa). ISBN: 0-9705392-4-X Website for book:

Digital Music DIY Now!

Digital Music DIY Now!

Introduction to the e-book edition. Intro by Michael W. Dean:

A guide to making a living making music out of your backpack, from anywhere and everywhere.

http://www.CloneTheHomeless.com
Howdy....

I came up with the idea for this book, Digital Music DIY Now! in early 2005. Id just finished writing three books by myself and making two movies and wanted to do something different. I wanted to write another book, not by myself, but with some really smart buddies. I wrote a proposal, pitched it to my agent, Matt Wagner of Fresh Books, and he secured a publisher, Que. Que is a well known publisher with a lot of decent tech books out, and they get their books into everywhere. Que liked my idea of writing with several other experts, and I thought Id enjoy the challenge of working with others. It seemed like a nice change from the isolation of writing a book by myself. By was I wrong. It turned out to be a logistical nightmare.

I started with six writers, and one by one, they left the project. One guy was too busy. One guy turned in substandard work, and turned it in late. One guy, a friend of mine of many years, turned in stuff that was WAY too advanced for this book. (He wrote a college level treatise on the advanced physics of sound, tempered with some really groovy LSD-tinged philosophy about the spaces between the waves of the notes. It was fascinating reading, but really didnt have a place in what I was going for.) I asked him to rewrite it, we argued, he bowed out and stopped speaking to me. AND THEN THERE WERE THREE.... It was down to Chris Caulder ( http://www.oustedproductions.net ), Cliff Truesdell ( http://www.clifftruesdell.com ) and me. THEN....

So, for free, youve got a damn fine guide to DIY digital audio that slipped between the cracks of commerce in the publishing industry, and we want you to have it. It runs carbon neutral, and you can zoom in on the images. Cant do either with a printed book!

The eBook you hold in your hands see on your screen is the result. The formattings a little quick and dirty. (Im a writer, not a graphic artist...and the project got dropped just before it went to page layout with the pros at Que.) There are occasional references to the three deleted chapters, and we didnt renumber to accommodate those missing chapters and a few images that were removed. But it all still works. And the price is right. (And the Quark files are online at www.diynow.org, and this is a Creative Commons work, if you wanna remix it, or just fix it and re-upload it.)

Cliff removed his three chapters (Chapter 6 GarageBand, Chapter 8 ProTools, Chapter 9 Reason) and used them instead in his very excellent book Mastering Digital Audio Production: The Professional Music Workflow with Mac OS X. (You will see some references to those chapters in this book. Ignore them, or simply enjoy them, along with the occasional editors comment, as a rare glimpse into the process.)

The book was finished, in final author review with the copy editors. Then our project editor at Que got downsized, lost his job there, and the book got killed. That happens sometimes. The publisher actually paid us, which doesnt always happen, and we were free to keep the book and do with it as we pleased. (That doesnt always happen either.)

The final book was written almost entirely by Chris Caulder and myself. There are a few paragraphs in the book written by Cliff Truesdell, and I left in Cliffs Closing Arguments entry, because its great. And Cliff and I are still friends, and Im also still friends with Chris Caulder. Chris really kicked ass and came through on this, and was a total trooper about it.

But the whole process was probably three times as much work as it would have been to write a book of this length by myself. Herding cats while they work is harder than work itself. Enjoy! I will NEVER write another book with anyone else, ever again.

Michael W. Dean Los Angeles, July 4, 2007

If youd like to make a donation to the authors, you send via PayPal to 99cent@kittyfeet.com

Digital Music - DIY NOW!

TABLE OF CONTENTS INTRO CHAPTER 1 - A BIT ON SONGWRITING

CHAPTER 2 - GETTING THE RIGHT STUFF FOR YOUR NEEDS CHAPTER 4 - GETTING THE MOST FROM YOUR GEAR CHAPTER 5 - USING ACID TO GET THE JOB DONE

CHAPTER 3 - TECHNOLOGY TO USE AND ABUSE (and TAKING IT ON THE ROAD)

CHAPTER 6 - GARAGE BAND FOR FUN AND PROFIT (Chapter removed by Cliff) CHAPTER 7- FORGING SOUND WITH SOUND FORGE CHAPTER 8 - PRO TRICKS WITH PRO TOOLS (Chapter removed by Cliff) CHAPTER 10 - BUSINESS BASICS CHAPTER 9 - THE REASON FOR REASON (Chapter removed by Cliff)

CHAPTER 11 SOFT SKILLS TO PAY THE BILLS CHAPTER 12 - CLOSING ARGUMENTS CHAPTER 13 INTERVIEWS WITH:

ROM DI PRISCO JOHN DeBORDE ANGIE JAY

ALEXANDER BRANDON LESLIE ANN JONES GREG GORDON JAMEY SCOTT

5 Introduction
Welcome to Digital Music DIY Now!
(Use your computer to create, record and sell your own music)

What is DIY?

Once youre set up with this system, there is no per-session fee. Its all free. And that frees you up to take your time and not race your creativity against a clock that bleeds out your cash with every tick. Beginning-to-intermediate users. We start assuming you know nothing, but the book has many tips that will be useful to people who already record on their computers. Digital Music - DIY Now! is a book for people who want to record their own compositions and get them out to the World. Its also for people who want a career making music for films, TV and video games. Ages: mid-teen and up.

And if youre not recording actual instruments or voices, and just making the sounds all on your computer with software, you can skip the good soundcard and mike.

Today, advances in technology have enabled you to do all this with a home computer (often under $1000), a good sound card (under $300) and a good microphone (under $300).

In days of old (ten years ago and more), in order to get good sounding recordings, you needed to go to a recording studio (usually 50-300 dollars an hour) and hire an engineer (an additional 50-300 dollars an hour) and buy large reels of multitrack tape (about 150 dollars for an hours worth.)

It means not waiting for some corporation to come along and give you permission to practice your craft.

DIY (also sometimes written as D.I.Y.) means Do it yourself!

Who is this book is for?

Any intelligent person who can read this book can turn their computer into a working music studio in 30 days. This book is written in easy-to-understand language. Its more like a friend sitting down with you and explaining things than like trudging through your standard, dry technical book.

Its also for DIY filmmakers who want to do it all themselves, and even for home video enthusiasts who want to improve their amateur films with good background music.

This book is written by a team assembled from diverse fields. The experts involved include rock musicians whove toured the world, a professional recording engineer, and a professional filmmaker who makes his own music for his films. We include real-world examples from professional touring & studio musicians, as well as tips from masterful music producers.

How much money can I make?

We include a good bit on business as well as the information on making and recording music.

Most of us make a modest but respectable wage. This book is for people who want to work hard doing something they love, on their own terms, and slowly build a career, and are in it for the long run.

Its up to you. Music is a tough game. A lot of manuals lie to you and imply that everyone who picks up the book is gonna buy a house on the beach within six months.

Longevity of this book

And we take you from inspiration to final product and beyondto actually getting your product out to the World. Our book is a complete course: You dont just finish this book, you graduate from this book. Michael W. Dean and the Digital Music DIY Now! team.

And we cover several different programs, whereas many books cover only one. And we get you started immediately, as soon as you open the book.

Our book has some tech info, but stresses processes over technology, which gives it a longer usefulness. We offer a start-to-finish approach, giving you enough of everything to get going and learning on your own, rather than what most books offer: dull, highly detailed (and sometimes confusing) information on a select few topics. We dont do this. We are professionals and artists, and know what aspiring artists need. So we clearly tell you what you need to know.

Frequent advances in technology give most tech books a shelf life of chalk on the sidewalk.

(a)Chapter 1

(Some of this chapter is going to be stuff you already know. If you already know how to play an instrument and write a song, feel free to skim or just bookmark it and come back later. But Id recommend coming back later, as there are a few advanced nuggets in with the basics here that might even help a seasoned pro. Ive been writing and recording for over 20 years and I learned a few things from Chris Caulder in this chapter.Mwd)

Sure, you can goof around, program songs with a computer and make a ton of noise and make obscure, unlistenable music (if thats your thing), but if you want people to listen to your songs over and over, and tell their friends about how great of a songwriter you are, and possibly make some good money doing what you love, youre going to need some basic songwriting skills.

Ive spent years browsing the Internet and underground music sites (such as the original mp3.com), and finding countless bands who seemed to be more concerned with high-quality production and engineering, instead of high-quality songs and/or arrangements. What this translates to is: Even the best software skills are not going to keep a bad song alive. And there are many, many bad songs out there. Eight or nine times as many as the good or great ones.

(b) A BIT ON SONGWRITING: why its more important than software skills and why we cover it first.

Knowing this, the next great song could be written by you, the reader of this book, in your garage with your computer, making music because you love to. It could become the closing credits song to an amazing movie five years from now. It could become a top 40 hit. It could become an underground classic that grows more popular with each passing year. You never know. But were collectively going to point you in every right direction, if you like to record with a computer. Which, judging by your good taste, has to be the reason you chose this book! The song matters most. The song gets you fans. The song gets you heard. The song gets you live gigs. The song gets you paid. (And can get you loved, real well, sometimes.) The song is what people remember about you, especially if theyve only heard you on the radio and didnt see what you looked like, or what your album cover looks like. The song matters most.

Progressively, Ive noticed that there has been a steady decline in great songwriting, at least in the mainstream music industry. There are exceptions, of course. Conversely, I have found that stronger songwriting has blossomed in the underground and independent music scenes, which is great, especially these days, when computer recording is very inexpensive and you can get a good song out there using the Internet, without even being signed. Some of the best songs Ive heard are songs that were never played on the radio at all. Some of the greatest tunes Ive found were by some underground solo artist recording in her bedroom and posting on the Web.

Now, differentiating good, great, and bad songs is difficult. Everyone has an opinion on which song is awesome, and which song sucks or is just plain okay.

Good songs hit you immediately. The minute you hear them for the first time, you want to know who it is, how many albums they have, and where they will be playing live. At least, thats how I feel when I hear a good song for the first time. The feeling is obviously much stronger when I hear a great one.

This can be a very subjective topic. To me, it means something with a great hook, great lyrics, that makes me feel something inside or sing along before the song even finishes. It doesnt matter if its a noisy song by Sonic Youth or Shellac, or a beautiful and haunting one by Leonard Cohen, Emiliana Torrini, Frou Frou, or Coldplay. The key for me, is a catchy melody, great rhythm and overall groove, and words that make sense, or relate to me on some level. A song can stand on its own without lyrics though, if the other parts are strong enough. Take a listen to Aphex Twins Selected Ambient Works Vol. 1 and 2 for an example. Or Tristezas Dream Signals In Full Circles.

(c)What makes a good song?

(d)The Song Matters Most

Fashions come and go, and trends come and go, but songs are eternal. And, consistently good songs make great overall albums.

This is something I strive for when I get into bands and solo songwriters. If they have only one good song, and the rest of the albums crap, why do I want to spend nearly $20 to just get one good song? Most of my CD collection consists of bands and solo musicians who write great albums, not just good songs. Some great albums where every song is good or great: Led Zeppelin Houses Of The Holy (1973)

Alice In Chains Dirt (1992) Frou Frou Details (2002)

Miles Davis Kind Of Blue (1959)

Jets To Brazil Four Cornered Night (2000)

Jets To Brazil Orange Rhyming Dictionary (1998)

Coldplay Parachutes (2000)

John Mayer Room For Squares (2001) Green Day Dookie (1994) Pennywise Pennywise (1991)

The Juliana Hatfield Three Become What You Are (1993)

Smashing Pumpkins Siamese Dream (1993)

Sarah McLachlan Fumbling Towards Ecstasy (1993) Catherine Wheel Chrome (1993) 311 Grassroots (1994) Moby Play (1999)

The Nextmen Amongst The Madness (2000) Jawbreaker Dear You (1995)

Jeff Buckley Grace (1994)

Good songwriting cannot be faked. Great songwriting most definitely cannot be faked. If your song immediately doesnt connect with your attempted fan base on some level, you have possibly failed as a songwriter. But you dont want to fail, do you? No? Well then. You need to know some basics. And dont be scared. This isnt quantum physics. This is songwriting. And its a lot more fun than quantum physics. ***Begin sidebar Even if you write a song that doesnt connect,youve written a song that you like, and youve learned something about songwriting. Every song you write is a step on the path to writing the best song youll ever write.

As I mentioned in the previous section, good songs immediately stand out. You know a good song when you hear it. You know a great song when you hear it. And you most definitely know a bad song when you hear it. It either makes you cringe, change the station, turn it down, or put in a CD you like, instead.

(d)SongwritingWhy You Cant Fake It

Nirvana Nevermind (1991)

Portishead Dummy (1994)

***End sidebar

(c)How To Do It

Were going to go pretty in depth on songwriting in this section. But were not going to bombard you with a lot of mathematical theory. Were not going to confuse you any more than you would like to be confused. Were going to provide you scales and chord information, so you can easily get started writing with your computer, any style you want.

In this section you will find some of the most important skills for songwriters, no matter what musical style youre into.

The very basic fundamental of all music is the musical note. Notes make up chords, melodies, and everything else. There are a total of 12 notes in popular music.

Scales and chords are fundamentals of music theory that every aspiring musician and songwriter should know. These fundamentals help you improve your songwriting, and help you write songs faster and easier.

(e)The Rhythm

Most songs are divided into four main parts: The rhythm, the chords (and harmony), the melody, and the lyrics. Forget about what the other books tell you. Those four things are the foundation for all song styles (with the exception of instrumental music, in which the lyrics are removed, of course). So lets break it down. The rhythm is what makes you tap your foot, drum the table with your fingers or hand, bob your head up and down, or in rare cases, shake your butt. Its the most important part of the song. If there was no rhythm, the song would not go anywhere. It would not move forward. It would be completely boring, or last a split second. Even songs without prominent beats have some sort of rhythm. Your heartbeat is a rhythm, and what would happen if it stopped beating? Well, nothing good, thats for sure. Basic rock rhythm is in 4/4 (four quarter notes to the measure. A measure is the shortest phrase in the rhythmic make up of a song. If you start tapping your foot to a song, and counting, you will start counting over at the end of a measure: One-two-three-four. One-twothree-four. One-two-three-four. .etc.).

(d)The Elements of Song

The accent in rock is usually on the two and the four: One-two-three-four. One-two-three-four. In funk, its usually on the one: One-two-three-four. One-two-three-four. Some music is in other meters. A waltz is in , usually with the accent on the one: One-twothree. One-two-three.. There are other time signatures (especially in jazz), but 4/4 and cover most rock and rockderived music. Listen for the meter and accents in music you like, and learn to here it, feel it and live it. (e)The Chords/Harmony

The chords, sometimes called triads, are extremely important, second only to the rhythm. Chords give the song its color, its feel. Chords and melody together create harmony (defined as a pleasing arrangement of parts). Chords are made by grouping single notes together at the same time, in groups of two or more. The four most basic chords are fifth, dominant 7th , major, and minor. Fifth chords are often known as power chords, and are a crucial element in rock and punk music. They also have a very powerful sound in piano-based pop songs such as heard on Keanes 2004 Hopes And Fears album. Dominant 7th chords have a very bluesy quality to them, and work well in all styles of music. Major chords are happy sounding, or uplifting or relaxing in some way. They sound like home, if you could imagine a sound that related to a

Some songs are made entirely from major chords, and some entirely from minor. The most catchy and memorable songs usually utilize both, switching up here and there, going with what sounds right or fits the mood. All of these chords can be colored in various ways, to create different sounds and emotions. The verse guitar riff in The Beatles Cant Buy Me Love (C7): played during Ill buy you a diamond ring my friend, if it makes you feel alright Examples of chords:

comfortable feeling. They are extremely common in all styles of music, as well as minor chords. Minor chords, at their most basic level, sound sad or moody.

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The very first chord in Nirvanas Polly (E5) (e)The Melody

The chorus of Green Days She (C#5 / B5 / F#5 ): played during the first two chorus lines The very first chord in Stone Temple Pilots Plush (G)

The opening chord in Sarah McLachlans Wait (B minor) The melody is what usually makes you sing along. Melody is heard in many parts of a song, but the strongest place is in the lead vocal. Melody is quite simply a bunch of single notes strung together. It is usually the most memorable, or catchiest part of a song. -Look at the stars, look how they shine for you as heard in Coldplays Yellow (opening vocal melody) Examples of melody:

-Listen as the wind blows, from across the great divide as heard in Sarah McLachlans Possession (opening vocal melody) -Im only pretty sure, that I cant take anymore as heard in Third Eye Blinds Hows It Going To Be (opening vocal melody) -Hey now, hey now, dont dream its over as heard in Crowded Houses Dont Dream Its Over (chorus vocal melody) -the very beginning keyboard riff in Eminems The Real Slim Shady, also the same melody that plays throughout the song, beneath Eminems rap. -the very beginning of Led Zeppelins Stairway To Heaven (guitar melody) -the very beginning of Nirvanas Come As You Are (guitar melody) (e)The Lyrics

Basically, you should write from your heart, and sing in a natural way. (Even if youre singing aggressively in music that is not natural or normal to some people.) The best singers flow on the music, no matter what the style.

Lyrics are the most individual part of music. As is the singing. The singer is the most recognized part of a song, and its also the part that personalizes it to people. People sing along more than they play air guitar.

The lyrics in the song are obvious. Theyre the words you hear. Songs are usually broken up into several parts, lyrically, and they are most commonly the VERSE, CHORUS, and BRIDGE. Occasionally youll find intro lyrics, or outro lyrics, but those three sections are the most common places youll find lyrics, in popular songs. The chorus is usually where you find the catchiest melody. Its the part that repeats or that sticks in your head after the song is over. Great songs have strong, catchy melodies throughout, not just the choruses. But generally, the catchiest part is found in the chorus.

A good way to learn this is to sing along with music you like, then sing to your own music. Record yourself, and be critical, and learn and change things on the next take. Dont be so critical that you feel bad, just be confident and humble. Remember, the best artists serve the song. The song is the most important thing. Without the song, you have nothing. So worry more about it than about looking cool. Youll look cool anyway after you start writing and singing great songs.

Try not to force the singing to the music. You may have to remove a word here and there, or add one to make the singing fit naturally. You will get better at this with time.

The exception would be when you want to intentionally sound awkward for a part of a song, for example to portray a character who is nervous or upset. But this is something best done after you get your style the way you want it. As with all music (and all of life), learn the rules and then break them.

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(d)Some basic chord theory you should know

A, A sharp (A#, also known as B flat or Bb) B C, C sharp (C#, also known as D flat or Db) D, D sharp (D#, also known as E flat or Eb) E F, F sharp (F#, also known as G flat or Gb) G, G sharp (G#, also known as A flat or Ab)

As I mentioned earlier, there are a total of 12 notes in popular music, and they are:

Thats it. 12 notes. Notice that B doesnt have a sharp, and C has no flat. Same goes for E and F. Why no sharps/flats between those four notes? I dont know. But thats just how it is. Thats how its been for centuries. And it works, so why debate it? The sharps/flats are easily found on a piano or keyboard synthesizer, as they are the black keys. The white keys are the plain-lettered notes.

The notes on a piano. Notice how the section of notes repeat after the B key. The photo shows 12 notes, but spanning across two octaves (the rightmost octave being the the same notes, just higher pitched).

Figure 1.1

On the guitars fretboard, the notes are a little harder to distinguish. We included both right and left-handed guitar fretboards (something very few books include. Us lefties usually get theshaft!).

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Figure 1.2

matching notes

right-handed guitar fretboard, strings, and

13

Figure 1.3

left-handed guitar fretboard, strings, and matching notes

Now that you know where each note is on the keyboard, were going to cover some basic chords, using the letter system with notes. The first letter in each letter sequence will be the leftmost note in Figure 1.1 (doesnt matter which octave youre in, as long as you keep the notes close to each other). After finding the leftmost/first note, go to the right as the other notes are needed. ***Begin sidebar Relative chords mean that two chords with different roots share a couple of the same notes (for example, A minor is comprised of the notes A C and E, and C Major is comprised of the notes C E and G. Notice that the two common notes between each chord are C and E). There is a relative minor chord for every basic major chord. Conversely, there is a relative major chord for every basic minor chord. Relative minor and major chords work perfectly together, when played back to back. For example, if you played a chord progression like C / Am / C / Am, or a progression like G / Em / G / Em. Inversions are the same chords are fingered in a different position. Same notes, just different sound or feel. Inversions are often used in complex piano parts, so the players hands dont have to move as drastically, during chord changes. Inversions of a major Triad can have more than three notes in them, usually duplicate notes an octave higher or lower. For instance, a C Major chord is C-E-G. A different inversion might be: E-C-G-(high)-C (high) E. This chord has five notes, not three, but is a more colorful way of playing the same C Major chord.

(e)Keyboard/Piano Chords

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You dont need to just play three-note triads, (which are very awkward on guitar, and a little boring.) You can color your playing, and make it easier, but learning about inversions. (Most of the guitar chords shown in the examples here are inversions of sorts anyway. Guitar chords are usually fingered the way they are out of simplicity and necessity, rather than musical reasons. And the common guitar chord patterns just work. No need to reinvent the wheel here. (You can do that later, after youve mastered everything else in this book!) ***End sidebar

(e)Major and Minor Chords C Major C E G C major is the foundation for most pop and folk music. It is recognized the most easily, by ear, as every human who has been into music for at least a few years has heard the C Major countless times. A Minor A C E 1st inversion C E A 2nd inversion E A C

A Minor sounds very sad, very emotional. A minor is C majors relative minor chord. The A Minor chord is played at the very beginning of Led Zeppelins Babe, Im Gonna Leave You. (the chord is arpeggiated, which means instead of playing all the notes at one time, together, they are played separately, one after the other).

G Major is also another foundation chord, that is popular in all styles of music, especially in pop and punk. It is happy-sounding (again, all major chords are), and is usually found to be the first chord played in a folk song, as well as C Major. You can hear the G Major played on guitar, kicking off Bob Dylans Knockin On Heavens Door. (Same in the version by Guns N Roses.) E Minor E G B 1st inversion G B E 2nd inversion B E G F Major F A C 1st inversion A C F 2nd inversion C F A

G Major G B D 1st inversion B D G 2nd inversions D G B

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E Minor sounds very sad and very emotional. E Minor is G Majors relative minor chord. You can hear the E minor at the beginning of the Guns N Roses song Civil War.

D Minor D F A 1st inversion F A D 2nd inversion A D F

F major is another happy-sounding chord, and is often found alongside C Major, as the two of them work well together, musically. You can hear the F Major chord kick off Natalie Imbruglias hit Torn.

D Minor sounds sad and emotional. D Minor is F Majors relative minor chord. You can hear an arpeggiated D Minor chord kick off REMs hit Drive. D Major D F# A 1st inversion F# A D 2nd inversion A D F#

B Minor B D F# 1st inversion D F# B 2nd inversion F# B D

D Major is also an extremely popular chord. Very happy-sounding (again, as all basic major chords are), and a very useful chord. The D Major kicks off Belly's 1993 hit, "Gepetto."

B Minor is also a very common chord, though slightly more difficult to finger on guitar (it is one of the most popular barre chords, which we will explain in detail in the next section, Guitar Chords.) (e)Seventh Chords (Dominant 7 and Major 7)

A Seventh chord (also called a Major Seventh), is a major chord with a seventh note (the seventh note of the scale) added as an extra note on the top. There are four notes in a all basic (non-inverted) Seventh chords. C Seventh (aka C7) C E G Bb

G7 again has a very bluesy sound. It also makes a great transition to a major chord (G7 to C Major). Major Seven chords have a very dreamy quality to them. They are less happy than basic major chords, but they are not as sad as minor chords, either. Think of a Major Seven chord as romantic, or ambiguous. It can be either sad in a hopeful way, or romantic in a hopeless way. C Major Seven (aka CM7) C E G B

G Seventh (aka G7) G B D F

C7, as all Dominant 7th chords, sounds very bluesy, very soulful. Seventh chords make great transitions to a different major chord (for example, C7 to F Major, or G7 to C Major).

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Major Seven chords have a very dreamy quality to them. They are less happy than basic major chords, but they are not sad, either. Think of a Major Seven chord as romantic, or ambiguous. It can be either sad in a hopeful way, or romantic in a hopeless way. Or it can be flat-out romantic or sad. You can hear the G Major Seven chord kick off The Sundays 1990 hit Heres Where The Story Ends (followed by a C Major 7- the only two chords used during the entire song), and it is also the second chord heard in Led Zeppelins The Rain Song. (e)Fifth Chords C5 C G C D5 D A D E5 E B E F5 F C F

G Major Seven (aka GM7) G B D F#

A5 A E A

G5 G D G

These are just some of the more popular basic keyboard and piano chords. For more detailed information on keyboard chords, you may be interested in picking up Rikky Rooksbys How To Write Songs On Keyboards (Backbeat Books, 2005), or Leonard Voglers The Keyboardists Picture Chord Encyclopedia (Amsco Publications, 1988). (e)Guitar Chords

About fifth chords: They sound very powerful, and neutral (meaning, the chords can work before or after any major or minor chord, or any more complex chord). Good use of Fifth chords in piano-based pop music can be heard in Ben Folds album Rockin The Suburbs and Keanes Hopes And Fears.

B5 B F# B

Here well cover some basic guitar chords, using a couple photographs and chord diagrams. Refer to Figure 1.2 (or Figure 1.3 if youre a lefty like me!), to see which notes comprise each chord. Following Figures 1.4 to 1.7 are guitar chords written in tablature format (a universal, and easy way of reading guitar music, whether youre right or left-handed.) To read guitar tablature, notice it is written in the same way your strings go from thickest to thinnest. The numbers indicate which fret numbers to play on which string. When you see an x instead of a number, that means dont play that specific string. Following the scales section is a more detailed description of tablature (also known as guitar tabs).

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Figure 1.4

C major chord (for right-handed players)

18

Figure 1.5

C major chord (for left-handed players)

19

Figure 1.6

An A minor chord (for right-handed players)

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Figure 1.7

An A minor chord (for left-handed players)

Tablature is music written for guitar, in a universal format. Both right-handed guitarists and lefties alike can easily figure out their favorite songs. To see examples of common tablature as seen on the internet, check out the following website: http://en.wikipedia.org/wiki/ASCII_tab A very basic example of a guitar riff written out in tablature: (thinnest string) E B G D A7-5-3-5-7-7-75-5-57-10-10(thickest string) E Mary had a little lamb, little lamb, little lamb

Some of the best knowledge I have gathered as an ear-trained songwriter was from internet websites which featured chord progressions for songs I loved. You can find the guitar music for almost any well-known (or not-so well-known) song on the internet, in the form of tablature (also called guitar tabs).

21

My personal experience with learning the guitar and keyboard parts of my favorite songs from the Internet has been very positive. Until I poked around on the Web, I never knew that a Major Seven chord could be so useful (Ive seen Major Seven chords being utilized in a lot of my favorite songs).

However, most tablature sites not only indicate detailed tabs for the songs, they also name which chords go where during each lyric. So, knowing that, one could easily learn the music for their favorite song or songs, just be referring to a guitar or keyboard chord guide.

For keyboardists and piano players, it is often more difficult to find chords for their favorite songs. Most keyboard and piano music is written as actual notation. Most guitar music (especially on the Internet) is written as tabs. Since tabs are literal, and show you where to put your fingers, they are better for beginners. Notation in keyboard songbooks requires you to actually be able to read music.

Basic Guitar Chords Using Tablature

(thinnest string) E-0B-1G-0D-2A-3(thickest string) E-xthinnest string E-3B-3G-0D-0A-2thickest string E-3thinnest string E-2B-3-

C Major chord

G Major chord

G-2D-0A-xthickest string E-x-

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thinnest string E-1B-3G-2D-0A-xthickest string E-x-

D Major chord

thinnest string E-0B-0G-1D-2A-2thickest string E-0-

D Minor chord

These are just some of the more common guitar chords. For much more detailed information on guitar chords and chord progressions, check out Rikky Rooksbys How To Write Songs On Guitar (Backbeat Books, 2000), or also, Mr. Rooksbys Chord Master (Backbeat Books, 2004), the latter of which covers which chords are most commonly used in each style of popular music (rock, blues, R+B, indie rock, punk, and jazz). Left-handed players interested in a well-written lefty chord book (one that you dont have to mirror each diagram to figure out), should check out Mel Bays Picture Chord Encyclopedia For Left-Handed Guitarists (Hal Leonard Corporation, 2002). Another fine lefty book is Left-Handed Guitar: The Complete Method by Troy Stetina (Hal Leonard Corporation, 2001). Were going to cover some basic guitar and keyboard scales, using note letters. Refer to Figure 1.1 to find out how to play each scale on the piano, or Figure 1.2 to find out how to play each scale on guitar (or Figure 1.3 if youre lefty!). The most common types of scales are major and minor scales (just like chords, where the most common types are major and minor). Another common scale is the Blues Pentatonic (not just used for blues music, as it is extremely popular in rock and punk as well). Here are some common scales and their notes. ascending: C D E F G A B C descending: C B A G F E D C C MAJOR SCALE Scales are simply notes strung together in ascending or descending order. In other words, it is a ladder of notes. (e)Scales

E Major chord

ascending: A B C D E F G A descending: A G F E D C B A

A MINOR SCALE (Remember relative minor? The A Minor scale is the relative minor scale of C Major. Same notes, just start and end on A instead of C)

ascending: G A B C D E F# G descending: G F# E D C B A G

G MAJOR SCALE

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For keyboardists, I recommend picking up Leonard Voglers Step One: Play Keyboard Scales (Amsco Music, 1998), or Leonard Voglers The Gig Bag Book Of Scales For All Keyboards (Music Sales Corporation, 1998). Both of the Step One series books are inexpensive and provide a wealth of practical theory information without making your head explode. They also each come with a CD to hear how each scale sounds.

For much more detailed information on guitar scales, I have found Peter Pickows Step One: Play Guitar Scales (Amsco Music, 1998) to be very concise and informative, for beginners and intermediates alike.

ascending: C D# F F# G B C descending: C B G F# F D# C

C BLUES PENTATONIC

E BLUES PENTATONIC ascending: E G A A# B D E descending: E D B A# A G E

E MINOR SCALE (relative minor scale of G Major: same notes, just start and end on E instead of G) ascending: E F# G A B C D E descending: E D C B A G F# E

(c)Anatomy of a Rock Song: Smells Like Teen Spirit

Lets apply some of what youve learned in this Songwriting chapter. We are going to analyze one of the greatest rock songs ever written, Nirvanas Smells Like Teen Spirit.

Why this particular song? Well, one reason: Im a huge Nirvana fan. Nirvana changed my life, musically. Before they came out, I was listening to really bad pop and hair-metal music. Nirvana single-handedly turned the mainstream music world (and my personal music world) upside down. They also helped people discover more alternative and indie/underground music, which probably would have remained vastly unheard through the 90s if Nirvana had never been discovered. Some might disagree with that statement, but being an insanely analytical music fan, Id say it has a lot of merit behind it. Another reason we chose this song is because its just a really catchy rock tune, with great use of dynamics (quiet and loud moments) and melodies that stick in your head for days, if not weeks, after one listening. Most of Smells Like Teen Spirit is comprised of four power chords: F5, Bb5, Ab5 and Db5. Those four chords (in that order) are how the song begins, the bridge and chorus chords, and they are the notes heard on the bass guitar throughout the verses.

Lets break down the structure of the song:

Great songs dont have to include a hundred chords within their structure, and most great songs barely use ten chords. Smells Like Teen Spirit is a prime example of a four-chord song that kicks some serious butt. Intro: Those four power chords as mentioned above, with an electric guitar set on clean (no

distortion).

Chorus: Again, the same chords and rhythm as the intro of the song, this time with distortion on the guitar. The vocals soar, and again, the use of dynamics is simple but strong. With the lights out, its less dangerous is sung with a lot of intensity, but then the next line here we are now mellows out a little, but then the intensity comes back in full force with the very next line, entertain us! Interlude (immediately following the chorus): The only part of the song with a different chord progression. The intensity never diminishes. This part sort of sounds like the song is falling over, but nope. Its just a different kind of intensity. 2nd Verse: Same structure as the first verse. Again, the dynamics are clearly heard. The bridge, chorus, and interlude that precede this 2nd verse are all intense and loud. Now were Bridge, Chorus, and Interlude: Again, the intensity comes back, full force.

Bridge: Same chords, same guitar riff as the verse but now repeated beneath his lyric, Hello, hello, hello, how low. The song begins to get more intense. You know that the chorus is going to knock you over with its power. Its coming, and you love that feeling of anticipation.

Then the vocals kick in, and the melody is strong. Kurt Cobain had a knack for writing really catchy vocal melodies. One listen to Nevermind from beginning to end proves this. Note the simple, yet powerful, use of dynamics in this first verse. The song starts quiet, slams in, and then gets quiet again. The music during the first verse is relatively mellow, as is the singing.

same way a grand piano sustains its notes, when you strike a key while holding the damper pedal down).

Intro (continued): The drums kick in, the distortion kicks in on the guitar, and the song is well on its way. 1st Verse: No singing yet, just the drums, bass guitar, and a very simple guitar riff using 4ths (C: 1st fret on the B string, and F: 1st fret on the high E string), and the riff rings out (the

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back to mellow. Switching from intense to mellow gives you time to catch your breath, in a metaphorical sense. Or reflect on the intensity of the chorus (melodically and lyrically).

Guitar solo: Very simple and effective, the guitar solo plays almost the same melody as the verse and bridge vocals. This is an old rock trick, and it always works. 3rd (final) Verse: Dynamics, dynamics, dynamics. The power of using dynamics in pop and Bridge, Chorus, and Outro: The intensity builds and builds, and you can feel the anger when Kurt screams, a denial over and over again. In my opinion, this is perfect use of Prosody. Prosody basically means when words and music gel together in a perfect way. It just sounds perfect the first time you hear it, and every single time thereafter. How effective would this song have been if Kurt lazily sang, a denial instead of singing/screaming the words at the top of his lungs? ******Begin sidebar***** Speaking of dynamics in alternative music, I think Smells Like Teen Spirit was the inspiration behind Radioheads Creep. Creep is another alternative masterpiece with incredibly creative use of dynamics: extremely mellow verses, followed by intense choruses. (There is even a Beavis and Butthead episode where they are watching MTV and this song is on and the main thing they are noticing is the dynamics. But they love the loud part and hate the soft part because theyre, well, butt heads.) alternative music cannot be understated.

Smells Like Teen Spirit is a true rock anthem. In the same way that The Whos Baba O Riley is a true rock anthem, and also The Kinks You Really Got Me. Its very hard to top the intensity of Smells Like Teen Spirit. It just works. I cant say the same for most of the drivel pouring out of Top 40 music and videos these days.

******end sidebar*****

Creep goes from the verse into the chorus with a very noisy, and angry guitar riff, which isnt really a riff at all; just a short stab of muted rhythm that sets the mood change perfectly. You know that noise Im talking about: the noise that comes in right before Thom Yorke sings Cause Im a and right after that phrase. Genius!

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I think one of the most beautiful and creatively-arranged electronic pop songs ever written is OMDs If You Leave, most widely recognized as the song which plays during the final scene of the classic 80s film Pretty In Pink. As I write this sentence, Im listening to it, and it still sounds as great as when I heard it the first time I saw Pretty In Pink in the theatres in 1986.

(c)Anatomy of an Electronic Song: If You Leave

If You Leave is a fine example of how great a pop song can be, and amazingly enough, it was not composed strictly using a computer. Back when it was released, computers were not powerful enough to put together a complex keyboard or synthesizer arrangement. This song, to the best of my knowledge, was programmed using analogue sequencers (the same kind as synthpop legends Depeche Mode, Thompson Twins, Erasure, and Human League used). Back then, synthpop artists did a lot with very little. Composing electronic-based music on a computer these days is far easier than programming a complex arrangement on an analogue sequencer. Be thankful you live in an era where the possibilities are truly endless. Intro: The song kicks off with a cool drum fill, and a simple keyboard part, using the chords F, D minor, Bb and C. It is repeated once, and then a different chord progression is heard at 00:17: D, G, A, and G. This second chord progression fools the ear, which has already quickly been accustomed to the intro melody and progression (F, D minor, Bb and C). It is a hint of what is to come in the rest of the song. 1st Verse: Again, the ear is fooled, as the intro chord progression is again heard when the So lets break down the song:

here. The chord progression is essentially the same as the first verse (same intervals), but the notes are raised by one full step: G, E minor, C and D, as opposed to the first verse which is F, D minor, Bb and C. Same feel, same rhythm, with the vocals sung with a bit more emotion and intensity. Key changing is a great trick that is used in some of the more classic pop songs. In Your Room by The Bangles is another fine example of key change usage. Most of that song hangs around the key of E (the same chord it starts on), but at 1:43, it raises one half-step to F (on the 3rd verse). 2nd Chorus: Same progression, interval-wise, as the first chorus, but the chords instead are E,

Chorus: The chorus chords are the same as the second half of the intro, when the ear is fooled: D, G, A, and G. Essentially, from the intro to the chorus, is a subtle, fluctuating key change, which doesnt throw the listener off in any way, but definitely holds the ears interest. Key changes are very effective in pop music, though they are seldom heard anymore, which might explain why most radio hits these days dont really personally hold my interest. 2nd Verse: Here is where the song gets truly interesting. There is a very obvious key change

singing begins. There is a slight chord variation, as an A minor is introduced during the vocal then well go our separate ways.

Whew! Now thats a creative song arrangement. Key changes galore! It sounds simple if you listen to it without musicians ears, but see how interesting a song becomes when you break it down and see what is actually going on! Not only is If You Leave a beautifully catchy song, the lyrics are great, and in my opinion, much more creative and powerful than most current radio hits. If all of this seems like a great deal to absorb, it is. As I stated earlier in this chapter, songwriting isnt simple and there are entire books that cover many aspects of it (without even scratching the surface). I included these song analyses to show you how great songs work. The first one (Smells Like Teen Spirit breaks the rules of music theory, and the second follows the rules pretty closely. If you follow basic rules of music theory, youll find that songwriting can come easier, and youll also notice that your songs may sound better to your ears and to the ears of friends who may hear your music. And knowing the rules can help you break them later, which is always a lot of fun. If rules had never been broken, there would be no alternative, indie, metal, or experimental music. What would the world have been like if every song since the beginning of time strictly followed rules? Ugh. I would hate music if that were the case. But luckily, rules were broken. And great music was given birth.

ruses share a slightly different chord progression. 2nd Interlude/Outro setup: F, D minor, Bb, C (repeated once), then G, E minor, C, and D (as the oh uh-huh background vocals come in), and then the song fades out on the G, E minor, C, D progression.

Interlude: C, A minor, D, Bb, C, A minor, F, G. Nothing spectacular here, just giving your ear a rest after hearing such catchy melodies in the verses and the choruses. 3rd Chorus: Ever-creative, this chorus is the exact same progression as the first chorus: D, G, A, and G. Immediately following this chorus, we hear another key change! 4th Chorus: This is the exact same progression as the 2nd chorus. There is an obvious pattern here. The 1st and 3rd choruses share the same chord progression, and the 2nd and 4th cho-

A, B, A (exactly one full step higher than the first chorus). It matches the key change of the 2nd verse, and continues along, keeping the ear interested subconsciously.

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Are you whelmed yet?

If youre serious about your songwriting, I mentioned a few books earlier in this chapter by Rikky Rooksby. Definitely look him up if youre one of those musicians who doesnt want to spend months figuring out simple songwriting techniques or learning how to read music (really, it isnt that necessary). Rikkys books offer crash-courses in music theory and songwriting, which are always interesting and easy to understand, no matter what level youre at. I have learned a ton from his books How To Write Songs On Guitar, The Songwriting Sourcebook, and How To Write Songs On Keyboards (all published by Backbeat Books), and I have been playing music for about 15 years now. Songwriting is an ongoing process. You take it in, process it, apply it to your style, and learn more. Its awesome, and very Zen.

(c)Active Listening

When it comes to music theory, practical knowledge is essential, but being a musician who was self-taught by ear, I think being an active listener is also crucial when it comes to improving songwriting skills. I dont just enjoy music, I listen and study what I love about certain songs. With this in mind, you can drastically become a better songwriter if you know a little theory and do a whole lot of serious listening.

What is serious listening? Well, heres an example. Say you have a favorite band, and a favorite

www.musesmuse.com (covers basically all aspects of pop songwriting) www.berkleeshares.com (free online music lessons) www.accessrock.com (tons of info for guitarists!)

Songwriting is a skill that cannot be fully covered in one chapter of a book such as this. It needs its own book to fully explain the details of good and great songs. I touched on the basics, so you have something to go on. If you need to learn more, the internet has a wealth of information on it. Here are several very useful Websites on songwriting:

song on their CD, or maybe three favorite songs. Dont just throw on the CD and crank it. Think about why you love that certain song. Is there a certain lyric that strikes you more than others (not just the use of words, but the way its sung)? Is there a certain guitar chord change that makes your spine tingle or say to yourself I love this part! This is what I mean be becoming an active listener and seriously listening to music.

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www.musictheory.net (very nice site, lots of info, with audio samples) www.torvund.net/guitar/ (a VERY extensive website on guitar chords and progressions) www.emusictheory.com (great for teachers and students alike)

www.wholenote.com (another great guitar-based songwriting site)

Further, you can just go to google.com and type in songwriting or guitar tabs, or keyboard chords or chord progressions (including the quotes on all). Youll find a ton of information on music theory and songwriting, from beginner levels all the way to pro. So what are you doing still reading this chapter? Move on to the next chapter or put the book down and write a song! Come on, lets hear it! chapter by Chris Caulder

www.beautysconfusion.net

Chapter 2

Getting the Right Stuff For Your Needs

One of the biggest decisions that youll have to make about setting up your studio will be whether to build your system around a PC running the Windows Operating System or an Apple computer using the Mac OS. For some people this decision will be based on what they already own or are currently familiar with. If youre going to invest in a new computer specifically for audio/studio work or if youre thinking about buying a new computer that will be used for recording as well as your other home computer functions, here are some of the advantages and disadvantages to each platform.

ComputersChoosing a Platform

Buying A PC

There are two main advantages to buying a PC. The first is cost PCs are generally less expensive than Macs. Whether youre buying a desktop or laptop you can get more bang for your

When buying a PC its very important to make sure the computer you are getting is optimal for the software and hardware that you will be using. All programs and hardware will have the System Requirements listed on their Website. Some will be more detailed than others. For example, Digidesign has a list on their Website of recommended computers for use with their Pro Tools systems. You can find out more information by browsing or posting in user forums dedicated to audio recording in general or the specific program you plan to use. If you can afford it, there are companies that build PCs specifically for audio/recording use: http://www.pcaudiolabs.com http://www.musicalcomputers.com

The flipside to this is that along with more software being written for PC, more viruses are also written. If possible, its a good idea to have one PC for recording and a separate computer for Internet surfing and emailing. You will want to get virus protection no matter what. Even if you have a PC dedicated to audio recording youll have to go online with it from time to time to update your software and download loops, new programs and plug-ins. Some programs will notify you automatically when an update is available and ask if youd like to have it installed. With others, its best to check the companies Website on a regular basis for new versions. You may have to download and install a new version every few months to keep up-to-date.

The second major advantage to buying a PC is that the Windows Operating System is by far the more popular platform, so theres more available software, including shareware and freeware. This includes an amazing array of virtual synthesizers and plug-in effects that are free, or close to free, for the PC user.

buck with a PC, meaning faster processor speeds for less money. Higher processor speeds will allow you to work faster and perform more tasks simultaneously, like running multiple plug-ins, programs and virtual instruments or recording multiple tracks simultaneously.

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Another advantage of buying an Apple computer is simplicity. Theres not a choice of processor types, though processor speed may be a consideration. The only compatibility issues that come into play will be if youre buying an older, used computer (which isnt a good idea anyway) or if you are buying a just-released model, which may not have been tested yet to work with the current versions of existing programs and hardware. As with a PC, its best to check the Website for the system requirements of any hardware or software that you are buying. Any Apple desktop computer (and most laptops) available today will be good enough to start a home studio with. For a hobbyist, the lower end Mac Mini will run GarageBand and many other simple music applications with no difficulty. While programs like Pro Tools LE and Logic Express can be run on the less expensive iBooks and iMacs, if you plan to get serious about audio recording the PowerBook or G5 Tower models are a much better bet, especially if you plan to upgrade your software as you go along. Another advantage to buying a new Mac is that comparison-shopping isnt an issue; Apple sets the prices across the board. Buying from a retailer in your hometown or the Apple Website will cost the same.

Apple has the advantage of having been in the computer audio market for longer, having once had a virtual monopoly on digital composition and recording. For example, at one point (when?) about 90% of music notation software was written for Mac only. While this situation has changed dramatically over the last five years, most professional recording studios are still Mac based.

Buying a Mac

Laptop or desktop?

The obvious advantage to a laptop is, of course, portability. If you plan on doing remote, onsite recording or you like to work while traveling, then a laptop may be a good investment for you. Audio applications use a lot more power than your average programs so an extra battery (or two) is a must.

Desktops will always have the advantage of having faster processors for the same amount of money as laptop computers. They also tend to be more stable, which means theres less of a chance that youll have to deal with a crash in the middle of an important session. However, the newer laptops on the market, especially the PCs, are incredibly fast and capable of running multiple programs and handling all the tasks needed for a complete recording session.

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Desktops, on the other hand, have the advantage of expandability. While most new hardware interfaces are hooked up to your computer through USB or FireWire ports, there are some (like the high-end Pro Tools HD systems) that require installing PCI cards in the expansion slots on the back of your Mac or PC. Running your studio from a laptop may rule out or make difficult these types of upgrades in the future.

Hardware Components The Basics

==============-

In this section we will cover some important stuff youll need before you start the computer recording process. Fear not! Were sure you have most (if not all) of what you need, already. And if you dont, well tell you how to upgrade. This is always a subjective topic, as many people swear their computers are fast enough to run what they use, software-wise, on a regular basis. This may be true. But you want your system running faster than normal, because youll be much happier, especially down the road.

CPU Speed and RAM

A good rule of thumb is, whenever you buy a new computer (PC), buy a system that is much faster and much more computer than you need. And make sure its upgradable in big ways, not just little ones (big ways meaning: lots more RAM can be added). Another good rule of thumb is, whenever a piece of software or their company notifies you of your systems requirements (all programs do these days. Usually youll see a System Requirements section on the side of the box the software comes in), make sure you have at least 25% more than what they say to have, if not 50%. Most people neglect the most important thing in their computer system: memory. Those little (well, big) chips attached to your motherboard can make the difference between you pulling your hair out waiting for something to process, or breathing a sigh of relief because a process goes so quickly. You can never, ever have too much RAM in your computer, especially using your system for recording music. I bought a new system in early 2004. It is the same one Ive used to write the stuff in this book, and also the same I create and edit music with. Here are the specs:

Pentium IV, 2.4gb processor 1 gigabyte of RAM (upgradable to 4 gigabytes, but I still have the 1 gig, its been fast enough, for nearly two years.)

40 gigabyte hard drive (which I use for programs and software, only. I have a second internal hard drive thats 80 gigs, strictly for audio files, and Ive yet to fill it up, and I work on music constantly!) These system specs may be slow, these days (with how quickly computers are upgraded and outdated). But it is plenty fast enough for me to run all the latest sequencing software and virtual instruments.

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The Gear You Need to Get the Job Done

A basic computer system is not expensive, nor is it difficult to put together. But most off-theshelf systems are not set up for the demands of digital recording. So here well tell you what you need to get your freak on and make it stick, without crashing or waiting around all day for files to render.

Computers get cheaper and more powerful every year. Compared to the computers we had last year, the value you can get from todays computers are verge on the ludicrous. And the strangest part is that I say this to myself every year, and every year - Im still right! Your average new home computer is running a bit faster than a high-end digital audio workstation being sold only twelve or twenty four months ago. And as manufacturers fall over themselves to outproduce and consequently out-sell their competitors, the speed of computers still keeps increasing, and the price keeps dropping. Life is good.

Moores Law

In 1965, Gordon Moore, one of the co-founders of the CPU (central processing unitthe chip that is the brains of your computer) manufacturer Intel, made the observation that at the then-current rate of technological development, that the power of a computer silicon chip doubles every 18 months, with respect to its cost of manufacture. In English, that means that every 18 months, a particular computer chip technology such as processor speed, memory, and miniaturization doubles.

Make sure when you buy a new PC that your memory is upgradable beyond 2 gigs. If you plan on hanging onto your computer for more than a year (as I have, and also, most people on a fixed income have), youre going to want that expansion capability. The powerhouse computers (not the ones on the shelf at your local retail store, but the ones you can get custom-built online or through local mom-and-pop businesses), are the way to go, if youre looking for a computer that wont be considered ancient two months after you buy it. I have heard that Intels Pentium family is the best processor for music on PCs, though I have

Mac users should have at least 256MB of RAM, and at least a G4 processor with a speed of at least 1 ghz. It is possible to make music on a Mac with a G3 processor, but at the time of this writing, Mac G5s are very common (especially in the desktop systems), and very powerful. Macs have always been fast computers, but now theyre insanely powerful.

When it comes to PCs, at the very least, you should have a system with 512MB of RAM. 1 gigabyte of RAM is ideal, even 2 gigs of RAM. Go no less than 512 megabytes, ever. A system with 512 megabytes of RAM is very quickly becoming obsolete as far as memory is concerned (except in laptops). Also, at the very least, you want a 2.4 ghz processor or faster. It is common these days to find systems that are above 3 ghz, which is pretty darn fast.

Moores law has recently switched to doubling every 12 months, according to a lecture given in November 2005 at Art Center college in Pasadena by tech visionary Raymond Kurzweil.

Then again, I dont use the latest top-of-the-line stuff. Ive been using the same sequencer and basic virtual instrument stuff for four years now. Theres no need for me to buy into the latest hot piece of software (new software has a tendency to be a memory-hog, too, running best only on top-of-the-line, decked-out computers). Dont buy into the whole bloatware thing. Newer isnt always better. Just think, some of the best, most groundbreaking music was written and recorded way before computers were in nearly every home in America. Also keep in mind that in 1993, when the Internet hit big for the first time (with AOL), 99% of PCs were basically useless for audio recording. The only music-related thing you could use a PC for was MIDI sequencing. The soundcards were awful back then, too. Things have come a long way. These days, good hardware and software is affordable, and extremely powerful. Its a great time to be a computer musician!

heard good stories about the other brands, such as AMDs Athlon (which started out as a pretty flaky chip, but redeemed itself later on to be a very reliable and fast chip). I have had no problems with my Pentium IV processor. I also have a second computer for music, which is a Pentium III, and it, too, does the job well, without any glitches.

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I know people who are still writing music on PC computers they bought in 1996. Needless to say, theyre very slow, but they are enough for what their users need them for. I, personally, couldnt handle that. Id pull my hair out! So many headaches are prevented when your computer works as fast as you do, if not faster. This is something you definitely dont have to worry about, if youve bought a computer from mid-2003 to the present. Upgrading the CPU

Replacing a CPU in a PC is about the most intensive and fiddly process that you can do inside a computer chassis much more so than say replacing memory or adding an additional hard drive. But if you can follow instructions, there is no reason to be daunted its not a difficult or lengthy process. Generally, it involves removing the CPU cooling fan to obtain access to the CPU, removing the old one, and insert the new, evenly coating its surface with heat conductive paste, in order to make a good seal with the cooling fan, and replacing the fan. The only tricky bit is making sure that the conductive paste is evenly distributed, and doesnt make any mess.

At some point, your currently-zippy CPU is going to start showing its age against the newer CPUs out there. However, the rest of you system may still be fine. Instead of buying an entirely new computer, you may find it makes more sense to replace your older CPU, keeping all your other assets in play.

44,100 times each second (if the sample rate that your project is recorded at is 44k) every aspect of your musical project every audio track, every virtual instrument, every processing plug-in is re-calculated and mixed together by the CPU. In the meantime, all the other parts of the project have to have somewhere to wait around before they are processed. This is your computers memory. When a computer doesnt have enough memory, everything doesnt come to a grinding halt. Instead, the computer starts shuffling more and more data on and off the hard drive in order

Memory

Mac CPUs, and Mac machines in general, on the other hand, arent designed with much of a DIY upgradability in mind. Usually, instead of replacing the CPU, a third-party upgrade package is required. This might be a little pricier than the options open to PC users, but some of these processor upgrade packages can made the renovation about as painless procedure as you could expect, considering that this process is somewhat equivalent to open heart surgery on your computer.

Still, more often than not, the novice user has no idea what to expect when they get their purchase home, and remains completely unaware that a hundred dollars or so in additional memory can sometimes be the ticket to drastically improve the speed and utility of their thousanddollar purchase. When there isnt enough memory for the computer to juggle all of the tasks in front of it, it is not likely to come to a freezing halt. Instead, it starts relying more and more on storing recently used data in your disc cache.

Computers that come pre-built from a manufacture are particularly susceptible to having too little RAM. Why is this? Its all about the marketing: Memory has low buzz word appeal. The average computer buyer doesnt have the greatest understanding of how much memory they need for the applications they intend to run, so when they go shopping for a computer, they look for a fast CPU, the size of the disc drive, the peripherals that come with the computer, even how snazzy the case looks.

The effect of inadequate memory on a computers performance is frequently overlooked. More than one friend of mine has come to me complaining that his computer was too slow and he thought he needed replace his entire system, to be amazed when a hundred dollars worth of RAM memory doubled the amount of audio processing he could perform.

Remind me again why I need more memory.

to continue processing. This puts quite a large load on the CPU and hard drive, and also forces your computer to wait around while data it needs is streamed off the disc into the memory it can access. This results in programs hanging or even crashing.

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Memory Upgrade options

You can start with less: memory can be upgraded very easily, so its not the end of the world if you purchase too little memory. However, since computers usually only have two or four memory slots, it is wise to get memory with the most you can possibly get. Youll save money too two 512-meg modules are more expensive than one one-gig module.

The disc cache is extra RAM specifically included for this intermediary function. It is in use all the time even when you have enough memory in your computer for it to perform its tasks. However, until it starts running out, the computer only uses the disc cache for data it needs infrequently, or even just data it thinks it might need soon. It is only when the computer has to use this space on your hard drive for data that it need immediately that there start to be problems. The shuffling that ensues makes drastic use on the CPU, which now has to shuffle data from the disc drive as well as processing the tasks it is trying to do. As you can imagine, this is a very inefficient use of your CPU power.

Depending on how many spaces you have for RAM modules free (most computers have a total of four), upgrading you memory will either involve simply adding additional modules, or replacing the ones you have. Keep in mind that to take advantage of Double Data Rate Memory (DDR), you will need to install your memory in identical pairs. Turn the computer off and unplug it before opening it up. You can get shocked otherwise.

Upgrading memory is as simple as clicking open the jaws that hold the old memory chip in place, sliding in the new one, making sure that it is properly seated, and clicking the jaws back on each end. Then plug it in and power it up. The add new hardware utility will run, and it should install perfectly. You can check by right clicking on My Computer and clicking on Properties before and after the installation. The amount of RAM running is reported on the General tab, and should be higher after adding more memory. If it hasnt increased after an upgrade, turn the computer off, unplug it, and switch the modules. There is some sort of com-

puter voodoo sometimes where switching them will make them work. (Though more likely, you just didnt snap them in correctly.)

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Ok, now that weve gotten the computer stuff out of the way, lets move on to other crucial hardware youll need before you start the recording process. When it comes to soundcards, let me give it to you straight: Most stock soundcards (the ones that come with your system when you buy it new) are garbage, and a pain in the butt to get working with your professional software (such as Sonys Acid Pro, Apples Garageband, Propellerheads Reason, or Steinbergs Cubase). Sometimes youll also find that your stock soundcard is not full-duplex capable, meaning that it cannot play and record audio or music at the same time. That seems outrageous, in a time where you can have your entire CD collection fit on an iPod in your back pocket, but its true. Some stock soundcards actually are that bad, and useless (especially for you, the serious computer musician!)

Other Crucial Hardware

Soundcards

Once they are recognized, put the cover back on the computer, and rock n roll, my friend.

Wikipedia.org defines latency as a time delay between the moment something is initiated, and the moment its first effect begins. This is most noticeable in sequencers, when you are controlling a virtual instrument via a MIDI keyboard. A low latency ensures that when you press a key on the keyboard, the sound is immediately heard. A high latency means that a sound will not be heard at the precise time you hit the key, but later on (anywhere from a quarter of a second to several seconds). Low latency is key, always. Internal soundcards offer low latency. Then again, many external (USB and FireWire) soundcards offer low latency as well. They are another option you can consider.

An internal soundcard is probably your best bet, sound-quality wise. A soundcard that is directly attached to your motherboard via the PCI slot eliminates interference and also has a very low latency.

Internal Soundcards

Youre serious about your music, so why should you have to deal with a crappy stock soundcard? Here are just a few options you can consider:

USB and FireWire Soundcards

These have come a long way since the late 90s when they first became popular. I owned one of the first USB soundcards (I made music on a laptop back then), and it was decent, but gave me a lot of interference (buzzing/humming and fast clicking, which I still have no idea why). Nowadays, USB and FireWire-based soundcards are of much higher quality. There are very few cons I can think of when using a FireWire or USB soundcard (none, really), but a couple pros are: Portability. You can make music anywhere! Take your laptop to the local coffee shop and rock out. Take it on a road trip, in the car. While your little brother or sister is screaming or crying, you can slap on some headphones, fire up your sequencer and quickly be in musical bliss.

Features. Most USB and FireWire-based soundcards not only give you everything you need to record sound, but also give you MIDI ports, for connecting a MIDI keyboard. Everything is right there at your disposal, not only to record with, but also to control virtual instruments and/or input notes real-time.

You definitely want to pick up a professional soundcard if youre serious about your computer music making. Again, it will save you a lot of headaches down the road, and will give you far superior quality to your stock soundcard. Most M-Audio (www.m-audio.com) stuff is of very high-quality. Their soundcards are great, though their midi keyboard controllers leave little to be desired (especially the cheap-feeling keys and key action). M-Audio recently merged with Digidesign.

34

Recommended Soundcards:

M-Audio Delta 44 (I use this, and it rules- $220 list)

Figure 2.1

M-Audio Delta 44 breakout box M-Audio Quattro (great USB-based soundcard with lots of tweakability -$250)
M-Audio Audiophile 24/96 (one of the highest-rated soundcards out there -$100). M-Audio Firewire Audiophile (also high-rated -$200) Echo Layla 3G (higher priced, around $500, but really nice)

Edirol/Roland UA-101 (USB-based soundcard with MIDI in and out, $500)

(c)Add An Additional Hard Drive

35

I cant stress enough the importance of keeping all personally-created files (songs, lyric documents, poems, photographs, album cover artwork, etc.) on a separate hard drive. In later chapters in this book, we discuss the importance of backing up all your files regularly. Be sure to do this. Always.

Because, quite simply, if your program drive (commonly known as drive C: where ALL the Windows stuff is, and all your programs) crashes, your audio and songs will be untouched and unaffected. And this will save you a tremendous amount of headache later on.

Your second hard drive is where all of your important audio files will go (Sample loops, projects, etc.). Youre probably thinking, Why do I want to keep everything audio-related on a separate hard drive from my main C drive?

The most important thing, way before you start to record, is to get a second internal hard drive (youll need it, especially if you record often or create complex musical arrangements with many audio tracks).

These days, it is very common to find internal hard drives with 200 gigabytes of storage. This is more than enough to fit a lot of song projects and audio files. I have an 80 gigabyte audioand-song-only drive and its only now starting to get full, after two solid years of recording daily or weekly. 200 gig is ideal, but 120 and 160 gigabyte drives are more than effective. Sometime very soon, well have 1 terabyte drives available everywhere (1 terabyte = 1000 gigabytes). When you find a hard drive, make sure it is 7200RPM, and not 5400RPM. The faster revolutions-per-minute (aka RPM) is crucial when it comes to recording music, as music-recording can put a lot of strain on a computers hard disk. 7200RPM is a common hard drive speed, but occasionally (and this is a lot more common in laptops), youll find the 5400RPM drives.

Hard Drive Sizes

Hard Drive Speeds

There are countless options when it comes to choosing speakers and headphones. One thing you should definitely consider, speaker-wise, are studio monitors. These are like regular stereo speakers, but provide a different sound (called a flat response), for special use, such as mixing. When speakers have a flat response, it is easier to hear all frequencies (low and high), and see which ones are too in your face and which ones are too distant. Studio monitors provide this feature so when you get a good sound or mix on them, the sound will translate better on all types of sound configurations (from a portable MP3 player to a car stereo, from an expensive home stereo system to a portable CD player, and everywhere else).

Speakers

Studio monitors are not fully necessary, though. My friend Rom Di Prisco (songwriter, producer and studio engineer, and the main songwriter in worldwide electronica collective Bitstream Dream) mixes and writes his songs on a basic computer speaker setup: two small speakers with a subwoofer. His songs sound amazing no matter where I play them. Always full, always crystal clear, and always with that oomph that many amateur recordings do not have. He is proof that it isnt so much the equipment you have, its how you use it and how well you know

your way around it. But you can never go wrong with getting a good pair of studio monitors and headphones. Good, professional equipment inspires you to take your music to the best level you can possibly take it. So dont skimp on good speakers, if youre serious about your tunes.

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Recommended Speakers (studio monitors):

Samson Resolv 65A Active Studio Monitors (heard these in a store.. LOUD, and clear.... awesome speaks. $300 for pair) M-Audio StudioPro 4 Active Monitors ($150 for the pair, sound really good) KRK RP-5 ($300 for two great reviews on these, too)

industry standard NS-10ms (see below).. lots of power (70 watts per speaker)

Yamaha HS50M Powered Monitor ($400 for a pair on avg... modeled after the

America... most of the time you can get a pair for $500 or less).

Yamaha NS-10m (check ebay! The best monitors ever made... in every studio across

And any inexpensive Pioneer bookshelf speakers make OK monitors ($75-200 new)

Figure 2.2

Pioneer bookshelf speakers as monitor

Headphones come in all shapes, sizes and styles. Some fit in your ear, and others nearly cover both sides of your head. Some arent comfortable at all, and others are too comfortable (though I havent ever been dissatisfied with too comfortable headphones) The most important thing about headphones, I think, is comfort. I think its more important

Headphones

Another advantage is, when you record vocals, wearing headphones allows you to hear yourself and your voice clearly (thus getting a better recording or take), and also avoids sound bleeding from the speakers. All professional studios have their vocalists record with headphones. No studios ever have vocals recorded with the song coming out of the speakers, and the singer not wearing headphones. Thats a recipe for disaster. Unless youre just making a demo recording, which, in that case, is ok. Recommended headphones: Sony MDR-7506 (industry-standard $100, Howard Stern has used these for many years... excellent clarity (maybe a little too high-endy) and pretty comfortable, too... Can get heavy at times if worn for a while... but they are the industry standard)

A big advantage of headphones (besides the privacy and keeping-your-neighbors-happy thing) is the ability to hear artifacts in the music that shouldnt be there (a click, pop, buzz, noise, dog barking, etc.) With headphones on, you can hear stuff you normally wouldnt be able to hear when youre writing and recording with speakers. And wearing them can help you pinpoint the problem and eliminate it with the least effort.

One thing you must remember about writing music with headphones is, whatever you record is not going to sound the same when you finally take them off. In fact, your mix might sound really bad, or too low. One rule of thumb that all music books that touch on headphones agree on is, you should never mix with headphones. Never set the volumes of each track when youre wearing those cans. Because when you take them off, everythings going to sound completely off. And also, never have the volume really loud (to the point youre cringing). Its a mistake to think that a song sounds good at a much louder volume. It doesnt.

than sound, really. Most headphones sound great, from the $10 pairs to the $300 pairs. I cant really hear much of a difference. But comfort, thats crucial. If youre going to be wearing headphones for hours on end while working on a song (hours is common), youre going to want to keep those precious ears as comfortable as possible. I have the unfortunate luck of living in an apartment with paper-thin walls, so I have to resort to headphone use nightly, whenever I am working on music (especially if I want some more volume, so I can get into whatever Im working on). Sure, I can keep my speakers low, but who wants to do that when theyre in a groove, or totally feeling what theyre working on? Slap on those cans and be in the moment.

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Figure 2.3

Chris Caulder working while using his Sony MDR-7506 cans

Yamaha RH3C ($40, excellent sound and value- lots of people use these)
AKG K171 ($160, very light, old school-looking, but awesome cans)

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Yamaha RH5MA ($50, flat-response, open-ear design {not fully isolated} but very high-rated, and a favorite among home studio users.. a lot of people say what you hear is what you get) Audio-Technica ATH A900 ($250... very comfortable, high-rated, and great sound). Chris Caulder

If your system does crash while not under warranty the amount of money you will spend retrieving data or repairing a damaged hard drive will almost always exceed the amount you wouldve spent on an extended warranty, sometimes drastically.

Along with the aforementioned virus protection, no matter what kind of system you decide to get, always purchase the maximum possible warranty. If you are thinking buying a used computer that doesnt come with a warranty dont do it. This is especially important for laptops, which have a much higher crash and burn rate. While some people would argue against a longterm warranty since hardware changes so frequently, and prices come down quickly, it will certainly be in your best interest to acquire a warranty that lasts at least until you plan to buy your next computer.

Warrantees

Compatibility (Cant we all just get along?)

The issue of compatibility (working between the two platforms) is less of a problem today than it was even a few years ago. For example, a Reason file created on a Mac will open just fine on a PC. When you create a new session in Pro Tools youre given the option to Enforce Mac/PC compatibility meaning that in the future you can open the session on any Pro Tools rig.

Figure 2.4

Enforce compatibility in a new Pro Tools Session.

In most cross-platform programs, there is a function called export all files, including media (or something similar), which you can use to produce an archive folder of all files in a project. This archive can usually be brought into another session on a computer running a different operating system, and the project can be opened up and worked on.

When setting out to do something new its a good idea to look for people who are already doing it and get their advice. When I began putting together my studio I talked with the people I was currently working with, and some folks I hoped to work with in the future. I decided that in order to work more smoothly with them it made sense to choose the platform and programs they were working in. Since then Ive had the opportunity to work on many cross-platform (and a few cross-program) sessions. While most have gone smoothly there have been some occasional glitches, usually having to do with incompatible audio files. For example, last year I produced a session in Pro Tools (on a Mac) from demos that had been created in Sonic Foundrys Acid (on a PC). At some point we realized that we wanted to use some specific elements from the demos in the final recordings. The problem was that the Acid sessions were in a different file format (.WAV) from the Pro Tools session (SDII) and both sessions were at different sample/bit rates. Luckily Acid, like almost every audio recording program on the market, includes the option to export the entire session as individual tracks, which can then be imported into another program. On the Pro Tools end we were able to convert and import the files we needed without too much difficulty.

The main compatibility issues that youll have to face may have more to do with the programs you choose than the Operating System. For example, many of the composers who write music for television work in the program Logic, which is Mac only. If you are specifically interested in this kind of work its probably not a good idea to build your studio around software that only works in Windows.

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Figure 2.5

Exporting a complete session with audio files in Logic (Mac)

40
In short theres always a way to work between programs and platforms, but with some good planning and research you can make the process less painstaking.
Exporting all of the files (including audio) in a Logic session

Sequencers and Sound Editors

No matter which system you wish to utilize (PC or Mac), music-making software is an absolute necessity. A sequencer is a program that allows you to take small bits of music, loop them, alter them and combine them, in a multitrack environment. Both are very useful, and some programs do both.

A sound editor is a program that allows you to take a mixed-down stereo file and add EQ, compression, filters, change the pitch, do mastering, etc. etc.

Combination Sequencer/Sound Editors: Pro Tools, Digital Performer by Mark Of The Unicorn, Apple Logic Pro.

Sound Editors: Sound Forge, Cool Edit Pro

Sequencers: Acid, FL Studio, Tracktion, Muzys, Reason, Garage Band

For those of us on a relatively fixed income (myself included), there are some great programs that can basically do it all, for $300 and less. All of these programs have demos available for download/trial basis (some options disabled, like saving a song, or exporting it to .wav format, or the software expires after 30 days). We cover all of the following in the later chapters of this book: Sonys very toned-down version of the ultimate in sample loop software, Acid Pro. Most of the features in Acid Music Studio (the budget version of Acid Pro) are available, which makes this an excellent deal and something you definitely should make use of, if youre into loop-writing software (best for hip-hop, R+B, and techno- and all styles of electronica). Only 16 maximum tracks are available, and theres no effects. Still, excellent, to get the hang of making loopbased music. If youre looking for a lot more features, Acid Music Studio is the way to go. (Note, if you have to use more than eight tracks, you can mix (render) down to one track, import it into a new project and have seven more tracks to use. Youll have less control this way, but its a good workaround.) http://www.sonymediasoftware.com/download/step2.asp?DID=551

Cheaper software that gets the job done

In this section we will go over which programs will best suit your needs and of course, your budget.

PC: Sony Acid Xpress (FREE!)

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Figure 2.6

Acid- showing properties window

Like Acid Xpress, but with a lot more features, and a great price. VST support, effects, and more tweakability. Unlimited tracks, but chances are you wont need more than 20 if youre making exclusively loop-based music. All of the instrumental songs Ive produced with this software never push more than seven simultaneous tracks, but then again, Ive used Acid Music Studio to exclusively make hip-hop and trip-hop, which are usually minimal arrangements to begin with. Great software. Comes with over 1,700 loops, too. Highly recommended if you cant dish out for Acid Pro.

PC: Sony Acid Music Studio ($69)

Sonys unbeatable loop-based music software. Not only is it the best software for making loopbased music, it is also a very nice MIDI sequencer, video editor, audio recording program, and

PC: Sony Acid Pro ($300)

http://www.sonymediasoftware.com/Products/ShowProduct.asp?PID=971

has a lot of great effects built-in. Plus, you get over 1,000 loops to get started, and there are countless sample loop libraries available online (later in this book, we discuss sampling and using sample loops to great extent). Acid has been a revolutionary program since it was first introduced over five years ago, and with each new version it gets better. A must-have for serious hip-hop, R+B and rap producers (all you need is a good collection of sample loops, which are readily available everywhere online.). Acid is extremely powerful software that basically made the classic Akai MPC samplers obsolete (though, I dont think theyll ever go out of style, theyre too cool). But, with Acid Pro, you have an unlimited library of samples and loops available (limited only to your hard drive space and your budget), and its over half the cost of a hardware loop-based sampler. We cover a lot about Acid Pro in the later chapters of this book. http://www.sonymediasoftware.com/Products/ShowProduct.asp?PID=928 I used Acid Pro, along with Sound Forge, when I composed the ambient trip-hop threeand-a-half-hour-long continuous piece of music that comprises the background music on the play all function of the DVD Living Through Steve Diet Goedde (livingthrough.com). It only took me about 12 hours to produce this complete piece, and most of the reviews of the DVD mention how much people like the music. Michael W. Dean

42

Other budget software to consider:

PC: Image-Line FL Studio (retail: $149)

http://fruityloops.com

The software formerly known as Fruity Loops, FL Studio has come a long, long way in the everevolving computer sequencing world. Originally a tracker program (very simple sequencer which used single-note/single-hit audio files), FL Studio is at the forefront of high-end, highquality, low-budget sequencing and recording software. While FL Studio was still known as Fruity Loops (late 90s/early 00s), audio and real-time midi recording (input from a midi keyboard) was not possible (though the sequencing was extremely powerful). Shortly after incorporating real-time midi recording (in version 3.0), Fruity Loops again made a breakthrough with the addition of recording audio, and changed their name to FL Studio. FL Studio was soon recognized as a program that was completely self-sufficient, and much more powerful than it already was. Definitely a must-buy if youre looking for an amazing sequencer with powerful audio recording built-in. I mostly use the older version of the program (Fruity Loops 3.5) as a drum machine it is so easy to use as a drum machine, and completely tweakable. I havent even upgraded to FL Studio. I find no need to upgrade yet, because Fruity Loops 3.5 does everything I need it to!

43

Figure 2.7

Fruity Loops

PC and MAC: Mackie Tracktion ($149)

Originally developed by Raw Material, now fully supported by Mackie. Unlimited tracks, built-in effects, built-in sampler, VST support, a single-screen user interface (no windows on top of windows, on top of windows, and so on), and lots of sounds and effects to get you started. Very similar to Abletons Live software (cross-platform, available for Mac and PC), but with a lot more. Popular opinion also states that Tracktion is more stable than Live (less crashes). The cost is also a fraction of its competitor. You get a lot for your money: a very easy-to-use sequencer and a boatload of instruments from IK Multimedia, Linplug, and reFX. A program definitely on the rise. My personal fave piece of software, primarily for the extensive amount of high-quality virtual instruments and effects provided. http://mackie.com/products/tracktion2/index.html

44

Figure 2.8 Tracktion PC: Cakewalk Sonar Home Studio (retail: $149)

All the features of their landmark sequencing & audio software Sonar Studio, without the higher price tag. Acid-style looping, digital audio recording, high-quality effects (reverb, delay, compression, etc), and more MIDI sequencing options than you can shake a stick at. The only downside to this software is there arent a lot of built-in sounds (VSTs and DXIs). Usually with a program like this, you would want to invest in a few virtual instruments, or download a lot of good free ones from (Ill go into more detail about that site, later). Sonar has a very stable interface, something I cant say about some other software which we wont cover in this book. Ive had very little problems with crashes (only when Im pushing the program really hard with multiple tracks and lots of effects). Very friendly user interface, and everything you need in one place, if you already have the virtual instruments. http://www.cakewalk.com

Figure 2.09 Sonar PC: Computer Muzys (FREE!)

Computer Muzys is a free sequencing and audio program, but only if you buy an issue of Computer Music Magazine (UK-based magazine, but available at most popular bookstores in the US). The program comes free with every issue. Not a lot of support available for this software, as it is still basically obscure to some extent, but the software is very powerful. It can record audio as well as MIDI, and has full VST support (instruments and effects). Previewing audio is painless. The metronome feature is really nice, too, as it is very customizable. Originally developed as Muzys, the original Muzys Website does not exist anymore (as of the first printing of this book). To obtain Muzys, pick up an issue of Computer Music (the full version is in the library section of their accompanying CD-ROM or DVD-ROM). Nice software, and comparable to Steinbergs Cubase, without the cost. Nice graphical interface, too.

46

Figure 2.10 Muzys PC and MAC: Audacity (FREE!)

A very simple multi-track recording program for PC, Mac, and even Linux. Basic graphic interface, and limited VST support (some VST instruments and effects may not look like theyre supposed to, due to limited graphic support). Basic software, but useful if you just need to lay down some overdubbed ideas with your guitar, microphone, and/or keyboard. http://audacity.sourceforge.net/

Figure 2.11

Expaudacity PC

Audacity interface on PC (playing three simultaneous tracks)

Figure 2.12

Exporting multiple tracks in Audacity (Mac)

Audacitys dialog box for exporting multiple tracks

Garageband is loop-based music making software (with the ability to record audio!). It is pretty powerful software for such a low price. Much like Sonys Acid Express, Apples Garageband has a very colorful and nice-looking graphic interface, a very low learning curve (like Acid), and the best thing: tons of sample loops of various music styles to help get you started, making loopbased music! Marketed toward aspiring musicians who have little or no music-writing ability, or people who arent musicians who just want to make some songs, Garageband is a lot of fun, and can be really powerful when its in the right hands (especially when the audio recording is used in addition to the loop sequencing). It is considered by many to be music software designed for beginners, but again, in the right hands, it can do some serious damage (in a

MAC: Apple Garageband ($79but comes free on most new Macs)

good way). Garageband is quickly becoming a well-loved piece of software, and for good reason. We cover a lot about it in upcoming chapters. http://www.apple.com/ilife/garageband/

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Higher-end software for the MAC and PC

Probably the most powerful sequencing software for Mac. Digital Performer is an incredible program, much easier to use than Logic and much less expensive than Pro Tools. It has been said by reviewers online that there isnt much this software cant do, when it comes to MIDI and audio recording. Its interface is fully customizable, allowing you to never lose your creative flow when it comes to writing how you like to write. If you work mostly with loops, the interface works with you. If you work mostly with scoring and notation, again, the program works with you. Digital Performer is the software of choice for many professional studio producers, and musicians alike. http://www.motu.com/products/software/dp/ MAC: Apple Logic Pro ($999) MAC: Mark Of The Unicorn Digital Performer ($800)

One of the best sequencers, ever. The only downside is you cannot record audio within the software. However, you can create complete arrangements within Reason, and then import a mixed-down .wav file (or several) into a sequencer with audio-recording capability, if guitars and/or vocals are needed (They often arent needed in electronica). Reason has an arsenal of great sounds and loops, and the effects are very impressive. Its used by basically everyone these days. Very, very powerful software, and an excellent tool for making glitch or IDM music. http://www.propellerhead.se Glitch or IDM music ******begin sidebar*******

PC: Propellerhead Reason ($299)

http://www.apple.com/logicpro/

Logic is easily the most popular sequencing and audio recording software for the Mac. It has a steep learning curve, but the results can be great. It integrates audio, midi, video, and loopbased tools for a truly flagship product. Extremely popular among the bigger electronica artists (BT, Bitstream Dream and The Crystal Method come to mind), Logic Pro is probably the most feature-filled sequencer of them all. Pros and hobbyists alike swear by this software.

******end sidebar*******

lating the sound of a CD skipping, but in an intentional, rhythmic way (hence the title glitch). Some notable IDM artists include Aphex Twin, Telefon Tel Aviv, Kid 606, Autechre, and Cex.

IDM means intelligent dance music. It covers many genres of electronica, but mainly, it is defined as electronic music which has an unconventional approach to sequencing, programming, and processing. Oftentimes, 64th and 128th notes are used, thus emu-

PC: Cakewalk Sonar Studio Edition ($479)

Sonar is very popular among PC recordists, probably because of the relatively low price tag and

the all-in-one features. Sonar has Acid-style looping (Cakewalk was the first to incorporate this, after Sonys Acid), digital audio recording, high-quality effects (reverb, delay, compression, flange, chorus, etc), and more MIDI sequencing options than you can shake a stick at. The only downside to this software is there arent a lot of built-in sounds (VSTs and DXIs). Usually with a program of this caliber, you would want to invest in a few virtual instruments, or download a lot of good free ones from www.kvraudio.com (Ill go into more detail about virtual instruments and that kick-butt Website, later in this chapter). Sonar has a very stable interface, as long as your computer is up to speed (something thats true with all audio software, really. The more memory, the merrier!). Sonar has a very friendly user interface, customizable menus, and everything you need in one place, that is, if you already have your desired virtual instruments and sounds! http://cakewalk.com/Products/sonar/new.asp Sound Forge is the quintessential audio editing and mastering software. Originally developed by Sonic Foundry (later purchased by Sony), Sound Forge is the easiest software to use for cleaning up and digitizing audio (say if you wanted to back up your old vinyl records to CD before the scratches get any worse), editing loops, creating streaming media, converting bit depth (8 to 16, 16 to 32, etc.), batch converting (multiple files at once) mono-to-stereo or vice versa, processing mixed-down tracks, mastering songs, and much more. We discuss Sound Forge in a later chapter, complete with tips and tricks.

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PC: Sony Sound Forge ($300)

Figure 2.13

Laptop running Sound Forge http://www.sonymediasoftware.com/Products/ShowProduct.asp?PID=961

The industry standard, Pro Tools is the ultimate recording solution. In the late 90s, it became very popular because of its hardware/software integration. Back in the late 90s, most computers could not handle the demands audio recording required. Pro Tools allowed a seamless transition from analog recording to digital, because of the hardware/software integration. Pro Tools has great effects (some of the best youll ever hear, and no doubt, youve heard its effects and production in most recordings since 1998), and great mixing capabilities. Very nice graphical interface, too. Basic, but fully functional and never really makes your eyes bug out from looking at it too long. Pro Tools is utilized in so many studios worldwide, and home studios as well. It was basically the first professional computer recording solution, and thus became the industry standard. Pro Tools also has tremendous stability, and I have often seen a portable Pro Tools rig in live use. I have seen the wonderful singer/songriter Emiliana Torrini live and her keyboardist had a Pro Tools setup, as well as Estheros keyboardist when I saw her live. Pro Tools is very expensive (especially the pro setups that are $10,000 and up), but its for a reason. It is hard to top the quality and usability of Pro Tools. We discuss Pro Tools at great length in this book, in later chapters. www.digidesign.com For a complete list of Mac sequencers and audio software, check out the following link: http://www.macmusic.org/softs/softcat.php/lang/EN/id/7014/

(There is a free version with track limitations, the possibility of bouncing tracks, and the price of full edition.)

MAC: Digidesign Pro Tools ($ varies)

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Virtual instruments are exactly that. They are instruments (primarily keyboard-related) that are solely programs, that you can control via MIDI using a MIDI keyboard or keyboard controller (the ones with no sounds built-in, like the Edirol PCR-50, seen below). Plug-ins (or VSTs as computer musicians have come to call them) come in a very wide variety: monophonic synths, polyphonic synths, FM synths, sample-based synths, virtual analogue, analogue emulators, drum machines, virtual drummers, ambience generators, virtual guitarists and bassists, samplers, the list goes on and on and on. Most of the better virtual instruments are anywhere from $50-$400, but you can find quite a good amount of free VSTs (fully legal) online. (URLs below, in the section The Best FREE VSTs.) Virtual instruments (aka plug-ins) are extremely useful and versatile. And the prices are a heck of a lot better than buying a $2000 analogue synthesizer, or a $4000 digital drumkit.

When you record solely with a computer, sooner or later youre going to want to have an arsenal of sounds to choose from (real sounds, synthesized sounds, drum hits, etc.), especially if you are a solo musician, or bedroom recordist. There are two options you can choose: 1. Take out a loan, and get a nice hardware synthesizer, a decked-out digital drumkit, good microphones, and then hire someone to play it all, or 2. Use virtual instruments!

(c)Virtual Instruments/Plug-Ins

Some of the best-sounding, most versatile, and popular VSTs:

IK Multimedia Sampletank 2XL

An unbelievably huge resource of realistic and synthesized instruments. Sampletank uses sample-based patches and presets, that are fully editable and tweakable. It is known as a ROMpler, which loads the sounds into memory, to ensure high-quality sound without audio glitches. Sampletank covers everything from drumkits to solo violins and string ensembles, electric pianos (Rhodes, Wurlitzer), Hammon B3 organs, and so much more. You can apply five effects PER sound, and there are many effects to choose from, all with fully tweakable parameters. The sound quality of this virtual instrument powerhouse cannot be understated. I use it in every single song I write. It is my desert island VST, without a doubt.

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Figure 2.14

Sampletank http://www.sampletank.com

Native Instruments Pro-53

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A beautiful emulation of the classic synthesizer, the Prophet-5 by Sequential Circuits. A true analogue emulation. Completely useful sounds, from basses to leads, pads to truly tripped-out sound effects. Fully tweakable, MIDI-synchable (for example, have an LFO filter pulse in time with your songs tempo, or have a delay/echo repeat in time with your songs tempo), GREAT sound. Absynth was made for creepy movie scores or anything else you could possibly think of. All sounds are generated digitally, but it has so much warmth and creates sounds so layered, its hard to believe that a little program can generate such amazing sounds. Absolutely incredible piece of software. A must-have for anyone into writing ambient music, movie scores, or any other interesting form of electronica. Sick, sick, sick! (In a good way.) One of the first commercial synthesizers, the Arp 2600 had an unmistakable sound, and one of the most popular synths for the pioneers of electronic music (Pink Floyd, Tangerine Dream, Erasure, Edgar Winter, Stevie Wonder, Kraftwerk, Jean Michel Jarre, Neu!, The Who, Herbie Hancock, Jackson 5, Joy Division, Nitzer Ebb, Orbital, whatever). The virtual version by Arturia faithfully replicates the classic analogue sound. Equally impressive is the CS-80V, modeled after the legendary Yamaha CS-80 synthesizer, which was used by such legends as Brian Eno, Frank Zappa, Peter Gabriel, and Paul McCartney. Gorgeous analogue bliss (or complete noise, or anything in between). Two virtual instruments you must have in your collection, if you have ever been remotely influenced by synthesizer music of the 70s and 80s. Arturia Arp 2600V and Arturia CS-80V Native Instruments Absynth 1, 2 and 3 http://www.nativeinstruments.com

Figure 2.15

Arturia Arp 2600V

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Figure 2.16

Arturia CS-80V http://www.arturia.com ******begin sidebar***** Monophonic and Polyphonic : What Do They Mean?

******end sidebar*****

A vast majority of the earliest synthesizers were monophonic, meaning, only able to generate one sound (or one key) at a time. Useful for legato (smooth, connected musical lines using only one note at a time), monophonic synthesizers soon became less popular, as polyphonic synthesizers came around. Polyphonic synthesizers could generate many notes at a time, for example, chords instead of single notes. Polyphonic synthesizers eliminated the old hold one key while pressing another, and the sound of the first key goes silent problem. Many synthesizer enthusiasts and purists would not consider the monophonic feature an actual problem, but it definitely limited musical creativity for synthesizer players who wanted to do chords and more complex melodies and riffs. Another example of the comparison between polyphonic and monophonic are ringtones for cell phones. Polyphonic ringtones have the chords, vocal melody, drums, and basslines (they sound as close to the original song as possible), and monophonic ringtones have only the main melody (often heard in classical ringtones).

Applied Acoustic Systems Lounge Lizard 2.0 http://www.applied-acoustics.com

55

Spectrasonics Atmosphere

Hands-down the best Rhodes and Wurlitzer electric piano emulator on the market (and save you and your roadies the hassle of lugging the real thing around!). Fully tweakable, with great effects (tremolo, phaser, delay, and wah). A must-have for anyone into jazzy hip-hop, trip-hop, R+B, soul, and any other style of music (the Rhodes fits in every style of music gorgeous sound). This virtual instrumental faithfully captures that warm, soothing (or biting) tone of the Rhodes electric piano, and also the Wurlitzer 200A electric piano.

This is THE virtual instrument for ambiences, leads, basses, evolving atmospheric sounds, etc. Very tweakable. Useful for many styles of music, especially trip-hop and ambient. The following is a list of some of the best-sounding virtual instruments, that are FREE to all. Most of these are available from www.kvraudio.com . KVR audio is the #1 place to find information about virtual instruments (reviews, news, patches for your favorite virtual instruments, etc). A vast majority of the VSTs on the site are free. Ive downloaded basically all of them, and below is a list of the best, most useful ones (I figured Id save you the work!).

http://www.spectrasonics.net

The Best FREE VSTs

LazySnake http://www.bostreammail.net/ers/lazysnake.html An incredible Rhodes emulation. I still cant believe this is free. He has a donation button on his page. (You should tip him if you use and like this.) No Rhodes electric piano sounds better than this. You should definitely consider donating to this guy. I use this instrument for basically ALL of the Rhodes parts in my songs in Beautys Confusion (http://beautysconfusion.net) and my solo stuff.

Figure 2.17 - LazySnake

56
Crystal http://www.greenoak.com/crystal/ This instrument works a lot like Native Instruments Absynth, but you dont have to pay a dime. Very cool. Now on version 2, and just as powerful (if not more) than before. Oberon 8, Phibes, Morpheus, and more http://www.funkelectric.com/~cockaigne/ The guy who creates these VSTs is exceptionally talented. Great, useful stuff. Lallapallooza Lite 2 http://www.oustedproductions.net/lpll2.zip A very fine virtual analogue synthesizer.

Figure 2.18

Lallapallooza Lite 2, running within Sonar

Superwave P8 http://home.btconnect.com/christopherg/main.htm Excellent virtual analogue synthesizer. Great sounds, tempo-synched delays...You name it, this has it. Sun Ra Named after the legendary and very trippy jazz musician, this is an amazing, playable ambience instrument. You can use the built-in sounds, or load your own .wav files. Pitch, delay, frequency, all can be tweaked bigtime. Very trippy. Completely useful for movie scores and just wild ambience that can resonate forever. Awesome.

Makers of the critically-acclaimed VST Albino, the FreeAlpha has some really great sounds, mainly designed for trance and techno music.

Linplug FreeAlpha http://www.linplug.com/Products/FreeAlpha/freealpha.htm

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http://www.uv.es/~ruizcan/p_vst.htm

Figure 2.19 Sun Ra

Propellerhead Rebirth RB-338 2.0 www.rebirthmuseum.com

www.rebirthmuseum.com

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This classic sequencing software (originally priced at $199) inspired a slew of imitators. Developed by Swedens Propellerhead Software (designers of Reason), this program is a direct, believable emulation of the classic Roland bassline & lead sequencer TB-303, and the two classic Roland drum machines TR-808 and TR-909 (both of which are mainstays in all styles of electronic music, especially techno). Extremely powerful in so many ways, the software is now retired, and available as a free download from Propellerhead! This software has been used by countless professional artists including Juno Reactor, Bitstream Dream, Daft Punk, Ladytron, and BT. Check out the site below, read about its history, follow the CD image download instructions carefully, and enjoy! Also, (and this is less of a tweak and more of an mission statement): You dont always need to run out and buy the latest software. Unless theres a feature you need (and you can find out by running demo versions and reading the companys Website), you might do better running a version thats a few years old. Software companies have to add features to stuff to keep people buying. And sometimes the additions are based more on marketing than on user needs. And older versions often run faster on new computers than the new version, as they are simpler and smaller. I use a version of Sound Forge thats four years old, and I am writing this (in 2005) on Word 97. ******end sidebar******* ******begin sidebar*******

If you are considering working with one of these programs but youre not sure what kind of computer to will best suit your needs, you can browse and post in these forums to get the benefit of other users experience. I recommend making a new e-mail account on Yahoo or Hotmail to only use for this, as any address posted on the Web gets lots of spam. http://www.cubase.com/forum http://forum.cakewalk.com Digidesign/Pro tools Forum http://duc.digidesign.com Logic Forum Cakewalk Sonar Forum Cubase Forum

Internet Resources

http://www.logicprohelp.com

http://www.propellerheads.se/board

Reason/Propellerheads Forum

Ultimately youll want to choose the platform that best suits your needs, budget and goals. Youll also want to take into consideration what sort of work you want to do and how to best

 Chris Caulder

create and maintain a smooth workflow between your studio, clients and collaborators.

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OK, weve seen what we need with hardware to get going. And you can see that a computer can not only replace a rock band and a symphony, but create sounds that were never possible in the natural world. Now lets move forward and cover some other uses for a computer that will help crystallize your plans for World domination through science

www.beautysconfusion.net

Chapter 3

And learn the basics, and the rules, and then break the hell outta them. Creativity often comes from doing something the wrong way. Thats often the difference between making something passable and making something great.

The power is in your hands. Learn to use it.

You can buy a computer today for 800 bucks with far more power and storage than a $20,000 system from fifteen years ago. And the price keeps going down down down, and the power keeps going up up up.

Technology To Use And Abuse (and Taking it on the Road)

You can also use non-public folders of your Website to store and backup files, including rough drafts for approval by clients, and even final audio to deliver to clients.

The Internet is a great way to promote yourself. You can reach people all over the World, and your Website works for you even while youre sleeping.

Using the Web

It took over ten years of growing pains and mistakes to get to where we are now: The Internet has a lot of really good, free, systems and communities that provide useful services and dont charge much (or anything) for doing it. I highly recommend you get a page on MySpace (www.myspace.com). You can upload photos, text, video. MySpace

I got on the Internet in 1996. The World Wide Web was only three years old at that point and people didnt really know what to do with it yet. It was a medium created by scientists, embraced by artists, and pecked at by get-rich-quick scammers and powered by venture capitalists. Some of those venture capitalists are now broke.

Promotionreaching the World from right where youre sitting right now.

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Figure 3.1

My MySpace profile ( www.myspace.com/deanbooks ) Dont make your audio and video auto-load on the page. This crashes browsers. A lot of people on there do that, and its very annoying.

MySpace is an excellent promotional and networking tool. You can post a calendar of events, and send bulletins to everyone who has added you as a friend. It allows like-minded strangers to search for friends (and even boyfriends and girlfriends), send notes without revealing their e-mail, and you can add friends to your profile. Some famous bands have pages on there and have thousands of friends. to all your MySpace friends. Its a great way to promote and to keep in touch across the miles. A good MySpace site will help cover the socializing side of business, and the networking. But its not very pro looking as your main business site. Id recommend you set up your own domain (www.YourBusinessName.Here.com) and keep it simple and professional looking. You can put a link on your main site to your MySpace

site if youd like.

Tip: Dont send random add me notices to strangers for your band or project. Only losers do this, and it will alienate more potential fans then it will attract. It comes off a desperate and sleazy. MySpace is about meeting people for mutual exchanges of friendship. When bands send requests out to everyone they can, at random, it seems very one sided, i.e. Check out my band. Be our fan. Love us. Its really annoying to get these requests, and its pretty much considered spamming in the MySpace world. (It takes time to log on and delete all these requests. There is an option to block all mail from bands, but that also blocks bands you really do like when they send updates.) The bands that this type of spamming suck, and good bands dont need to do this. People ask good bands to add them as friends, not the other way around. I cant remember what zine, but I once read a print fanzine with a hilarious article about this called MySpace: Your Crappy Band is NOT My Friend.

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The best thing to do is make your site, make it worth checking out, update it often by adding more photos, text, video, blog entries, etc. Then send notices via e-mail and MySpace to people you really know or who really like your music, and invite them to add you. Then let it grow organically. Put the URL wherever you can and just keep making great music. If something has wings, itll fly Second tip: put your MySpace URL (like ) on all your stickers and posters.

Also, check out the MySpace site for our Selby documentary: http://www.myspace.com/cubbymovie CDBaby.com

Third tip: you can have a project URL (like ) and just set it up to point to your MySpace page.

CD Baby (www.cdbaby.com) is a fabulous way to sell and promote your work. Its free to set up, and they let you sell CDs, and they take care of burning them, printing the covers and sending them out when you get an order. Then they recoup their costs, keep a little money to keep it all going, and send you a check regularly.

Figure 3.2 CD Baby

They also offer Web hosting for musicians, at www.hostbaby.com. Its 20 dollars a month, with no hidden charges, with no setup fee, and the first month is free.

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DreamHost is the host I use for all my big media files these days. Theyre great. Use this link:

(Using this this link will use me as a referral, but Id never use someone I dont love.) They offer great service, a LOT of monthly bandwidth (TERABYTES, not gigabytes) and a large amount of server space, CHEAP. AND, the amount of server space and throughput increases every month you use them!

http://www.dreamhost.com/r.cgi?243067

I dont use them for e-mail, but theyre great for serving large amounts of audio or video data. YouTube.com

Amazing site that you can upload your videos to. Some videos on this site get millions of downloads.

Keep it Simple

I hate most corporate Websites. The site will look fancy, but be lacking in basic information, such as the phone number or e-mail address to contact the company, or even what the company does. Or this information is buried many levels down and requires a reconnaissance mission to find it. I hate clicking on a site, just trying to get a little information and having to wait for some stupid movie to load, and being sold to when all I want to do is e-mail a question. The best sites are simple, with clean design and tell you at first glance what services the company offers, and tell you how to get in touch with them. Your site should do this.

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Heres an example of a good site:

Figure 3.3

johndeborde.com

If you need to offer rich media such as audio or video samples, or Flash, give people the option of clicking somewhere to get them. Dont make this stuff autoload. Autoloading media crashes a lot of browsers (or even sometimes crashes the computer!), even on fast computers.

Crashing someones computer when theyre busy and trying to get work done is not a good first impression.

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Examples Of Your Work

You site should have some short examples of your work, in several styles, directly linked from the first page. You should tell the people the name of the song, the style of music, the size of the file, the length of the song sample, the file type and the sampling rate. Heres a good example: Audio samples of our work: Hard rock. 60-second 196-khz MP3. 1 meg. Ambient trance. 60-second 196-khz MP3. 1 meg. Solo ragtime piano. 60-second 196-khz MP3. 1 meg. Moon over Malibu Chillin in the Chill-Out Room March of the Hippies.

All songs are copyright Squit It! Music and may not be copied.

Figure 3.4

www.BeautysConfusion.net

Example of a good layout for examples on a Website with easy to access downloads, www.BeautysConfusion.net

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If you use a sampling rate below a high-end (196 khz) one, let people know. But I recommend using a high-end one. People who dont know the difference are just going to hear low quality.

You might also want to produce a CD to give to people who contact you. Have several samples on it (maybe more than you have on your Website), and do not have a tricky navigation interface. Make it an audio CD, and have a short fade in and face out at the start and end of each sample to make it sound more pro. Also, never use printed labels on a CD. They can jam the users machine. Get CDs with white top surfaces and use a printer that can print directly on CDs. You can get white CDs from www.mediadistributors.com If you dont have access to a printer that can print directly on a CD, you might try a lightscribe (a device that allows your CD RW drive to print a label on any CD. www.lightscribe.com) Tip: Never send out or give clients CDs (or DVDs) with text scribbled on them with a Sharpie.

I recommend not using entire songs, so people wont steal them and use them without paying. Use samples of about one minute. People can get a good idea from that.

I recommend using MP3s (which all computers can play), and host them on your site. Other formats, like Grass make you download a player for it, and the last thing you want to do to a potential client is make them jump through hoops. For this same reason, do not have your songs on MP3.com or some site where people have to sign up and enter information to get to them.

You should also have a link to a list of clients. This will give people an idea of the work youve done. Make sure you dont ever exaggerate or fib on this. It will come back to bite you on the butt. How to not get spammed

Also print mailing labels with your printer rather than scribbling on the envelope. It looks far more professional.

Check out the site www.MarketingYourMusic.com which is run by the very visionary man who started CD Baby, Derek Sivers. This site is full of free information on how to market your

I also keep a separate address (a yahoo one) to use anywhere I have to fill out a form online, to download software trials or buy something. That way the spam goes into that account, which I only check about once a week. Also be conscientious when filling out forms for the opt in for mailings tic-box. Often times the default is on and you have to manually turn it off.

I recommend posting your contact e-mail address as an image file rather than text. Spam bots rove the Web looking for addresses to add to their databases. These bots cannot read an image. The people will need to take the extra step to actually type in the address to mail you (which is a good reason to keep your work address simple), but youll be rewarded by far less spam. Since I got a new address and stopped posting my address as text on the Web, Ive gone from about 100 spams a day to about three a week.

music, as well as some esoteric stuff about the nature of being an artist. Its amazing. It covers everything from how to talk to business people, to writing a business plan, to alternative marketing ideas, to how to be confident without being cocky. Derek could easily publish this all in a book, sell it for 20 bucks, and probably sell 20,000 copies. But he gives it all away on this site, free.

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If you want do the site yourself, here are two books I recommend on quick and easy Web design: Sams Teach Yourself Creating Web Pages All in One (Sams, 2005) Sams Teach Yourself HTML and CSS in 24 Hours, 7th Edition (Sams, 2006) again: DreamHost rocks for hosting large amounts of media. Click this link:

I use Godaddy.com for my domain registration. They only charge nine bucks a year to register a domain. There are a few cheaper ones, but theyre mostly fly-by-night and likely to go out of business (Ive had this happen to friends of mineOne day their site is up, the next, its gone, and then its hard to move it to another registrar if you cant contact the old one because theyre gone.) Godaddy.com has been around a long time, and theyre great. They also offer inexpensive Web hosting, and point-and-click site builder tools, with professional-looking templates.

Domain registration and hosting for Websites

Making and hosting a Website

http://www.dreamhost.com/r.cgi?243067

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Figure 3.5

My office. You too can have one like it.

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There are several different technical considerations with delivering draft audio and final projects. They range from file type to sampling rate. Heres well get you up to speed on the different issues. Once youre made a song on your computer, you need to save it as a file. If you are working with anyone but yourself (and we usually are, whether its a client, collaborator, or just a buddy we want to show it to), you will want to save it as an MP3, to make it easier to send over or post on the Internet.

Tech specs

Creating and delivering draft audio

The format for draft audio you want to use is MP3, Use 16 bit, 44.1 KHz, 192 Kbs, Stereo audio. At this rate, one minute of audio compresses to a file size of approximately 1.37 MB. (This is a 7:1 compression ratio). This is the best quality audio for MP3s, and the file size is not much bigger than a lower-quality MP3. If you have any fear that your client will steal the music and run without paying you, you should use a lower draft rate, such as 16 bit, 22 KHz, 64 Kbs, Stereo audio.

File formats

(Also, you should have contracts in place already at this point, so if someone does steal and run with your tunes, you have some recourse. And you hopefully will only be dealing with honest people and wont run into anyone who will rip you off. Keep in mind that if someone in another country rips of you off, its a lot harder to go after them than it is if youre both in the same territory.) (Also please see the information on contracts in Chapter 11: Business Basics.)

One minute of audio at this rate compresses to a file size of approximately .45 MB. (This is a 22:1 compression ratio). But you should tell your client that the sound quality will be reduced, so she doesnt think you are very un-pro.

For delivering final audio to a client, you should always make your final CDs (and data DVDs, in the case of very large files) data CDs, not audio CDs, unless the end user is beginner. Pros want data files, not audio CDs. Audio CDs always require an extra step, and should only be used if the client requests it (or if, as in the above case, nothing else works.)

Creating and delivering final audio

I may sound overly cautious of people ripping me off, but it is this caution that makes it almost never happen. You dont need to be protective to the point of paranoia, but being forewarned will prevent a lot of trouble later on.

There is almost always a choice of file compression, file type and sampling rate in any audio or video program, under the save as option. The standard sample rate is 48 Khz at 16 bit. There are lower rates you can use, but they dont sound as good. And if theyre the same file type, they wont have noticeably smaller file sizes at lower sampling rates.

Once your client agrees that the music is exactly what they want (and make sure you keep the e-mail where they say this, in case they try to change their mind later!), you deliver them an uncompressed file. The standard for this is either .wav files (pronounced Wave files) or .aiff files (pronounced either dot A-I-F-F files or just A-I-F-F files). .wav is a PC format and .aiff is a Mac format, but at this point both are interchangeable and readable on most programs on either platform. Neither offers any real noticeable difference in quality or size. Use either one, unless the client specifies.

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Figure 3.6

A drop-down file type picker in Save As menu in Sound Forge Sound Forge, like most audio programs, offers a range of options of file types and sampling

rates when saving audio files.

You should always give projects and exported files descriptive names. Even if you keep them in folders dedicated to individual clients and projects (you should), it will be easier to find what you need when you need it if the names are more colorful than song93.mp3.) Better to use something like: JohnJonesClientBackgroundFilmSept2006DesertSceneSongDraftThree.wav This seems long and unwieldy, but believe me, its worth doing.

Picking good file names

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File extensions

You can also pick ID names, like JJ-DS-3.wav (where for instance, it would mean John Jones, desert scene, draft 3.) Whichever works best in your mind. Historically, on PCs, the file type is indicated by the extension on the file (the three letters after the dot in the file name.) For instance,
is a .wav file and is an .aiff file.

JJ-DS-3.wav JJ-DS-3.aif

(Note that sometimes extensions, especially on Macs, when present, can have four letters rather than three. Is the same as

JJ-DS-3.aiff JJ-DS-3.aif

Macs, however, decide what the file type and what program opens it up is based on some meta-information hidden in the file called the resource fork. Sometimes Mac files have extensions, sometimes they dont. So if the default on your audio program is not to save with an extension, add one (with a dot before it.) For instance, if youre saving a file called
DIY_Movie_background_for_second_montage as a .wav file and the program does not add an extension, rename it as

DIY_Movie_background_for_second_montage.wav

Always add the file extension unless you and the client (and anyone he is going to have using the file also, such as video editors) are both using Macs, and the client asks you not to. Otherwise you can cause frustrating problems. I have actually had to spend two hours driving across town and back in rush-hour Los Angeles under a deadline because the engineer who recorded the music for me used a Mac and I used a PC. He did not add extensions to the files, and when I added them and tried to open the files (in every program I had), I kept getting error messages. I finally had to have him burn an audio CD and then I ripped the audio from that using Windows Media Player. For some reason, there is an odd bit of computer voodoo whereby the extension usually has to be added in the creation of the file, not later, for it to be universally openable.

Transports

(How to physically get the music where its going)

Posting to a Web page

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In many cases, delivering to the client is done via FTP or an unlinked web page. You can also use this methodology to back stuff up in case your computer is stolen or crashes. For sending drafts to clients or collaborators, you can post MP3s on a non-linked (non public) Web page. That is, you post it to your Website but do not link it on anywhere. That way, only the client can find it, and it does not get bootlegged. (Using non-master quality drafts makes the files something that is less likely to be bootlegged or stolenits listenable, but not the quality of a final product.) You then send an e-mail link of the file location to your client. MP3s are the perfect format for sending rough drafts of music to collaborators and clients. While they are not the quality of an uncompressed audio or data master, they sound pretty good and are about 1/10 the file size, which makes them easy to upload or even e-mail.

Make sure you properly label each subsequent version of the file, so you dont replace a newer one with an older one. Put the date in the file name each time you make a change. And put your name or initials in the file if youre working with a partner. FTP stands file transfer protocol. An FTP program is a program that enables you to upload or download large files over to a password-protected Web server. Then your client or partner can log in to the same site and download it. FTP

Another thing you can do when working with a partner, is send only the project file. If you are both working on copies of the same files (easy to share on a hard drive or a snail-mailed data DVD), you can just send the Acid, Reason, Pro Tools or Garage Band file. The project itself is a very small file, as its only the sheet music, showing how to arrange the larger media files.

You simply select the files you want on your side, then push the button pointing to the right, and the files transfer over to the remote server.

I recommend the program WS-FTP. Its free from . You need to enter your FTP address (usually something like ftp.your-domain.com), your user name and your password. The interface opens up to two panes. The left side is your computer, the right side is the remote server.

Figure 3.7

WS-FTP interface

The advantage of FTP is the other person doesnt have to be online when you send the file. But Skype is a little easier to use. (You can also send files from Windows Messenger, but I have heard that there are security issues with using that programboth from the file being intercepted and opening your system up to being hacked. And I have heard that a Skype transmission is virtually impossible to hack into, and does not open you to vulnerabilities.)

You can also actually do peer-to-peer transfers in real time using Windows Messenger or Skype. If youre using Skype, the transfer goes a lot faster if you are not chatting at the same time.

Skype and Windows Messenger

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Figure 3.8

Sending a file in Skype Click on the name of your friend you want to send a file to, then click Send File.

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Figure 3.9

Sending a file in Skype, 2

Pick the file you want to send.

74

Figure 3.10

Sending a file in Skype, 3 The recipient will then have to accept it, and it will send to their end. Skype is a free program available from Skype.com that allows you to make free phone calls over your computer. The person on the other end needs Skype also, and you both need a microphone and speakers (I just use a $20 headset from Radio Shack), and you can get surprisingly good sounding calls for free. Its great to keep in touch with a business partner if youre in different locations. Or just use it to talk with your friends. I talk on Skype with my friend Skip Lunch, who teaches English in China. We talk more now than when he lived in Philadelphia and we were paying for phone calls. Skype also has a service called SkypeOut, where you can enter a credit card number and use Skype to call people who do not have Skype on their normal phone. It costs money, but is much cheaper than phone-to-phone calls. Something on the range of three cents a minute to Europe.

Another way to share files with specific people over the Internet is with gMail. (www.gmail.com). This free service from Google that gives you a mail account with a 1.5 gigabyte limit. You can make a new account for a particular project and only give the password to the people youre working with.

gMail

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Figure 3.11 gMail

gMail is also an easy and relatively secure way to back up your own files when traveling, while keeping them instantly accessible from anywhere.

On my Internet service provider I can send single e-mails up to 30 megs. Some have a lower limit. Check your terms of service.

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Figure 3.12

Photo by Adrienne OSullivan

Me checking my mail at a caf on the road.

Fed-Ex

In some cases, the client is very nervous and will not deal with loading it over the Internet. Often high-end corporate clients are like this. In these situations, they usually want actual physical copies to be sent by FedEx to them (or sent by a courier car, or sometimes, a bike messenger.

(c)Back up your data often

Usually the client pays when sending by Fed-Ex (or UPS or DHL) or by courier. They will usually provide you with a number.

Whether youre on the road or at home, back up all your projects frequently. Use external hard

For external storage I highly recommend one brand of drive only: Maxtor FireWire drives. Ive been running four non-stop for a year with no problems. And theyre cheaper than LaCie drives (which seems to be what most people use. Ive heard of several LaCie drives dying, and never heard of a Maxtor failing.) I get them (and a lot of other stuff) from www.newegg.com. NewEgg has great prices, and they tend to ship FedEx overnight even when you only pay for the three-day option.

drives, FTP spaces, gMail, data DVDs, CDs or all of the above. You should password protect things if youre traveling (including your laptop), so if theyre lost or stolen, people cant bootleg them.

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Figure 3.13

250-gig Maxtor FireWire drive (with cell phone to show size) If you dont have a FireWire drive, and you have a laptop, you can get a FireWire card for about ten to twenty bucks at places like Frys or Radio Shack. If you dont have a port for a card, you probably have a USB drive. USB comes in two flavors: USB 1.1 and USB 2. USB one works, but is slow.USB 2 is actually a little faster than FireWire.

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Figure 3.14

Laptop FireWire card (with a quarter to show size)

Removable thumb drives are good for daily backups, and easy to use: You just stick it in the USB port, and it shows up in My Computer as a new drive letter (Same as if you were using a FireWire drive), and you can drag files to and from it.). You can get thumb drives with capacities of up to two gigs. The smaller capacity ones, like 256 megs, are cheap at Frys, usually about 20 bucks.

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Figure 3.15

256-k USB thumb drive (with a quarter to show size)

When removing drives, dont just pull them out. Disconnecting drives (or any peripheralcameras, printers, etc.) can damage the device with time, and make it problematic. With FireWire drives, you may get an error that the drive cannot be stopped now. If this is the case, turn the power off on the drive, and try again.

So you should make sure you stop them by clicking on safely remove hardware in the System Tray, and then clicking on the device name, then click Stop.

Figure 3.16

Safely Remove Hardware, 1

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Figure 3.17

Safely Remove Hardware, 2

I recommend you consider it, because its great way to live.

You can live on the road and make a living making art. Its a lot of work, and necessitates you cultivating a rare combination of people skills, technical skills, artistic talent and common sense. I spend a lot of my time working while I travel and I love it.

Technology was originally looked at by us old-school hipsters as an intrusion of The Man computers were something to enslave you, not free you. But we were wrong. Intelligent use of technology can make your artistry fly, get it out in the World, and let you travel the World as you do it.

Advances in technology make it possible to be highly mobile with your craft. You really can live out of a backpack and make a living from your laptop.

Living and working on the road

Nanocorps

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It has long been my dream to bum around and do what I want, while still getting what I want. I like to work for myself, on my own timetable, make great art, and make a living at it. I have realized this many times. I toured the World with my rock band, Bomb, from 1986-1993. I have supported myself, on and off, writing and making music for people on my computer, since 1996. I make a living at it now. Once in 2003 touring with my film D.I.Y or Die: How To Survive as an Independent Artist (directed by me, www.diyordie.org), and again in 2005 in Europe with our film Hubert Selby Jr: It/ll Be Better Tomorrow (directed by myself and Kenneth Shiffrin, www.cubymovie.com). Both times I had tightly scheduled appearances, made it to all of them, and worked constantly (and loved it) on trains, planes, in airports, hotels, at peoples houses and even in downtime in the venues where I was appearing. I also get flown around a lot to lecture and give seminars and always work on the road. In fact, I wrote a lot of my book $30 Writing School on the 2003 tour. And also did some in-store appearances for my $30 Film School on the 2003 tour. And did a good bit of audio and video editing on my laptop on both trips. ***CE/Production: Note that It/ll is correct (with a slash instead of an apostrophe) in the title above. TG Tip: never leave you laptop unsupervised. If youre in a caf, and you go in to get another cup, take your laptop with you. It only takes a few seconds to grab a laptop and run or skateboard away. You can lose not only your computer, but all your data, in less time than it takes to get a coffee refill.

A Nanocorp is a highly mobile one- or two-person corporation or partnership working over the Internet. You can be anywhere, and so can your partner(s). We creative types are no longer tied to a physical location, and were no longer tied to having to show up at the same place at the same time every day and sit in neat little rows. The workplace of the past is dead. Work can now be done in any configuration of workers, from anywhere.

The best scenario is to do work remotely in a country that pays well, like America or Britain, and live in a country that is cheap. But teaching English is a good alternative until you are making a full check of mailbox (or PayPal) money. Note: Check out the magazine Provokator, run by my Americans-living-in-Prague friends Marika and Pamela. The Website is www.provokator.org, and theres also a print version available free at many hipper bars and cafes. It is in both English and Czech, and has lots of cool stuff to do, and a map of how to find the cool stuff.

Theres a great expat (expatriate) community there, and a lot of English speaking people. Many Americans work there teaching English, and you dont even have to know how to speak Czech to do so. The demand for teachers far exceeds the availability. And Prague is cheap. I spent less than 75 bucks staying there with friends for a week.

I highly recommend the Czech Republic, specifically, Prague. The Czech Republic used to be communist Czechoslovakia until 1989, and now its a free country. People who are forced to live under oppression tend to really live it up once theyre freed. Prague is a great party town, and also (unlike a lot of party towns), has a lot of very creative people committed to getting stuff done.

Countries that are cheap and hip

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Figure 3.18

Me working in Prague

Me (middle) working on my stuff on a laptop in the offices of the Provokator alongside the magazine staff laying out the latest issue (left is James Gogarty, right is Rebecca Ayres .)

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Figure 3.19

Outside the Museum of Communism in Prague

Other places that are cool to live and work include all of Europe (but expect to spend more than in Prague, its comparable to the US, except Berlin, which is very hip and a little cheaper than comparable big cities in America), and Southeast Asia (very very cheap.)

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Once someone has PayPaled you money, you can go to the site, log in, and transfer the payment to your bank account back home. If you have a bank card with a Visa logo, you can then access it from anywhere. Ive gotten money from jobs I did in America this way while traveling in Europe and it saved my butt. You can also have someone wire you money this way if youre in a jam. Michael W. Dean Keep in mind it takes about three days to have a transfer show up in your bank account.

I suggest setting up a PayPal account. (www.paypal.com). It allows people to quickly send you money from anywhere in the World. Over 78 million people have accounts, and PayPal only takes a little commission on each transaction.

PayPal--Getting paid across the Internet

Chapter by Michael W. Dean www.kittyfeet.com So weve got some basics of how to do the non-musical stuff needed to be a computer genius music maker on your computer. Now lets look at going mobile.

Chapter 4

Getting the Most from Your Gear

When it comes to computer-based recording systems, there are many things you can and should do, when it comes to setting up your system for recording.

When you first start Windows XP (when you buy a new system), the software isnt really recording-friendly. With the following tweaks and configurations, it is possible to bring XP to its fullest potential for audio recording. Let me warn you, theres a lot of stuff to do, but its not at all confusing if you follow everything step-by-step. These tweaks and secret configurations will drastically improve your PCs performance. I perform all of these tweaks on every one of my friends computers who are also into computer music recording, or have just gotten a new computer and have no idea how much faster and

25 Crucial System Tweaks for Windows XP

A standard-equipped computer (even a good, new one) needs some help to be ready for recording. Here we will cover the wants and needs of software, configuration, memory and more.

better it can perform. They have thanked me many times over for these tips. No doubt, once youve tried them, youll be happy these are here in this book too!

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Yeah, we all love a cool background on our desktop. It gives us a smile when Windows loads up. But it is a huge memory hog. And, you didnt invest in a good computer setup to simply look at a desktop image all day, did you? No, you are serious about your music, so youll be spending more time in your music-making software!

1. Get rid of your desktop image.

Right-click on your desktop > Select Properties > Select the Desktop tab > For your background, select none.

You can set the desktop color to whatever color youd like. Setting the color will not affect your memory or system resources.

Also, I try to keep no more than 10 icons on my desktop at all times (the Recycle Bin, the My Documents folder, the My Computer icon, and other important programs). It keeps my system running very smoothly. If you need to keep a lot of icons or files on your desktop, create a folder for them all to stay in (in the My Documents folder), and create subfolders inside that folder, if things are really getting out of control!

Never put more than 30 megs on the desktop. Everything on the desktop goes into RAM, and it slows the system down. Put it in My Documents and put a shortcut on the desktop. This is the reason that the My Documents folder was created.

2. Keep your Desktop Clean

3. Disable your screen saver.

In computer days of antiquity (ten years ago), computer monitors were in danger of burning in if you left them on a static image for too long. You can sometimes see this in bus stations and bowling alleys where old TV monitors for arrivals and scorekeeping have ghosted numbers when there is nothing on the screen. Screensavers were invented to keep a moving image going to prevent burn in. New screens do not burn in, so screensaver programs are no longer needed. But they are included in Windows, because some people like them. Right-click on your desktop > Select Properties > Select the Screen Saver tab > Select none. Media professionals such as yourself do not need them. They use memory, and interfere with the recording process.

For the remaining tweaks, youre going to need to open Windows Control Panel (Start > Control Panel). Once youre in there, select Switch to classic view. Its a lot easier to navigate Control Panel this way (this is the Windows 98-style Control Panel), and Classic View also uses less memory. The next thing you need to do is right-click on your taskbar (the bar at the bottom that shows you what programs youre currently running, and your taskbar icons), and click Properties. Then you will see two tabs, Taskbar and Start Menu. Click the Start Menu tab, and select Classic Start Menu (again, this uses less memory, and is easier to navigate). While youre still in the Taskbar/Start Menu options window, disable Hide Inactive Icons. (below).

4. Disable the Hide Inactive Icons feature.

This is unnecessary, and can be confusing if youre looking for a program you havent used in a

Click the Taskbar tab, and UNTICK Hide Inactive Icons.

while (it will disappear!).

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(Editors note: Or you can pick custom and pick smooth edges of screen fonts only. That one really bugged me to not have on. Makes text look like Windows 3.1 without it. -Mwd)

Go into Start/Settings/Control Panel > Select System > Select the Advanced tab > Select Performance Settings > Select the Visual Effects tab > Select Adjust For Best Performance.

Sure, you love how XPs menus fade and animate. Very Mac-like. Very unnecessary. Windows XP defaults to having all the pretty effects enabled. Say goodbye to them for good. Youll notice how much faster your computer runs.

5. Disable those pretty visual effects.

You can live without them. They might give you a little comfort after a while (hearing that pretty movie-like intro when you start Windows, or hearing a ding when a pop-up window appears) but they bog down your system and interfere with the recording process. And its a lot more Zen to work when you only hear sounds you create and pick, not the ones Bill Gates thinks you should hear. These sounds are made as event cues for amateurs. And youre not an amateur. Go into Control Panel > Select Sounds and Audio Devices > Select the Sounds tab > Change your sound scheme to none.

6. Disable System Sounds.

Go into Control Panel > Select Sounds and Audio Devices > Select the Hardware tab (select your soundcard from the menu) > Select Properties > Select Audio Devices (again, select your card from the menu) > Check off the box that says Do Not Map Through This Device. Sometimes this will put unnecessary strain on your systems hardware, especially if the hard drive is turning off and on every 10 minutes or so. An air conditioner is much more effective in cooling a house if it is constantly running, and not turning on and off every half hour. Go into Control Panel > Select Power Options > Select Always On > Then select NEVER for Turn Off Monitor, Turn Off Hard Disks, and System Standby. (If you use a laptop, keep the existing settings when running on batteries.)

Sometimes this feature can use up crucial memory, and also give you silence when you need sound, especially with programs that use 8-bit sound (definitely not as popular these days, but they still do exist). Disabling the map through soundcard feature is a good idea.

7. Do Not Map Through Soundcard.

8. Switch off your power schemes.

9. Disable Hibernation.

Go into Control Panel > Select Power Options > Select the Hibernate tab > UNTICK Enable Hibernation.

As stated above, sometimes this will put unnecessary strain on your systems hardware, so, it would be best to disable this feature.

10. Disable some more effects.

Go into Control Panel > Select Display > Click the Appearance tab > Click the Effects box > UNTICK everything except the bottom option, Hide underlined letters for keyboard navigation The fade and scroll effects in the menu options (use the following transition effect for menus and tooltips) are basically useless for a musician like you, and use up valuable memory.

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11. Disable the Synchronized Internet Time.

Go into Control Panel > Select Date and Time > Select the Internet Time tab > UNTICK Automatically synchronize with an internet time server.

12. Disable the Automatic Desktop Cleanup Wizard. 13. Disable Fast User Switching. 14. Disable Automatic Restart.

Go into Control Panel > Select Display > Select the Desktop tab > Select Customize Desktop > UNTICK Run desktop cleaning wizard every 60 days. Go into Control Panel > Select User Accounts > Select Change The Way Users Log On Or Off > UNTICK Use Fast User Switching. This is one of the most annoying options in Windows XP. Often, when your system crashes, you can usually get back to what you were doing, without a problem (other than the program exiting and you losing your data). The automatic restart feature can be frustrating, especially since you have to deal with a crash followed by a restart, which could waste time especially if youre doing something important. Because if only the program crashes, there is no need to restart the computer. Though, if you find yourself in a big crash, a manual restart is always a good idea. As a matter of fact, restarting every now and then is always a good idea, because it flushes the computers memory and keeps everything running smooth.

Go into Control Panel > Select System > Select the Advanced tab > Go to the Startup and Recovery section (near the bottom) and click the Settings button > UNTICK Automatically restart in the System Failure section. Go into Control Panel > Select System > Select the Advanced tab > Select Error Reporting > Put a check in the box next to Disable Error Reporting. You should also put a check in the box next to But notify me when critical errors occur option. Go into Control Panel > Select System > Select the Remote tab > UNTICK Allow Remote Assistance Invitations to be sent from this computer. Go into Control Panel > Select System > Select Remote > UNTICK Allow users to connect remotely to this computer.

15. Disable Error Reporting.

16. Disable Remote Assistance. 17. Disable Remote Desktop. 18. Disable Offline Files.

The Offline Files feature allows you to synchronize your personal files with a file server (for example a Website), work on those same files once disconnected, then reconnect and re-synchronize the files. It works like the older Windows Briefcase did, but without the glitches. For a passionate music fan like yourself, this seems pretty unnecessary. Its also a security risk.

19. Make sure that Processor Scheduling is set to Background Services, not Programs.

Go into Control Panel > Select Folder Options > Select Offline Files > UNTICK Enable Offline Files.

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This enables your computers memory to focus on the important stuff, such as your sequencing/recording software. Go into Control Panel > Select System > Select Advanced > Select Settings in the Performance section > Click the Advanced tab > Put a check in the box for Background Services in the Processor Scheduling section.

Windows default virtual memory settings definitely do not cater to the computer recordist. Nothing a little tweaking cant fix! ***begin note

20. Set your virtual memory correctly (to a fixed swap file).

I have a second computer that has the exact same specs, and I have the initial size configured at 1536MB (just over what the recommended initial value is) and the maximum at 3072MB. Ive read that you can also have the initial setting half of what your maximum is, but general opinion states to have both set the same. Either way, both of my systems run very smoothly when recording. And yours will, too! This is an awesome tweak. I find that when Im surfing through my Start Menu, the time it takes to find each sub-menu is just too slow (I navigate around my computer lightning-quick, as most people do who use computers on a regular basis). This tweak speeds up the menus drastically.

It is often recommended by professionals and hobbyists alike that the virtual memory should be 1 to 2 times the amount of your total RAM, for both the maximum and initial size. So select Custom Size, and then configure this appropriately, depending on your existing RAM amount. I have 1 gigabyte of RAM on a Pentium IV, 2.4ghz system, and my settings are 3072MB (for both maximum and initial size). I have had no problems with recording, in the two years Ive owned my main computer, and Ive recorded daily!

Go into Control Panel > Select System > Select Advanced > Select Settings in the Performance section > Click the Advanced tab > Click Change in the Virtual Memory section.

***end note

Virtual memory is basically extra memory that is normally not allocated for basic functions. It is utilized best when you are multitasking (using several programs at once, which we musicians have a tendency to do, constantly!). With virtual memory, what the computer does is look at its RAM for areas that have not been recently accessed, and copy them onto the hard drive temporarily. This frees up space in regular RAM to load each new application.

21. Speed up your menus!

For this tweak, you need to go into the Windows Registry (something you really dont want to mess with, or mess up, so ONLY DO THIS IF YOUVE WORKED WITH THE REGISTRY BEFORE, and follow these directions very carefully!). Click your Start Menu > Select Run > Type the word REGEDIT in the box, and then click OK

Click your Start Menu > Select Programs > Select Accessories > Select System Tools > Select System Restore

If, for some reason, you screw up the registry (you shouldnt have though, if you followed everything step-by-step!), youll need to run System Restore (if you have it enabled).

> Expand the menu that shows up on the left until you find the HKEY_CURRENT_USER folder. Expand that, and find the subfolder called Control Panel. Open that folder, and then find the folder called Desktop. Click on that folder. In the right side of the window, you will see a bunch of files. Scroll down until you see the MenuShowDelay file. Double-click on it. In the Value Data box that appears, change the current number to a lesser number, for example, the number 1. Then click OK. Notice how much faster your Start Menu navigates! You may not notice much of a difference if you already have a fast system, but still, this is a great tweak and saves a lot of waiting time.

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22. Disable Notification Area Balloon Tips.

Click your Start Menu > Select Run > Type the word REGEDIT in the box, and then click OK > Expand the menu that shows up on the left until you find the HKEY_CURRENT_USER folder. Find the Software folder. Then the Microsoft folder. Then the Windows folder. Then (yes, you need to go through a bunch of subfolders), find the CurrentVersion folder, then Explorer, and finally the Advanced folder. On the right, youll see a bunch of files. Dont click any of them, though. Right-click in a blank area (where there is no filename), and then select New and then DWORD Value. Name it EnableBalloonTips. Double-click this entry, and put a 0 (thats a zero, not the letter O) in the field. Make sure the hexadecimal value is set under the Base field. Quit the registry editor, then log off or restart Windows, and then those annoying balloon tips go bye-bye. There are three methods, but were only going to cover the most common one, as it is the most configurable, and easiest to understand.

These can be really annoying. Once again, youll need to go into the Windows Registry, so follow these directions carefully!

23. Disable CD-ROM Autoplay.

On your desktop, open the My Computer icon. Right-click each CD-ROM (most computers only have one CD-ROM drive) and then choose Properties. Click on the Auto-play tab. Fdrom the drop-down menu, find each CD-related option. Select take no action.

24. Disable Last Access Time Logging (for NTFS file systems only).

This can bog down your system, and isnt really that necessary. This is for NTFS file systems only, as Windows can be set up for either FAT32 or NTFS (most commonly, new computers are set up for NTFS). 1. Open HOW TO DETERMINE WHICH FILE SYSTEM YOU HAVE

2. Once youre in My Computer, right-click the drive you wish to see the file system for (for example, drive C:) 4. In the Properties window, you should see the type of file system inside the General tab (near the top). 3. Click Properties

Click your Start Menu > Select Run > Type the word REGEDIT in the box, and then click OK

> Find the HKEY_LOCAL_MACHINE folder, then the System folder, then CurrentControlSet, then Control, then Filesystem > Right-click in the right side (in a blank space), and select New and then DWORD Value > Make the new DWORD Value NtfsDisableLastAccessUpdate (minus the quotes of course), and set the Value to 1. Reboot to reflect the change. For more information on NTFS And FAT32 file systems, check out the many books on Windows XP published by QUE at . Click Bookstore, and then Operating Systems, then Windows. QUE has many books on the subject of XP, from beginner to advanced levels!

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25. (OPTIONAL!) Disable System Restore.

***begin Caution ***end caution

Do not disable System Restore until after youve lived with the above changes for a week, and are happy with the results.

System Restore is a Windows failsafe that allows you to restore your computer to a point where it worked perfectly, before changing or adding something that harmed it.

This is an optional tweak. Lets first discuss what it is and why you should keep it on.

You may want to keep System Restore on if you have the habit of putting a bunch of programs on your computer from the internet, that you arent sure of (downloading random games / music players / fun programs / java code which lets you play games on websites, etc.). Sometimes these programs can add spyware to your computer, slowing it down and putting backdoor viruses (also known as trojans) in your system. Some trojans are harmless, others can kill your files completely or make you unable to get into Windows after a restart. System Restore can often help, if youre completely screwed, and have no idea how to get back into Windows, or if you find yourself saying, well, before I added that program, my computer worked fine! What happened?

Why you should leave System Restore off, memory-speaking: Disabling System Restore helps tremendously in the processing of audio, because with System Restore on, as mentioned above, Windows is constantly creating a snapshot of where youre at and what youve changed or added with your system. When youre recording, you want your system to be as free as possible (your computer running only the essential software for your music-making, and nothing else). This ensures your recordings are top-notch, with no glitches (pops and clicks, which can occur when Windows is running unnecessary things in the background, such as System Restore). Chris Caulder

But sometimes System Restore cant help, if you become infected with a trojan or virus and are unable to reboot. Certain strains of viruses and trojans oftentimes survive in the snapshot that System Restore takes of your computer (read below for more details), and even rebooting in safe mode (how you would normally remove harmful files fully) wont help in removing them. Thats why I keep my System Restore disabled. It all depends on how safely you surf the internet. Most people wont install or run anything on their computer that they are unsure of. Use common sense when surfing!

Go into Control Panel > Select System > Select System Restore > Put a check next to Turn off System Restore on all Drives.

The other most common type of microphone is the condenser. Condenser microphones pick up a wider range of sounds, working well both at close range and at a distance. For this reason they are often used as room mics. (mics used to pick up the ambient sound of the room important to add color and a live feel to a recording.) Condenser microphones are especially useful for recording vocals and acoustic instruments, such as guitar, strings and piano.

The most popular dynamic microphone for recording is the Shure SM57. (. The mainstay of many recording studios at both project and professional levels, the SM57 is a high-quality, durable and inexpensive microphone that can be used to record any instrument that requires the close-miking technique. Some common uses include drums (snare drum in particular), amplified and acoustic guitars and horns. If you have a limited budget and can only buy one or two microphones, the SM57 should be at the top of your list.

There are two main types of microphones that you will find in any recording studio: dynamic and condenser. Both are versatile and have multiple applications. Dynamic microphones work best on instruments that are close miked meaning that the part of the microphone that picks up sound is placed as close as possible to the sound source, like the speaker on a guitar amp or the bell of a horn. Dynamic microphones pick up sounds that are in close proximity and exclude sounds that are at a distance. Because of this, they are also frequently used in live performance.

You can create great music on your computer but you still need a few old-school musical tools such as microphones. Its not expensive or complicated to get and use a few good mikes. Here well show you how.

Getting The Most Out Of Your Microphones

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Good condenser microphones like the Neumann U87 used to be well out of the price range of the average home studio owner. However, over the last few years a number of companies have started making exceptionally high-quality condenser microphones at prices just about anyone can afford. Check out the condenser microphones made by these companies online or at you local music store. You can also find user reviews of these and other products at www.harmonycentral.com and www.musiciansfriend.com (I LOVE Musicians Friend. Great prices, good service.) Nady Samson Rode

Buying a condenser microphone

Behringer Studio Projects

Microphone sidebar by Michael W. Dean:

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Check out the MXL line of condenser mics from Marshall Electronics. Ive been podcasting and recording myself singing with a $99 MXLV63M mic. Its amazing for the price.

Figure 4.0

Michael W. Dean podcasting with an MXL V63M mic.

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Sometimes you can get this mic for as low as $69 from Also, a list of the gear I use to podcast and record music is here: www.musiciansfriend.com

http://www.askdollie.com/PodGear.htm

Microphone cables have what are known as XLR or three prong connectors. If your audio interface (computer, sound card, mixing board or breakout box) doesnt have XLR inputs youll need to buy adapters to convert the signal. Most audio interfaces will have XLR connections, but if yours doesnt, it should have -inch inputs. For these youll need an XLR to -inch adapter. Its also possible to find cables that are XLR at the microphone end and -inch at the other.

Microphone Adapters

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Figure 4.1

INCH XLR plug

Figure 4.2

1/8 INCH XLR plug

If you want to record directly into your computers soundcard you may use an XLR to -inch adapter in conjunction with an inch to 1/8-inch adapter. This is not recommended because it will result in some signal degradation, but will work in a pinch. All of these adapters are available at your local music or electronics store. Its best to use the fewest adapters possible, as each connection has the potential to further degrade your signal.

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Figure 4.3

XLR to -inch adapter in conjunction with an inch to 1/8-inch adapter

No matter what kind of microphone you are using youll need a pop filter to record vocal tracks. A pop filter is a shield youll place in front of your microphone, which will clean up consonants like P and T that pop out when youre recording vocals. A pop filter will be especially important if youre using a condenser microphone. You can buy a pop filter or a form-fitting foam cover for many microphones at your local music store. In a pinch, you can stretch some pantyhose over a coat hanger bent into a loop and tape it about two inches in front of the mic.

Pop Filters

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Figure 4.4

Pop filter in front of a microphone

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Figure 4.5

A different pop filter in front of a different microphone

Microphone Placement

Microphone placement is one of the most difficult aspects of recording. There are many different schools of thought about the right or best techniques for placing microphones around drum kits, amplifiers or other instruments. Here are some concepts and tips to get you started. Start with the most direct miking possible and then experiment. For example, with a guitar amp place the microphone directly in front of the speaker giving it a few inches of breathing room. Try recording a take or section of a take, then moving the microphone a bit to the left or right. Try moving the microphone further back or closer to speaker and see if the sound improves or degrades. If you are recording a singer see how she sounds singing directly into the microphone, then try recording a take with her standing off to one side or further back from the microphone. Moving an instrument, amplifier or singer to another part of a room (when possible) can also change the sound significantly.

If you have the option, one method you can try is to have a dynamic microphone up close to the instrument being recorded and a condenser microphone farther away, picking up the sound of the room and other frequencies. This creates a live sound and can capture the natural reverberations of a room. Another way to make you recordings sound more alive is to take advantage of the room itself by exploring the space. For example, you can create separation between backing vocals and lead vocals by having the backing vocalist(s) stand further away from the microphone than the lead vocalist. You can make a horn player, piano part or any instrument sound closer or further away in your final mix, depending on how close you place your microphones to the sound source when recording. If youre recording at home try moving the microphones into another room. This is also a good way to create your own isolation booth. Bathrooms are sometimes excellent places to record instruments. Theres a reason why so many people sing in the shower its often where youll find the best acoustics in the house!

Ultimately, the best technique to use is to record what sounds best to you. The only way to achieve the desired result is through experimentation. Its also important to remember that every room will have different qualities and every session will have different requirements. An instrument tone or sound or recording method that didnt work on one session might be perfect for a different session.

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Theres tons of high-tech audio trickery you can do with your software to get the niftiest kickass sounds possible. Most any commercially available music produced these days has entered the digital realm at some point in the chain of command. People with no talent use digital tricks to hide their lack of talent. And people with lots of talent use these tricks to make their stuff really shine. But even in a high-tech all-digital world, there are certainly some very low-tech techniques that predate digital recording that will add meat to whatever digital audio stew you be cookin. ***Production/ Editors: You be cookin is intended, please do not correct. -TG

How to get a high-end sound with low-end gear

Doubling your tracks is exactly what it sounds like. You record an instrument or vocal performance on to a track and then record the exact same thing again. The natural human inconsistencies will blend together, creating a stronger sound. This is very commonly used on vocals and guitars but can be applied to any instrument. When doubling electric guitars its best to use slightly less distortion on each track. The combination of the frequencies generated by each guitar will add an extra layer of distortion to the mix. Doubling is especially useful in making a weak or thin performance sound stronger. Panning is another common trick in recording world, the placement of tracks in the left or right speaker. Backing vocals and harmonies are frequently doubled and then panned. Hard panning is placing a track all the way to left or right. Rhythm guitar tracks can also benefit greatly from being doubled and hard-panned.

Doubling tracks

Panning tracks

Using Effects

In general effects should be used sparingly, unless you are trying to achieve drastic results, like a heavily distorted vocal or echoing guitar. Its best to think of effects as a way to enhance well recorded tracks, not as tools to fix a poor recording or performance. If you are applying an effect to a track while recording, use it sparingly. Remember that you can add effects to a track later but you cant remove them. Your recording software will have built-in versions of the following effects.

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Compression is the secret weapon in any studio arsenal. It makes the dynamics of a take less intense. In other words, it boosts the quieter parts and lowers the louder parts, so everything is a more even volume. This makes takes, especially vocal takes, sound more professional. (Using too much will make it sound artificial, but this can also be an effect you might want to experiment with. Ozzy Osbournes vocals, both solo and with Black Sabbath, are doubled and then heavily compressed. It sounds awesome, but you have to be able to really sing well, and be able to produce too identical vocal takes. This is harder than it sounds. Some people are naturals at it, but even they get better with practice.) Proper use of compression can make individual tracks stand out or sit well in a mix, depending on your goal. If you dont own a compressor, dont worry. Almost every music program has a built in compressor (or a few). Almost every vocal track you hear on recordings today will have at least some compression. Drum tracks, bass tracks and some keyboard tracks can all benefit from compression. The amount of compression can be varied from almost none to way too much in any software or hardware compressor. Adding a bit of reverb to a track can help it find its place in a mix. Reverb can used to create anything from a large cavernous sound to the more subtle sound of a smaller room. Like compression almost every recording will contain some use of reverb. Snare drum vocals, strings and horns can all benefit from this effect. Be careful not to go overboard though. Adding too much reverb to different instruments can cause a mix to lose clarity. Adding too much reverb on a bad singers voice will not make him sound good, though people try. There are exceptions, but generally, the better a singer, the less reverb the producer uses on his voice. Reverb is a lot of indiscreet echoes, whereas delay is distinct echoes. You can set up a delay unit to add one, two, three or more echoes to the source track. Proper use of delay can go a long way toward improving a track. With delay its also important to use a light touch. Overusing delay can make your recordings sound amateurish and mushy. Adding a short, subtle delay, sometimes known as slap back, to any lead instrument track can smooth out a performance. This is especially useful on lead guitar, vocals, strings or horns. If you use two mikes on one source, this makes the sound much bigger and thicker. Try putting a microphone in front of a guitar speaker or drum as you normally would (a few inches away), but also put a second mike between ten and thirty feet away. Record them on to two different tracks (whether you are recording digitally or on tape). Then later in the mixing you can use the track with the close mike as the main sound and the other mike for sweetening. You want to use more of the close mike, but experiment with the amount of the far mike you use in the mix. Also experiment with the distance of the second mike. Too far and it will be a distinct echo rather than strengthening and sweetening, and too close, and you wont notice any difference. This technique makes drums sound more powerful (it was done on Led

Compression

Reverb

Delay

Thicker Sound While Recording

Zeppelins records) and will make an electric guitar roar more (Nirvana did that on Nevermind.)

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This makes a good drums sound great and a great drums sound amazing. It was done by on the drums on the record Hate Fed Love by Bomb (which has great drum playing any way.) Michael W. Dean

Again, experiment with the distance of the mikes, and the amount of the re-miked track you use in the mix. Also investigate different amounts of distortion on the amp (using the master volume knob). You will also get different results by either putting the whole kit in a stereo submix, or just individual drums. Try just bass and snare)

But what if youve already recorded drums and didnt do this first? You take the drum tracks youve recorded and put them back into a guitar amp (a Marshall Stack works great) and then mike that and feed the mike back into the mix onto a free track or two (you can even try two mikes, like above, placed near and far.)

Thicker Sound in Post

When the Acid program was introduced in 1998 it revolutionized the digital music creation process by allowing the user to speed up or slow down multiple loops while keeping them at the same pitch (time-stretching), and allowing the user to raise or lower the pitch of a loop without changing the tempo (pitch shifting). These results were previously achievable only by a series of complex actions with a hardware sampler. Combinations of loops and musical ideas that previously might have taken hours to achieve could now be executed in seconds. The basic time-stretching and pitch shifting functions of ACID have now been incorporated into many programs, including Abletons Live and Apples GarageBand. You can also do looping in ProTools, and to some extent, Reason. And Sound Forge is a great program to make your own loops in. (Or alter and customize loops made by others.) Loop files are and excellent way to kick-start or augment your music creation process. For example, many musicians dont have access to a drummer and/or a large enough studio to record live drum tracks. The solution? Buy a disc of drum loops in whatever style youd like to work in and presto instant drummer. Along with drums there are loop libraries available for every instrument imaginable and some youd never think of. Chanting monks, metal guitar, horn sections, didgeridoo, car alarms, Jews harp its all out there. Research your loop CDs thoroughly before you by them. Loop discs come in a variety of formats. Its very important to make sure that you are getting a CD or data DVD that contains files that are WAV or AIFF format. This information should be clearly marked on the disc packaging. Watch out for discs that say audio format in particular, or youll end up having to rip the files to your hard drive and the do a lot of editing work to make the files useable. Well give a brief intro here, and cover it in detail in program-specific ways in the software chapters. (Chapters 5-9)

Working With Loops

Buying loop disks

Always check and see if there are demo loops available for any disc you are interested in buying. Some Websites that sell loop CDs will have a handful of loops from each collection that you can download and try. Other companies may post an MP3 of a song created with their loops or

a number of loops strung together. If a loop library doesnt have available examples or samples, theres probably a good reason. Online or magazine reviews are another resource, but remember that what sounds good to one person might not work for your needs. Make sure you read the licensing information that comes with any loop collection carefully. Most discs will allow you to use the contained files for any purpose, as long as its not reselling the loops individually. Occasionally, however, there will be fine print that restricts their use or requires you to give credit or royalties if you use the loops for money generating projects. Its best to avoid using a loop if you are not totally clear about its legal status. Acid loops license agreement says that they are royalty free, so they are a good way to go. They also have extra meta-information encoded into the file that makes them loop more precisely in Acid, though they will work fine in other programs, too.

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What you can do with a Loop, legally?

Free Loops

A rule of thumb: if you plan to use loops for any commercial purposes make sure you keep track of where they came from and whether or not they are royalty-free, demo loops or part of a collection you have purchased. I like to keep all loops acquired from specific Web sites or collections in individual folders, sometimes with a small text file with the Web address for downloaded loops. ***begin tip Our very own writer on this book, Chris Caulder, makes loops that are great. He sells CDs of them for a lot less than the Acid loop CDs. You can preview and order them at www.oustedproductions.net/samples/ ***end tip

As of this writing, a Google search for the term free loops will produce over 250,000 hits. Obviously these arent all going to be loops that you can download and use for whatever purpose you want, but its a great way to get familiar with whats out there and expand your collection. Look for sites that say that their loops are royalty-free. There is a difference between free loops and demo loops demo loops are often part of a larger collection and are made available for you to try, essentially as advertising. If you decide to use demo loops in a piece of music you plan to make commercially available you should buy the complete collection.

When youre searching for loops you will find that there are different file types that are available for use with specific programs. If you are working with Acid or another PC-based looping program you will be working primarily with WAV files. If you are working on a Mac in GarageBand, Logic or another program, you are probably working mostly with AIFF files or Apple Loops (Apple Loops are just regular AIFF files with a bit of extra metadata included). You dont have to let the platform or program youre working in restrict your options, though. Apple Loops and AIFF files will work just fine in Acid, and WAV files are perfectly compatible with GarageBand and other Apple based programs.

Crossing the Platform

Using and overusing loops

When youre creating original music with a looping program its can be very easy overuse loops. Always try to use as much original instrumentation as possible. Your clients and listeners will appreciate originality. Sometimes its easier to use loops from a single collection or CD in a project. On the one hand, they will be likely to blend together easily. On the other hand, using multiple loops from a single collection can sound very dry, sterile and unoriginal. Combining different types of loops from different sources with your own original instrumentation is a good

way to keep your project sounding fresh.

Reggae/Dub - 60-90 BPM Rock Ballad 60-70 BPM

ACID, GarageBand and most music recording programs start at a default tempo of 120 Beats Per Minute (BPM). As a result, on the many forums and Web sites where users of these programs share their music youll find that there are an awful lot of loop-based songs out there created at 120 BPM. Try starting projects at these (and other) tempos to create a different feel for your projects.

Change the tempo

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Techno/House 130-150 BPM Taking a looped beat or melody that was created at 75 BPM and using it in a session with a tempo of 165 BPM is one way to achieve a new sound. Taking a fast beat or melody and slowing it down can create a dramatic effect as well (sometimes too dramatic be careful with that one). Adding delay to a simple drumbeat can make it more complex and interesting. Adding compression or reverb to a track can make it stand out in a mix. Extremely heavy compression can make a loop sound lo-fi or trashy. ACID, Garageband and Ableton Live all come with plug-in effects that can be used to alter your loops, sometimes to the point of making them unrecognizable. Using plug-ins and combinations of plug-ins can open up all sorts of creative possibilities. You can also make a new loop by taking an existing loop into Sound Forge and playing it backwards and saving the resulting file. (Process/Reverse in Sound Forge). You can also change an existing loop in any way you want using Sound Forge. The possibilities are without number. Break Beat 135-170

Fast Rock 165-185 BPM

Alter loops with plug-ins

Programs like Acid, Live and GarageBand have changed the way many people make music, giving musicians and non-musicians access to new ways to work with sound and to create. By starting off with the highest quality loops, taking advantage of the creative options available in each program and utilizing your own originality and talents, these tools can take your music to exciting cool places.

Some sites for demos/free loops

www.freeloops.com www.icompostions.com www.creativecommons.org

www.sonymediasoftware.com/loop_libraries Now that your tools are ready, and your system is tweaked for audio recording, the next five chapters focus on the meat of the jobgetting audio produced using five specific programs: Acid, Garage Band, Sound Forge, Pro Tools and Reason.

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Sony Pictures Acid (originally developed by Sonic Foundry, Inc.) is one of the most innovative and easy-to-use pieces of music software out there. The latest version, Acid Pro 5.0, effortlessly allows one to take music loops/samples (drumbeats, basslines, guitar riffs, piano riffs, horn stabs, turntable grooves, etc.) and match them rhythmically (and by key) through a process called time-stretching. This is Acids main forte, but the program is by no means a one-trick pony. Acid allows one to easily create full, professional-sounding song arrangements in minutes. Literally. With the right sample loops, you could create a full CDs worth of music exclusively using Acid. Its just that powerful. Creating matching time-stretched loops used to take people all day, when they would attempt the same thing with a tape deck and two turntables. Technology has definitely come a long, long way. Acid is available only for PC (If youre running a Mac, go to the next chapter, on GarageBand. GarageBand runs only on Macs and does a lot of what Acid does.)

Chapter 5 - Using Acid To Get The Job Done

Not only is Acid a lot of fun, it is incredibly versatile. You can use the software to make basically any style of music, from techno and ambient, to R&B and hip-hop, even industrial, metal and rock. It is especially useful in putting together ambient soundscapes for your own (or your friends) movies, and making some bangin hip-hop. I personally use Acid to create all of my hip-hop songs (some entirely within Acid, others I export from Acid to my favorite sequencer, to add my own original riffs on top of the loops I made and arranged with Acid). In this chapter, were going to cover a lot, and well pay close attention to how to use Acid to create a solid hip-hop arrangement. So, lets get started! First, were going to discuss what loops and samples are, and the legal side of things.

I had a conversation with my friend Brian Phillips the other day about how right now is the best time to be a computer-based songwriter and musician. We both agreed that the level of ease in which to put together entire albums (especially with Acid) is staggering, when compared to just a decade earlier when most people used four-track tape recorders and drum machines (and created very robotic, clich productions). Now is such a great era for the digital musician. And thats great news for you!

What exactly IS a sample loop?

Sample loops are simply short pieces of music. A sample loop could be a 3-second drum beat, a 7-second classically-influenced piano line, a funky 2-second bass guitar riff, or anything, really. Most often, sample loops have a solid start and end point, that you can hear and say, You know, that would make a really cool groove, if I could just loop it over and over (And of course, with Acid, you can easily do this.)

Sample loops come in two forms: royalty-free, and illegal/uncleared.

www.timespace.com

These are obviously the wiser choice if youre looking for sample loops. There are countless places on the internet to find CDs that are specially designed for loop-based songwriting, but there are three main distributors that have the biggest selection, and they are:

Royalty-free sample loops

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www.soundsonline.com The CDs available from these Websites are filled with professionally-recorded and produced samples (oftentimes made by studio pros who know their equipment and music genres inside and out). These samples are royalty-free (which means you dont have to worry about getting sued for using them in a commercial context, if and when your music gets out there, and you start making some good money off it). All sample loop CDs have a licensing agreement that you can (and should) read before tearing open the shrinkwrap (its usually on the back of the disc, where the songs are listed on a regular album). These licensing agreements basically state that the samples are licensed, not sold, to you for use in your own songs, and that the initial cost of the CD includes any royalties (thats why sample loop CDs are usually $40 or more, oftentimes $90 each. You get your moneys worth though, especially if you use an awesome drum beat or piano part someone else played or wrote, and your song becomes an underground or mainstream hit). www.bigfishaudio.com

Sample loop libraries are often categorized by musical style or type of sample loops featured on the disc. Youll find countless libraries that offer hip-hop-related samples (after all, hip-hop was born from sampling, and piecing together completely different sounds to create a complex arrangement or production.) But hip-hop is just a very small category when it comes to sample loop CD varieties. They have everything you can possibly think of, and here are just a few. Royalty-free sample loop CD varieties Genre-specific (hip-hop, drum n bass, techno, trance, rock/alternative, industrial, jazz, trip-hop, R&B). Genre-specific construction kits (see Construction Kits) drumbeats (only beats, nothing else) String arrangements Turntable scratches Ethnic (tabla, didgeridoo, sitar, shamisen, vocals, etc.)

Most of the better sample loop CDs are Acid-ready, which means they are precisely cut at a perfect looping point, so when you drop them into Acid, they loop seamlessly. Occasionally youll come across loop libraries which are Audio format, meaning, you have a lot of work to do before you can use them with Acid. We cover that work in the Sound Forge chapter.

Live bass guitar riffs (played by a professional session player, oftentimes heavily experienced in jazz) Live guitar riffs (also played by a professional session player, and versatile in his/her playing style, covering many genres)

Rhodes riffs and licks (the ever-popular Fender Rhodes Mark I Stage 73 Electric

An uncleared/illegal sample loop is anything you take from recorded media that you dont have the rights to or didnt write. Hip-hop was born using uncleared samples, and back then, it was a lot easier to get away with releasing something commercially, without paying the original writer of the piece that was sampled, or publisher who put it out, because the law wasnt as strict, due to hip-hop being a relatively underground style of music.

Illegal/uncleared sample loops

With construction-kit format sample libraries, you get a full arrangement (usually a minute or one-and-a-half minutes), and also each individual loop, so you get to hear what all of them sound like together, and by themselves. This is extremely popular with hip-hop-based sample loop libraries. Theyre useful in so many ways, especially if you love four of the loops you hear in a full groove (for example, you love the drum break, piano part, guitar and turntable scratch) but hate the other three (an annoying trumpet stab, boring bassline, or whiny synthesizer part). You get to pick and choose, and hearing a full arrangement allows you to get into a groove, and get inspired quickly. I prefer this format when arranging hip-hop, because I feel it keeps a more steady creative flow, then if Im just browsing through and auditioning hundreds of drumbeats, which tend to blend together and get annoying, especially if you cant find the right one.

Construction Kits

And countless others

Piano, the foundation for R&B, soul, jazz, trip-hop, and even indie rock. It is a sound that can fit in basically any style of music, perfectly). On most hip-hop libraries, youll find a section of Rhodes-exclusive parts, because its just such a great sound and heard in probably 95% of all hip-hop.

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A Brief History of Sampling in Hip-Hop

Hip-hop was created by riding old funk record drum breaks. Over time, a piano or bassline was added to a break, and time-matched by the DJ using a turntables pitch shift slider. This was a lot of work for a DJ. It could take all afternoon just to synch up two pieces of music in a way that worked. Fast-forward twenty years and theres Acid Pro, which made this easier than anyone thought possible Drum beats are often named breaks because on old funk records, there were certain sections of songs that had breakdowns, which was where every instrument in the song ceased playing, and only the drummer kept going. These breakdowns played an integral part of the creation of hip-hop, because it was easy for DJs to ride the breakdowns, either playing them straight through, or playing them back-to-back, with an identical copy of a record on a second turntable, the latter of which allowed a beat to go on for much longer than originally recorded, so people could continue dancing to it. Drum breaks and riding a certain section of a record

With the advent of analog samplers, this got a little easier, but still was a lot of work. People had to spend a lot of time with the technical aspects, time that could have been spent creating.

Public Enemys classic anti-soap opera anthem She Watch Channel Zero features a guitar sample by metal gods Slayer. Using Sampling to gain popularity/catchiness in your song

N.W.A.s seminal 1988 debut, Straight Outta Compton also has countless uncleared samples. As awesome as that record is, again, if it was released today, Dr. Dre and company would be in big, big trouble, legally.

In Licensed To Ill alone, you clearly hear Led Zeppelins When The Levee Breaks drumbeat kick off Rhymin & Stealin. Another Led Zeppelin reference shows up in Shes Crafty (the guitar riff for The Ocean). You hear the Mister Ed TV theme, Creedence Clearwater Revivals classic Down On The Corner, and the Steve Miller Bands Take The Money And Run intro drumbeat in Time To Get Ill. You hear the saxophone riff from Wars Low Rider in Slow Ride. (note the similarity in song titles theres an S added, and an R removed, in the Beastie Boys song title). There are many other easily-recognized samples all over Licensed To Ill.. The Beastie Boys and Rick Rubin got lucky when they released this influential album 20 years ago. If they tried to put out the same exact album today, theyd be paying a lot (and when I say a lot I mean a lot) of money to music publishers to get permission to use all those great riffs they didnt write. (Actually, theyve had to go back and pay for a lot of the samples they used. This is an economic and logistical hassle that you dont want to deal with.)

Anyone who has heard the two classic Beastie Boys albums Licensed To Ill and Pauls Boutique knows that both of those awesome albums are FULL of sample loops, most of them uncleared. There were some samples which were used by permission (i.e. paid for), but most of the sounds heard in those albums are illegal samples. Back then they were still available as is because they were released before sampling and copyright law changed and got more strict.

When sampling and looping first began (basically with the birth of hip-hop), there were a lot of legal loopholes (no pun intended).

I have a tremendous amount of respect for hip-hop producers, whether they put their stuff together with turntables, a hardware sampler, or Acid. Again, what matters is the end result. If the song rocks when its fully completed, who cares how it was made? Some of the coolest hip-hop arrangements Ive put together were arranged in five minutes. I was just in the zone, and theyre still some of my favorite songs. I like them more than some tunes I labored on for a week.

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Ill be the first person to jump in and defend that sampling can be and is an art form unto itself, but you have to use some common sense if youre going to use a bunch of uncleared

Some of the loopholes that were believed to have been in effect before this law were if you cant recognize the original piece of music, then youre technically not breaking the law. Another theory was if its less than so-and-so seconds, its OK to use. Yeah, these statements have a point, but they wont keep you from getting sued.

In 2003, a sampling law came into effect that stated, quite simply, you cannot release anything commercially with uncleared samples, no matter how drastically they may be altered. You must pay for samples you use in your music. No exceptions.

Would I have been as into PEs She Watch Channel Zero if it didnt have that Slayer sample? Probably, because I love everything Chuck D. does. But, since that song has a Slayer sample in it, I cant help but get into it that much more, because I love Slayer, too. And think, if P. Diddy didnt sample The Polices Every Breath You Take for his ode to Biggie, Ill Be Missing You, would the song have had as much impact? Probably not.

Sampling and bringing something new to the mix is isnt stealin, its collaborating. But also, I think that artists should be compensated for their work. Money in music is a complex equation made even more complex with sampling. (See the Business Basics chapter for more on sampling.)

samples, and especially if you plan on releasing something commercially.

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(Editors noteThe severity of this settlement seems pretty hypocriticalIt seems to me that The Stones launched their career nicking melodies and styles from destitute old southern black men. MwD.)

And if you need convincing, there are a lot of artists who have been sued for sampling, most notably The Verve when they sampled an orchestral cover of the Rolling Stones The Last Time in their hit Bittersweet Symphony. The Verve agreed to fork over 100% of their royalties from Bittersweet Symphony after the lawsuit. And the scary thing is, they didnt actually sample the Rolling Stones, they sampled a stringed instrumental version of a Stones song performed by someone else. The Stones were fully entitled to any royalties due. Can you imagine if they actually sampled the Stones? And by the way, when was the last time you heard from the Verve? Im a fan of their stuff, but I believe that little fiasco set them back a little bit in the world of popular music.

Though countless hip-hop artists still use un-cleared samples all the time (and I can hear samples in modern hip-hop albums I love that I know are uncleared), I cant stress enough that its not wise, because with the ever-rising popularity of hip-hop, who knows if sometime down the road, the wrong person (writer of song, friend of the songwriter, relative of songwriter or publisher, etc.) hears a commercially-released song with their music, and raises a big stink about it and serves you with a subpoena. Its not worth the trouble later on (youll go broke faster than you can blink an eye).

The bottom line is, dont sample anything unless you pay for it, if you plan on releasing something commercially. Releasing something commercially means selling to local friends, getting played on Internet radio stations, college radio, public radio, satellite radio, whatever. Anything you are getting more exposure for, and/or money for.

Another artist who was issued a cease-and-desist order was DJ Danger Mouse, when he released The Grey Album in the underground hip-hop world in 2004. The Grey Album mixed Beatles music from their White Album, with Jay-Zs rapping, from his Black Album. Ive heard it, and think its really original and fun, but because of its popularity, Danger Mouse ran into some legal trouble. But he also got some nice publicity out of it. Then again, hes a great artist to begin with. But the controversy didnt hurt his popularity.

Making hip-hop entirely by programming, in my opinion, loses a little of its classic quality, even though programming from scratch can create some very interesting results. But, for an entire genre of music that was based on sampling and looping, utilizing Acid and royalty-free sample loops to create hip-hop tracks keeps the classic sound and quality of hip-hop alive and well. Theres just something about using loops that just, feels more like hip-hop, at least to me. Producing is an art, just like playing an instrument. All of it takes talent in some way or another. Sampling resources on the Web: The Beastie Boys Pauls Boutique Page

Everything you wanted to know about this absolutely classic hip-hop album, including where the samples came from. http://www.moire.com/beastieboys/samples/index.php

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The Rap Sample FAQ http://www.the-breaks.com Have you heard something in a hip-hop album that sounds familiar but cant pinpoint where you heard it before? This site is a quintessential resource for sample-heads. How Sample Law Changed Hip-Hop

A great article with Chuck D of Public Enemy and Hank Shocklee, from Brooklyns Stay Free! magazine. http://www.stayfreemagazine.org/archives/20/public_enemy.html Sampling definition on Wikipedia:

http://en.wikipedia.org/wiki/Sampling_(music)
Banned Music A resource for albums which have run into legal trouble, mostly due to sampling laws.

http://www.bannedmusic.org/index.php

Sample loops are cool, useful tools, especially if youre stuck and cant think of where to go with a song. They are great to use to create full songs, especially when you are working with Acid. Just make sure you know where your loops came from, and that you wont run into any legal trouble down the road. Now that you know the legalities of it all, lets get serious and mess with Acid.

Using Acid

Figure 5.1 The Acid interface.

The first thing you have noticed about Acid is that it does not use any built-in sounds. Acid relies (as you already know) almost solely on sample loops (often .wav or .aiff format) to piece together song arrangements. In essence, this is called producing, not really songwriting. But I consider it producing and songwriting. Musical purists might consider writing a song in Acid cheating, but what matters is not how you get the job done, its the end result. So, lets get familiar with Acids main functions.

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Figure 5.2 The loop explorer window. The loop explorer window is where all the fun stuff happens. But again, you need some loops! Did you get any yet? Yes? No? If you dont have any loops at all on your hard drive, dont worry. You can get some that I made for free at . Click the Free samples button at the top of the page.. All of these loops are royalty-free for you to use however youd like.

Most of the loops you can download are of the hip-hop and trip-hop variety, with a few techno and trance. So, since there are more hip-hop loops, were going to put together a basic hip-hop arrangement. Not a fan of hip-hop? No worries. This is just to teach you how to arrange in Acid. And by the way, theres some great hip-hop out there, that is far from mainstream. You should check some of it out (check the Great hip-hop albums of past and present sidebar later in this section). As a musician, its good to listen to and study everything. The best songwriters draw their inspiration from every style and genre. Hip-hop is so intricately-produced sometimes (especially the really good stuff), and one can learn a lot from the really influential records, some of which are listed at the end of this chapter.

Basic Loop Functions

In Acid, there are many tools you can use while working with a loop. The three most common tools are the pencil, the paintbrush and the eraser.

Find a loop you like in the Loop Explorer window (click on it once and Acid will preview it instantly, whatever tempo your song is set at), and double-click it. Acid will automatically create a track for it. Select the paintbrush, and click and drag from left to right to paint the loop in perfect time and alignment with the track. For the sake of simplicity, lets find a nice, solid hip-hop drum loop to kick off the arrangement (grab one from your hard drive or again, if you dont have any loops yet, download one from the site I mentioned earlier).

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Figure 5.3 Painting loops using the paintbrush. You can also use the pencil/draw tool to draw your loop into Acid. The paintbrush and pencil work similarly, the only difference is that the pencil draws the loop and resets the start point wherever you draw, and the paintbrush continues the loop wherever it last left off. Both are great, you just have to realize which one is better with what you are looking to accomplish with a loop or arrangement. It is wise to keep the same layout for each song you work on. I prefer to have the first, topmost tracks the drum parts (because oftentimes, I look for drumloops first. They help me get into the groove quicker than any other type of loop. Then below the drums, I put the bassline or lines (I always spend a good amount of time with the drumloop and bassline, because they both are the foundation for a good hip-hop groove), then below that, I add keyboards/piano stuff, and then below those I put the guitars, and last (bottommost in the track layout), the random sounds that arent really loops, just cool enhancements in the arrangement. You can move your tracks anywhere youd like, if things get out of order. More on that later. Tip:

The Eraser tool is used in the same way as the pencil. If you dont want to hear the loop at a certain place, simply erase it. It will snap while erasing, the same way the paintbrush and pencil do. So why are the loops snapping into place? Read on.

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Snap-To

Wider Snap-To settings (ruler marks/measures) are for quick arranging, or getting ideas down before you lose inspiration. No matter what you do, the loops will always draw and line up to each measure, which makes the workflow insanely fast. Smaller snap-to settings (8th notes, 16th notes, 32nd notes) are used to tweak productions, and add a little icing to the arrangement cake. You hear smaller snap-to settings in many styles of music, from hip-hop and trance, to glitch. (a style of music produced exclusively on computers, with beats and rhythms made to sound messed up, like a CD skipping, even though this is fully intentional.)

Snap-to is Acids way of aligning loops perfectly. It defaults to a setting called Snap-To-Grid which means, the loops snap into place at a wider interval, as opposed to a smaller one.

Figure 5.7

Snapping to 16th notes, and zooming in a little on our loop.

Acid Pro 5.0 has a wide variety of professional effects to enhance your loops and arrangements. Most commonly used effects are reverb, delay (echo), EQ, and filters. (Some of these effects are not available in Acid Express, and are only in Acid Pro.)

(c)Track Effects

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Figure 5.8

Inserting a track effect.

Acid defaults with an effect already applied to the track, called Track EQ (track equalization or equalizing). This is on all the tracks you will insert in Acid. Its best to always leave it enabled, as you will have total control over getting your loop to sound exactly like you want it (more

A Little EQ Goes a Long Way

As with any effect, you want to use EQ sparingly, unless youre deliberately going for a crazy sound on a loop (extensive EQ tweaking can be used to create the midrange-only telephone or AM radio sound). EQ is a very touchy, powerful effect, and entire books can be and have been written on it. You can go to a music college and get a degree in equalization and engineering alone. Equalization is a science that takes a lot of work to master. But the typical Acid user can use some EQ and have it enhance their loops, without too much effort. Lets add some more effects in addition to the Track EQ thats already there.

bright or more boomy or anything in between, thats one of the many things EQ is used for). Sometimes when you import loops into Acid (especially loops of the hip-hop genre), they dont sound bright or clean enough to the human ear. Or they might have a great sound and feel, but be lacking in the low-end. Sometimes, this is great. It just depends on what sound youre going for. Sometimes grit is exactly what you need, when producing hiphop. A lot of the better modern underground hip-hop relies solely on dirty, gritty drum loops (like Sixtoo or Anticon). But if youre looking for a clean sound, even when using a gritty loop, its helpful to apply some EQ to it.

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Adding Reverb

Figure 5.9

Inserting a new track effect (in addition to the default Track EQ)

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To insert a new effect on your loop/track, click on your Track FX (Figure 5.8), and then once you see that Track EQ/effect window pop up, click the green icon as seen in Figure 5.9, which is the Edit Chain function (Edit chain basically means, add another effect). Choose Reverb from the resulting window, click the Add button, then click OK. Youll then see the Reverb effect added to your effects chain (first in the chain is Track EQ, then Reverb). Double-click on revert, then hit OK.

Now click behind the effects window on the timeline (the timeline is where your tracks and samples are) and play your loop (leave the effects window open, and hit the spacebar), and also tweak the reverbs setting to your liking (obviously youll want to have the loop playing while youre tweaking).

Figure 5.11 Tweaking the Reverb. Each effect in Acid comes with several Presets for you to instantly dial-in, especially if you dont want to mess with anything or are unsure how a certain effect sounds. Lets choose the Long Hall reverb preset (Figure 5.12). This will provide a nice, subtle ambient theatre vibe for our beat.

Figure 5.12 Selecting a Preset in your effect. Sometimes when you dial up a Preset using the Reverb effect, you might not hear much of a difference. Pay close attention to the slider called Reverb Out. When the sliders all the way at the bottom, you wont hear much reverb (none at all, basically). When you start to pull it upward, you can drastically hear the changes Reverb can make.

So, once you get the effect to sound how you want, click X in the top right corner of the effects window so you can see your loops and tracks. This needs an image. There are two Xs, you want the tiny one in the FAR right top corner. The X under that (the one Id intuitively click because its larger) actually cancels the effect!) You can access your effects window again at any time, by clicking the green Track FX icon in your tracks properties (the section to the left of where your loop waveform was drawn/painted see Figure 5.13). Tip:

(Too much can obscure the beat, so be careful if its one of your main rhythm tracks. A little reverb works best on them. A lot can work on samples that are spice on top of the rhythm, like bird sounds that dont come up often, or a sitar sample, or vocal samples. Youll get a feel for what works best the more you do this.)

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Figure 5.13 Track Properties section, with the Track FX icon again pointed out. So now, when you play your loop, youll hear a nice reverb applied, which gives it some realism (or lack thereof, depending on how you tweaked it!). If you dont want to have the Reverb playing throughout the loop, you can create an Automation, kicking in the reverb only where you want it.

Automating Effects

Automating effects is a great way to keep an arrangement exciting to the ear. You dont really want to just throw some loops together, put effects on, and keep these effects active and fixed the entire time. What if you wanted to have a breakdown where the drums echoed into oblivion, or if you wanted to create that old record player sound on the drums, but only on the verses? You would automate your effect.

Figure 5.14 Accessing effects automation.

To access effects automation, find your green Track FX icon in your Track Properties. Click the arrow pointing downward, directly to the right of the Track FX icon. Youll see the words FX Automation. Click it, and the following window appears:

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Figure 5.15 Selecting which effect you wish to automate. When the FX Automation window pops up, you have a choice to either automate the Track EQ effect, or Reverb. Lets automate the Reverb, as it will be more noticeable during playback (click the Reverb box at the top of the Automation window). Lets say we want to turn the Reverb effect off from the 5th measure to the 9th measure of the

arrangement, but have it on everywhere else. (You can see the measures in the timeline, which looks like a ruler). In Figure 5.15, you can see the song begins at measure 1.1, and then you see a few marks, and then measure 5.1 (thats the 5th measure of the song), and then 9.1 (the 9th measure), etc (See the Counting Measures sidebar). Most commonly, you will want to put a checkmark in the tick box called Bypass. You can automate any effects parameter, but Bypass seems to be most effective if you only want an effect on or off, at a certain part of the song. Bypass is the easiest way to do this.

Counting measures (or bars)

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In Acid, it is extremely useful to know basic mathematical music theory. Acid, as most professional songwriting programs, shows a timeline which indicates measures. To explain this easily, take a basic rock beat, such as the intro to Coldplays gorgeous song In My Place. The drum beat is very simple, but huge. The beat lasts for two full measures before the music kicks in. Knowing this, you should be able to figure out how to count measures and align your loops perfectly in Acid Pro. If youre bad at math, but good at music, youll soon be able to do this intuitively.

So, to turn the Reverb off only between measures 5 and 9, move your cursor to the 5.1 line on the ruler. Make sure it is lined up and directly on your Automation line (so you see the hand, and the up/down arrow as the cursor). Right-click the line and youll see an option for Add Point. Add an automation point. Then add another point, very close to the one you just made (zoom in if you have to). Now move your cursor to 9.1 on the timeline. Add a third point, and then a fourth one very close to it.

When the line is all the way at the bottom of the track, that means your effect is on, in the case of automating Bypass. When the line passes the halfway mark (clicking and dragging up), it turns the effect off. Notice as you drag the colored automation bar, youll see the words True and False appear near the pointer. True means the Reverb is off (bypassed). False means the Reverb is on (not bypassed). Sounds confusing, but it works.

It may be difficult to see, but after you select Bypass as the effect parameter you wish to automate, the Automation window disappears and you can see your loop, and at the very bottom of the track/loop waveform, you see a colored line, and that is where you can draw your automation. Notice when your mouse hovers over the line, the pointer changes to a hand with a small up/down arrow, and you see the words Reverb: Bypass pop up.

Figure 5.17 Adding a point to your automation line.

After you added the four points (as seen below in Figure 5.18), click your automation line in the middle of all your points, and drag the line upward. When it almost reaches the top, you will see it snap into place, at the top. That means the effect is bypassed. Play your track. Youll hear the Reverb on the drum loop until it reaches measure 5, when it will not be heard. Then when you come to measure 9 the Reverb will kick in again. Youve just created an Automated Reverb. Cool, huh?

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Figure 5.18 Several points on your automation line.

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Figure 5.19 Pulling the automation line into Bypass within a certain section. You can automate basically any effect, and any effect parameter, in Acid. Again, this creates variety and an interesting arrangement, as opposed to having effects on (or off) during the entire song. Speaking of creating variety This new feature is completely cool. I mean, like whoa!. Basically, this little wonder can drastically transform a section of your loop to create some real rhythmic variety.

The Groove Tool

What kind of rhythmic variety, you ask? Well, you have to hear it to appreciate it. In music theory, there are things called polyrhythms (definition at ). Polyrhythms are basically two or more rhythms played simultaneously that have a completely different feel. The Groove Tool doesnt create polyrhythms, but it does alter loops in such a way that they might be construed as polyrhythms. It also creates syncopated rhythms (beats which are accented or played abnormally, which can sound off rhythmically, while also sounding on.) Does this sound strange? It is. Again, you have to hear what the Groove Tool does, to appreciate its power and uniqueness.

The Groove Tool can be applied with nothing more than a single drag of the mouse. Results this cool would normally take a tremendous amount of work and time to achieve, with a hardware sampler. To sum it up, the Groove Tool can spark some seriously creative production, and can perk up the ears in the right hands.

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Figure 5.20 The Groove Tool You can select various types of grooves with the Tool. I happen to like Polyrhythm 01.

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Figure 5.21 The Polyrhythm 01 Preset in the Groove Tool. To apply the Groove Tool to a section of your loop, simply choose which feel you want, and then the cursor becomes the Groove Tool application when the mouse is over your loops waveform. Paint the Groove Tool over a section of the loop where you want to hear it in action. In Figure 5.22, I applied the Groove Tool to measures 1 through 8. Take a listen to how interestingly the Groove Tool changes the loops rhythm. Say you applied the tool to a simple rock beat, with a strong, solid 2 and 4 (like Coldplays In My Place). Notice that the Polyrhythm Preset changed the feel of this beat, and took away how solid the 2 and 4 was, but still kept the rhythm tight and in time. Polyrhythmic, indeed. You can still hear and feel what the beat is doing, but it created some amazing variation. This is a VERY cool trick. And while it works well to tweak a main rhythm throughout a song, it also works especially well if you drop it in and out of song at only a few select points, especially at the end of a chorus or verse or break.

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Figure 5.22 The Groove Tool applied to a section of a loop. Experiment with different Groove styles. This is a great way to spice up a basic drum loop. You can also apply it to a bass loop, piano loop, anything else that sounds good to you. Pretty darn cool. Acids project tempo defaults at 120 BPM (BMM means Beats Per Minutethe tempo, or speed, of the song.) You can change it from from 70BPM to 200BPM, but you can set the slowest and fastest to different values if needed (Click Options / Preferences / Editing tab. Acid gives you the option to change your project tempo range from 40 to 300BPM. Acid defaults using a 70-200BPM range because that range is the most common in most styles of music, though Ive written a bunch of stuff at 60BPM) You may have noticed, when experimenting with the song tempo, that if you drop below a certain tempo during playback, your loop (or loops) can sound very digital and dragged-out in a dissonant, bad-sounding way. This is the nature of time-stretching audio files. If a loop was originally recorded at a certain tempo (say, 100 beats-per-minute), when you drop that specific loop into a project, you wont want to stray too

Advanced Loop Techniques Stretch Spacing & Timing Tightness

So say if youre working on a hip-hop arrangement, and the tempo youre feeling the most is 80BPM: typical tempo for a slower-than-normal hip-hop track. And say you have several loops (beat, bassline, piano part) that indicate 80BPM in the filename. When you drop them in, they sound great. But then you have a loop that indicates 110BPM in the filename. It is a gorgeous piano riff that would fit perfectly in your hip-hop arrangement.

much from the original tempo that the loop was recorded at. Oftentimes, youll find when you use loops, the tempo is usually specified in the filename, but this isnt always the case, only with the most professionally-produced loop libraries.

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Find the Track Number icon in your Track Properties section. As seen in Figure 5.23, the Track Number is a rectangular icon showing a looping arrow. If you double-click this, you can tweak a bunch of stuff with your loop.

You drop it in, and whoa gross. When this piano loop is time-stretched to 80BPM (30 beatsper-minute slower than it was recorded at), its not sounding good at all. Its got that artificial dragged-out digital sound when each note plays. Again, this is the nature of time-stretching. However, there are two things you can do to fix this. One, learn the piano part by ear and record it yourself at the slower tempo (might be cool but you might not have the perfect piano sound that the loop was made with), or, if you dont have any piano skills whatsoever, you could try the following:

Figure 5.23 Track number and properties.

Once you double-click the Track Number, youll see the dedicated Track Properties window (not the Track Properties section although this window is called Track Properties, its more considered the Loop Properties window because this is where you control all the inner-workings of the loop).

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Figure 5.24 Dedicated Track Properties window, also known as the loop properties window. You can hold your mouse down and rearange the order of the tracks, as it can make it easier to do related operations on tracks that are working well together, such as the two or three main rhythm tracks. In the General tab, you see the track type. Default setting is usually loop, but you can also select one-shot or beatmapped. Were only going to cover loops in this book, but lets summarize the other two briefly: One-shots are sounds that are not considered loops. Common one-shots are crash cymbals, single drum sounds, stabs, hits, sound effects, etc. One-shots are basically any sound that

does not play more than once, or has no beat/pulse or rhythm. A drumbeat is considered a loop. A guitar riff such as the beginning of Portisheads Mysterons would be considered a loop. A sole guitar chord would be considered a one-shot. A gun shot would be considered a one-shot (Im a poet but dont know it).

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Beatmapped loops are often longer loops, that are difficult to find the start and end points of. When you drop an audio file into Acid that is longer than 30 seconds, the Beatmapper Wizard opens which allows you to find the downbeat of a sound, and the end point, and edit until its perfect. This is a powerful tool, but unnecessary if youre into typical loop-based music making. Ive been using Acid since 1999 (version 1) and Ive never used this feature at all. Then again, I usually work on the same type of thing with Acid (hip-hop stuff), so its not needed being as I usually use shorter-phrased loops. Its especially good when you want to drag an entire finished song into Acid and remix it, but doing so is out of the scope of this basic tutorial. Michael Dean adds, I have a friend that gets frequent gigs from record companies doing only this, and he makes like 2000 bucks a song, and it takes him under eight hours to do each one.

So lets open the Stretch tab in our Track Properties window:

Figure 5.25

The loops Stretch properties, with lots of tweakability.

In Figure 5.25, we show that you can alter the Timing Tightness parameter, in note divisions. The default is 16th notes, but you can experiment to see what can smooth the sound of your loop. Together with the second parameter, Stretch Spacing (same location as Timing Tightness), you can get a gross-sounding loop to sound a little (or a lot) better. (You can preview the sound from within this window by clicking on the waveform once and hitting the Space bar.) Time-stretching is not yet perfect, as again, the essence of time-stretching basically shows that you cant really take a 140BPM drumbeat and drop it into an 80BPM project. Its going to sound sluggish and digitally stuttered. But tweaking those two parameters can help.

Remember our sluggish, digitized, gross-sounding piano loop from a few pages back? This is where well mess with its parameters, to try and get the loop to sound a little more smooth and natural, as it does when played in its original tempo (110BPM). But remember, were working in 80BPM.

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Advanced Loop Techniques Pitch Shifting

The easiest thing you can do though, is work with loops that were recorded at a similar tempo that youre creating in. It saves a lot of headaches, and sounds a lot cleaner and more professional.

Say you have a cool idea for a song. You have a nice little bassline loop and you drop the loop into your project along with a cool drum loop. Youre grooving, and feeling it, and its cool. What does this song need? Ah, a Fender Rhodes electric piano loop to add some jazzy feel. Cool. You audition it by clicking once in the Loop Browser window, as you play your project, and, although its not sounding quite right, it sounds good and has a great feel, so you double-click it and a track is created for it, in your project. You paint the loop where you want, and ugh What youre hearing is jut not working. Why? Because the pitch or key doesnt match your bass loops.

Amateur producers have a tendency to just drop loops into a project, without giving much thought into how they gel together, not just with feel or rhythmically, but with pitch. If a bassline in the key of A minor is looping along with an electric piano riff in the key of D-flat, its not really going to work. It could, if youre into experimentation, but to most ears, somethings going to sound a bit off. The key to making a catchy, well-produced tune is to match keys of and/or pitch of your more melodic loops (guitars, pianos, bass, etc.) A good ear and/or knowledge of music theory can make an amateur production really shine, and stand right up with the pros. Again, going back to hip-hop, most professional hip-hop producers and songwriters have a good ear for matching the pitch of a bassline to a chord progression. You dont need to know theory to pull this off successfully, but it definitely helps.

Have you ever tried to hum along to the sound of your refrigerator, or your microwave when youre nuking some spaghetti leftovers? Maybe Im alone in this. When you hum along with these appliances, sooner or later (even if you cant sing or hum well), youre going to match the pitch of them. This is a simple technique on how to improve your ears recognition of pitch. If you can hum along and match their noise, pitch-wise, and quickly, you have a pretty good ear. Matching pitches and keys using Acid should be no problem for you. Most people, even if they cant do this, recognize when somethings not right. One of my piano students, Kendrick, has a great ear for music. He knows what chords sound good and which others dont, and can recognize if a professionally-produced hip-hop track isnt pitch-matched

(between a bassline and piano part). He knows a good amount of theory, but theory aside, he can just hear what gels together and what doesnt, in R&B and hip-hop songs.

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Again, most people can recognize this. It is, for this reason, why catchy underground hip-hop songs (such as The Nextmens File Under Truth, Aesop Rocks No Regrets and Mr. Lifs Live From The Plantation) are much more popular than the ones which experiment with dissonance and purposely not matching keys (songs by Sixtoo, El-P, Dosh, and others). Sometimes, making dissonant, key-less music works (like the artists I mentioned). But most of the time, it just doesnt sound right to people listening, and can even turn them off from the music entirely. As done in the previous section, double-click the Track Number to access the loops Properties (aka Track Properties). Youll see the window in Figure 5.24, and the Pitch Shift (semitones) option. Heres how to tweak a loops pitch in Acid:

If you would like to change the pitch of a loop on the fly (during playback of your project), there is a very easy way to do this (and I usually prefer this method over the previous one: accessing the Track Properties).

You can click either the up or down arrows to change the pitch by one semitone. A semitone pitch shift would be from the note C to C# (or Db), or from F to E, or G to F#.

Figure 5.28

Changing pitch of a loop, on the fly (during song playback).

Highlight the waveform of the loop you wish to change the pitch of by clicking once on it (see Figure 5.28). As the song plays, keep your fingers near the + and keys of your computer keyboard (easily seen on your numeric keypad, on the far right of your keyboard). If you want to raise the pitch of the loop, press the + key. Conversely, if you want to lower the pitch, press the key. This allows you to freely alter the pitch of a loop on the fly, so you can hear how well (or how bad) it gels with the other loops. Once you are satisfied with your pitch change, you can un-highlight the loop (by clicking anywhere in the project). Notice that there is a number at the beginning of your loop region, showing your new pitch. Youve also noticed that when you pressed the + and keys on the computer keyboard, that a number appeared in the same place, showing you what semitone youve changed to.

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Figure 5.29 A pitch-altered loop (raised by 3 semitones).

If, like me, you tend to turn to Acid quite frequently to throw ideas together, youre going to eventually accumulate a TON of sample loops. Right now as I write this, I have 150,000 royalty-free sample loops on my 120-gig external hard drive. If I only wanted to make instrumental music exclusively with loops, I could probably make 2000 albums easily. I love sample loops. Ive been steadily buying and making loops since 2001. And sometimes, it gets really hard to keep track of them. So follow these instructions carefully: 01. Create a folder (preferably on an external hard drive if you have one) called Samples or Loops.

Keeping track of your loops:

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03. If you download/buy individual loops from online (www.sonomic.com is a really good place for them), sometimes youll get a filename that is weird, like 009fast.wav You have no idea what style of music that loop can belong to, unless you listen to it. You should create a subfolder called Misc Loops or something similar, and within that folder, subfolders of the loop type: beats, basslines, keyboards, guitars. This way, even if a sample loop has a weird filename (if youre too lazy to rename it, or if you like the name as is), youll know what sound it is, because of where you have it in your folder. You can also rename the files with more descriptive names.

02. If you buy libraries, create a subfolder within that folder that has the same name as the CD you bought. I have, for instance, folders called Loopzilla 2 Disc 1 and Loopzilla 2 Disc 2, to indicate that all the loops in the folders are from the Loopzilla 2 sample loop library. Since that disc is full of great stuff, I didnt want to put any of the loops into separate folders. I know if I need a gritty drum loop, I can open that folder and find one instantly.

So you now have your heavy rhythm section down. It could be a hip-hop song, trance song, industrial rock song, whatever. But its there, and maybe you want to lay down some vocals or some live instruments along with the loops. Heres how to do it. (You can also render a song into a stereo .WAV or .AIFF filemore on this laterand take it into another program if you prefer recording into that program. But in doing this you will be

Once you have a solid rhythm track arrangement kicking, maybe you have an inkling to record some vocals or instruments to finish off the song. Im sure youve experimented a bit with the software, and if you havent, why not? Acid just screams to you, Write a song with me! Come on!

Recording Audio Into Acid

Bottom line is, you need to stay organized (or as Travis Bickle says in Taxi Driver, organazized) when youre working with sample loops. Because believe me, they can and will become an addiction, and you need to keep track of them, as tightly as you can.

04. Create a subfolder under your main Loops or Samples folder called Original Loops or something, if you like to program/create your own loops using Reason, Fruity Loops, etc. You dont want your own loops being mixed in with ones you bought.

stuck with that mixdown, unless you do another, and will not be able to change the mix of individual tracks after you lay down your other instruments and vocals.)

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Figure 5.30 The main record button in Acid Pro. In figure 5.30, the main record button is seen, and this is the button you will use to drop in some regular recorded audio. All you have to do to record is simply press this button once. A window will pop up (see Figure 5.31), and show meters that show the signal strength of your audio source.

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Figure 5.31 The Record window in Acid Pro This window will also give you several options for the recording, including what to call the filename (I keep the default setting, called Record Take X, where X is the number of the take), and where to store the recorded file. You can also choose to have a metronome play along with your loops, but its unnecessary. Chances are you already have a solid drum loop helping you keep time.

When you feel you have a good signal (watch the mixer in the lower right of your window, and keep it from pegging the red, i.e, staying in the red. A little red is OK, but you dont want it living there. If it is, use the volume sliders to turn it down, and/or lower a single track that might be putting you over the edge into distortion. This trick is good to know when you do any final mixdown too, in Acid or any program), press the Record box in the Record pop-up window. Acid Pro records your audio, and automatically creates a track for it when youre done. Its that easy. Give the track a descriptive name before you save, as this will also be the name of the saved file. And its a lot easier to find a file called Skips bass, take two than one called sound25.)

But, say you are a Multiple Taker (someone who cant seem to get their part down perfect, even recording 25 or more different takes). Acid Pro keeps all of your takes, even if you wind up deleting the tracks you just recorded. To permanently remove the audio/takes from your hard drive, you need to browse your Windows Explorer (wherever you saved your Record Takes to), and delete them from there.

Acids record process is very no-hassle. In other professional recording software, you have to tweak and set countless things to make sure you get a signal in the first place. Acid makes recording external audio an absolute breeze. When youre done, go to file/render as and pick the file type you want to output to (wav for uncompressed, or MP3 for compressed.) It will take a minute to save.

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More Tips and Info

Acid is a very powerful program. But we cant cover everything it does, in a book that covers so many various aspects of digital music-making. If youre looking for more Acid resources, check out the following Websites: http://www.acidplanet.com

Acid Planet (Sony's awesome Acid website, featuring countless remix contests, and lots of free stuff!)

Futureproducers.com Forums

http://www.futureproducers.com/forums/

There were many factors determining these 36 records: popularity, originality, influence on other artists and musical genres, lyrical integrity, and overall groove. I wanted to list about 150 albums total, but for the sake of space, here are twelve groundbreaking hip-hop records from 1980 to now. 80s: Beastie Boys Licensed To Ill (1986)

36 Great Hip-hop Albums of Past and Present

Beastie Boys Pauls Boutique (1989)

Boogie Down Productions By All Means Necessary (1988) Eric B. & Rakim Paid In Full (1987) Kurtis Blow Kurtis Blow (1980)

De La Soul Three Feet High and Rising (1989)

LL Cool J Radio (1985)

NWA Straight Outta Compton (1988) Run DMC Raising Hell (1986)

Public Enemy It Takes A Nation Of Millions To Hold Us Back (1988) Slick Rick The Great Adventures Of Slick Rick (1988)

Ultramagnetic MCs Critical Beatdown (1988)

90s:

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Anticon Music for the Advancement of Hip-Hop (1999) Dr. Dre The Chronic (1992)

DJ Shadow Endtroducing (1996)

KRS-ONE Return Of The Boom Bap (1993) Mos Def & Talib Kweli Black Star (1998) Nas - Illmatic (1994) Notorious B.I.G. Ready To Die (1994)

Dr. Octagon Octagonecologyst (1996)

A Tribe Called Quest The Low End Theory (1991) Wu-Tang Clan Enter the Wu-Tang (36 Chambers) (1993) Now: Tupac Me Against The World (1995)

The Roots Illadelph Halflife (1996)

Aesop Rock Labor Days (2001)

Alias The Other Side Of The Looking Glass (2002) Dead Prez Lets Get Free (2000) Buck 65 Man Overboard (2001)

Immortal Technique Revolutionary 2 (2005) MF Doom (Viktor Vaughn) Vaudeville Villain (2003) Outkast Stankonia (2000) The Nextmen Amongst The Madness (2000) Jurassic 5 Quality Control (2000)

Eminem The Marshall Mathers LP (2000)

The Streets A Grand Dont Come For Free (2004) There have been several books written on the inner workings of Acid Pro 5.0. Weve covered some of the more important, useful (and fun!) aspects of it. Michael W. Deans $30 Music School has a few tips not covered here, and a lot more on recording in general.

Sage Francis Personal Journals (2002)

Acid Pro can do so much more than strict looping. It has an extensive MIDI recording capability, and it also works great as a virtual instrument host, with the ability to easily control them via a MIDI keyboard. You can reverse audio loops instantly without having to bring them into a sound editor like Sonys Sound Forge. Using the Chopper tool, you can easily create drum fills

and rhythmic variety from a simple loop, similar to the power of the Groove Tool. Using Sonys Media Manager (built-in to Acid), you are able to create custom tags and keywords for your loops, to find loops that fit a specific sound youre looking for (for example, searching with a keyword such as rhodes to find Rhodes piano loops, or wah guitar to find laid back waheffected guitar loops, or looking up hip-hop to find any loop related to hip-hop, even if the filename doesnt have those words inside of it!). Acid Pro also has a basic video editing function, which allows you to easily add background music to your own digital films. These are just a small few of the powerful features of Acid Pro that we didnt cover. Check out the demo on Sonys website.

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When it comes to loop-based songwriting software on PC that is easy and incredibly fun to use, Acid is king, without a doubt. But theres something for the Mac which gives Acid a run for its money, and at 1/3rd the price, and thats what we cover next: Apple Garageband. Chapter by Chris Caulder

As I write this, Acid Pro 6.0 has been announced as coming soon on Sonys Website. The interface hasnt changed much, but there will be a few new features for sure.

Chapter 6 GarageBand
(Chapter removed by Cliff)

Chapter 7 Forging Sound With Sound Forge

Sony Pictures Sound Forge 8.0 (originally developed by Sonic Foundry, Inc.) is the industry standard (PC-wise) for sound editing, making music loops, single source recording, mastering, audio extraction, audio file conversion, you name it. The interface looks simple, but make no mistake, Sound Forge is a digital sound powerhouse. - How to edit, or chop sample loops from professionally-created, royalty-free sample loop libraries which are not already .wav-ready or Acid-format. How to extract audio from CDs.

Were going to cover several things in this chapter, including:

- How to convert or process a bunch of files at once (called Batch Conversion), which saves you a ton of time.

- How to get consistent levels with every song you write in other programs, such as Acid, Garageband, or any other songwriting software. How to sample and create loops from vinyl records How to backup your old, out-of-print cassette tapes to .wavs, enhance their sound, and

burn CDs of them.

- How to record your rare vinyl records or out-of-print cassette tapes as .wavs, remove any noise/crackle/hiss, and then burn them or back them up onto CD, so you dont have to worry about wearing them out with your old turntables needle or tape deck, both of which youve been meaning to replace! Sound Forge can do much more than this, but were going to cover these tutorials because they are fun, interesting, and save you a lot of time. Sound Forge excels at so many things, especially those listed above, and no other books cover this stuff in such detail. So lets get started! CTRL+X CTRL+V CTRL+E HOME Q TABLE OF MOST-USED KEYBOARD SHORTCUTS CUT COPY And more!

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CTRL+C

PASTE UNDO

CTRL+Z ALT+9

PASTE TO NEW FILE REWIND TO BEGINNING OF CLIP TOGGLE LOOP PLAYBACK ON/OFF DELETE HIGHLIGHTED AREA TOGGLE PLAY/STOP PLUG-IN CHAINER

DELETE

SPACEBAR

Audio-format (meaning, the same type of CD you buy in a store) sample loop CDs are basically an industry standard because they can be used with any type of sampler (hardware or software). Back in the day, when producers and musicians used hardware samplers such as AKAIs MPC line (the MPC60 is still one of the most widely-used hardware samplers in the hip-hop world), royalty-free sample loop CDs started coming out, and they were all audio-format. They were this format because it was just easy to take what you needed or wanted from the discs, without having to worry about something not working. This became standard also because of powerful synthesizer workstations such as the Kurzweil K2000 (which not only sounded amazing but also had an great built-in sampler). So, lets say you bought an audio-format sample loop CD. How do you get these awesome

Loop-based music making is certainly powerful and a lot of fun (as we stated in the Acid Pro 5.0 and Apple Garageband chapters). And we covered where you can pick up royalty-free sample CD libraries in the other chapters. But, what if you picked up a sample loop CD library and it was the dreaded Audio format, and not .wav or Acid formats? You have a lot of work ahead of you (you have to chop them up) before you can use these sample loops in Acid or Garageband.

Editing and Making Loops

loops from unusable to loop-ready in Acid or Garageband? Heres how.

First, put the CD into your CD-ROM drive in your computer.

Heres the first step you need to know, if you want to make loops from a royalty-free sample CD in audio-only format.

Extracting Audio from CDs

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Once you select your drive from the menu, youll see this window:

Figure 7.2

Extracting audio options/main interface. It is best (and least confusing), to extract the audio from your CD, one track at a time. Oftentimes when you buy an audio-format sample loop CD, each track has several sample loops within it, with about one or two seconds of silence between them. So, even though you could extract a bunch of audio from several tracks at once (or all of the tracks), you shouldnt do that, mainly because it will bog down Sound Forge (it automatically will create each new track as a new file) So lets just extract one track at a time for the sake of simplicity.

To extract the audio, all you have to do is highlight which track you want to extract (click the main mouse button once), and then click OK.

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Youll see a screen which indicates that the extraction process is currently taking place.

Once it is finished processing, you will be able to edit the track freely (Sound Forge creates a visual waveform of the track).

Once you find the sample you like (or region of the file that sounds most useful to you), click and drag a little before the beginning to a little before the end. This is important because it allows you to really nail your start and end points, when making a loop. You dont want to highlight too little (missing the beginning of your sample), and of course, you dont want to cut it off early (missing the end of your sample). It is best to work with more audio, and chip away at it, than have to reload or re-extract your audio. Now, when you highlight, you can go from left to right, or right to left with the mouse. It doesnt matter because Sound Forge knows that you are going to be paying close attention to that region, no matter which way you highlight it.

First, play the file by pressing the spacebar. Find a sample that you like. I usually start with the first one in the file, because when chopping samples up, I like to start from the very beginning and work until the very last track. I do this because even though I may only find 30% of the samples from a royalty-free library useful, it makes it easier to audition the loops all at once. One day I could hate a certain drumloop, and the next, it could be exactly what I need in a song arrangement idea, while Im using Acid Pro.

So, once the waveform shows up on your screen, heres how to edit it to make a loop (or several).

Figure 7.4

Highlighting the region/waveform/sample you like.

Once you have the region/sample highlighted, hold the CTRL key and strike the letter C (to copy the region to the clipboard), then, while still holding the CTRL key, strike the letter E. This pastes the region you wanted to edit into a new file. This is how I chop all of my sample loops, and the easiest, fastest way to do it. When youre doing this process, get in the habit of quickly executing the copy/paste-to-new-file process. (Its easy, if youre familiar with the whole CTRLC/CTRL-V process copy and pasting its basically the same thing, except the E is used because its a special way to paste in Sound Forge. Once you hit CTRL-E, youll see this screen:

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Figure 7.5

Pasting to a new file Now, from here, well start the chopping process.

Chopping a Region

The first thing youre going to want to do when getting ready to chop a loop (making start and end points that loop perfectly), is zoom in on your waveform. Visually, find the beginning of your loop (in my case, Im editing a basic drumloop so its easy to see that first spike in the waveform). Now, click and drag from the beginning of the waveform, to the left, all the way

to the beginning of the pasted file (youre basically getting rid of the silence before the sample kicks in). Remember when I mentioned earlier about highlighting the region, but leaving space/silence before and after the region? This helps you nail down where the sample begins and ends, and creates a perfectly looped sample loop.

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Figure 7.6

Zooming in a little, and then chopping the silence off from the beginning of a drumloop.

After you hit the delete key, check to see that you didnt chop too much off of the sample. Hit the spacebar to play the loop, and while youre at it, make sure you click the loop playback icon (right by the little record icon, at the top left of the screen) or hit the letter Q on the keyboard (loop playback toggle shortcut). In the case of a drumloop, it should kick in fully without cutting any of the beat off at the beginning, or sounding like its off time. And the sample should begin playing the moment you hit the space bar (no silence before the sample starts). It should look like this:

With Sound Forge (and any computer program), youll want to get used to the keyboard shortcuts, especially when editing loops. What I do after I highlight what I dont need (in this case, the silence before my drumloop kicks in), is hit the delete key on my keyboard. I usually highlight and delete in one quick motion, using both hands. My right hand highlights, my left hand hits that delete key immediately after I highlight by dragging the mouse. If I delete too much, theres my left hand, hitting CTRL-Z for immediate undo.

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Figure 7.7

After hitting the delete key, and removing the silence before your loop kicks in.

Now were going to do the same thing, except this time, with the end of the sample. This is a little more difficult to get down perfectly. Sometimes with these royalty-free sample loop libraries, the producers add an extra beat after the loop has played through. This is especially common with drumloops. Youll hear it go boom. chk boom boom. chk. boom. That last boom or kick drum hit, doesnt need to be there. But when its there, its especially useful because you can clearly see the spike in the waveform. Knowing this, you can just click and drag from the highest point of that last spike, to the right this time, and once you hit the delete key, you should have a perfect loop. Again, zoom in so you can see exactly what youre doing and where youre chopping. In most cases though, you wont have that extra sound/hit to easily edit (it is nice when they do this, but most audio-format libraries dont they only play what is needed for the loop. So, in this case, my beat needs a little silence after I chop. The beat seen in the recent figures

(and seen below in Figure 7.8) basically is a regular, simple 4/4 beat, but stops on the second snare drum hit. So it sounds like this: boom tst pop tst boom tst - pop! (where the boom is the kick, the tst is the hi-hat in between, and the pop is the snare sound). Basically, its a simple drumbeat, but theres a pause at the end of it, instead of playing straight through. You can see that there are seven sounds total, and seven waveform transients. Youll find that drumbeats are definitely the easiest to edit because they represent so clearly, visually. Other samples (such as pianos and solo instrument phrases) are not as easy. It takes time and practice to perfectly master the art of chopping.

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Figure 7.8

Getting ready to chop the ending of the sample.

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Figure 7.9

A perfectly chopped drumloop.

I have found that when chopping up any sample, such as a drumloop, you can hear if it doesnt loop smoothly (too early, too late, no matter what the case, youll know if its off). But if your start and end points sound close, but youre not entirely sure, try tapping your foot, or tapping out a simple eighth-note rhythm on your thigh, in time with the loop. If you are a typical musician, you can tap your foot or tap your hands in perfect time to a song, even if youre not a drummer. If you find the loop still comes in too early or late on the first repeat (while youre tapping), it isnt perfectly looped. You can always undo in Sound Forge (hold the CTRL key and hit the letter Z on your computer keyboard). Whats cool about Sound Forge is that when you undo a delete, it re-highlights what you chopped off, and you can drag either more or less off the highlighted region, depending on if it loops too soon or too late. This is easily done by hovering your mouse on the end of the highlighted region. The mouse becomes a left/right arrow, and you can delete again, and see if you got the start and end points perfectly. As many times as I have chopped up samples, I still get those ones I have to delete, undo, delete again, undo, and delete again until I get it to loop in perfect time. Its a trial-and-error

process. There is really no easy way to do this. Sound Forge does have a feature called Auto Trim/Crop and it does help (especially as the first step, when you have a lot of silence before and after a loop region), but you need to do some fine-tuning and zooming in, to chop a perfect loop. Congratulations! You just chopped your first sample loop. You only have about 500 to a thousand more to go, with that royalty-free sample loop CD you just bought! Why didnt you just go for the .wav or Acid-format ones? Haha.

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Hey, Im guilty of it, too, and heres why. As much as I prefer to use sample loop libraries that save all the work for me (all that chopping/monotonous file-naming, etc.), I noticed that some of the best (and cheapest) loop libraries out there are the audio-format ones. For example, four of my favorites, that I bought from www.bigfishaudio.com (Loopzilla 2, Wall of Vinyl, Brotherhood, and CutN It Up) are all audio-format loop CDs, but they have the best darn samples, and Ive used a bunch of them in a lot of my hip-hop arrangements. On the flip side, Ive bought other loop libraries (more expensive ones) that were Acid-ready or .wav format, and I havent used more than one or two of the sample loops on the entire disc! Buying sample loop libraries is hit or miss. Read reviews, ask around, and study those mp3 demos that the companies provide on their Websites. If there is a lot of variety and great sounds in a relatively long demo (longer than one minute), chances are, the rest of the disc will be pretty useful. If its a short demo and all you hear are three different drumbeats, and the sounds not too impressive, chances are the rest of the CD wont be good, either. Loopzilla 1, 2 and 3 Some of the better sample loop libraries on the market:

X-Static Goldmine 1, 2, 3, 4 & 5 The "Pro Sessions" series Everything released by UK sample loop CD legends Zero-G (www.zero-g.co.uk) Most of the stuff put out by Peace Love Productions Anything put out by UK-based Homegrown Sounds (www.hgsounds.com)

Wall of Vinyl 1, 2 and 3

Ok, so, youre not into the pre-bought sample loop thing. You dont have the time or money to invest in those royalty-free loop libraries. You like making loop-based music, but youd rather stick with the fine art of digging for great samples. Youre definitely not alone.

Sampling From Records & External Audio Sources

And (shameless plug), the few (and also inexpensive!) sample loop CDs put out by my company, Ousted Productions (www.oustedproductions.net/samples)

(they're also REALLY cheap!) (www.peaceloveproductions.com)

California-based instrumental hip-hop artist DJ Shadow made one of the most amazing albums of the 90s, Endtroducing. The entire album was made sampling from old records: drumloops, dialogue, movie samples, and short notes pieced together to create original melodies and parts. Not only was this completely cool and unique, but it also sounded amazing and sparked questions from listeners and fans who constantly asked Whoa! How the f#@& did he do

Innovative and creative production techniques made an already good album worthy of being a desert island album (recordings you would want to have with you if you were stranded on an island out in the middle of nowhere). DJ Shadow inspired a slew of imitators and even gave birth to innovators that took his inspiration and put a whole new twist on it. As I write this, its been ten years since he released that masterpiece. That record set my world on fire.

that?

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DJ Shadow used no royalty-free sample loop libraries. He did a lot of digging in the basements of used record stores all over the country, searching for the most original, dark-sounding breaks and melodies he could find. And man, what a record. Did I mention how good it is? If not, maybe I should tell you again. Its very easy to create your own sample loops from records or external sources such as a DVD player, VCR, or tape deck.

Figure 7.11

Recording in Sound Forge All you have to do to record a signal into Sound Forge is connect the Line-Out jacks of your source (turntable, VCR, tape deck, DVD player) to the Line-In jacks (or Inputs) of your sound card. This is done by using a typical RCA cable with male ends for the source (a red and white connection) and either the same RCA connections on the opposite end, or whatever your soundcard requires (sometimes you need two , one 1/8th inch, or RCA connectors for your

After you are done recording, press the Stop icon. Note that in Figure 7.11, there is no Stop icon. That is because the Record icon becomes a Stop icon when you start the recording process. Painless and easy. When you stop the recording, youll notice that the Record window still stays open, but behind it, you see a waveform of what you just recorded. This is fine, and all you have to do is close the Record window. You will not lose what you just recorded. Once you have your external sound source recorded, follow the steps in the previous section, starting with Chopping A Region.

Once you have a signal youre happy with, cue up your sound a little bit (for example, the drumbeat youre wanting to sample) before you actually start recording. Lets say 2 or 3 seconds. This allows you to edit the loop or sample to get perfect start and end points. Start recording in Sound Forge first (press the little record icon in the Record pop-up window), wait for a second or so, and then press play on your external sound source (you did have it cued up, right?)

Play your record, and have it playing a steady audio signal. Your level should be close to the red on the meters, but not really in the red, and certainly not riding the red, which means your audio would be distorted digitally (distortion is good sometimes, but digital distortion never is). You dont want distorted audio, unless youre deliberately trying to go for that mangled sound. It can work wonders on drumbeats, if used correctly. But generally, you want that signal to be strong, but not overpowering. Steadily riding the green with occasional subtle bumps into the red is ok.

sound cards end). Consult your sound cards manual on how to properly configure it for recording from an external source. If everything is set correctly in your sound card, the minute you press record in Sound Forge and see the meters responding to the signal, you should be good to go. Its not recording yet, its just in standby mode. This allows you to get ready to record from your source.

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IMPORTANT NOTE:

As stated in the beginning of the Acid Pro chapter, make sure if youre going to use samples that you know are not royalty-free (for example, grabbing some dialogue from Fight Club, The Station Agent, or Donnie Darko, or the intro drum beat from I Love It Loud by Kiss), that you pay to use them. You dont want to get yourself in trouble down the road if you release something commercially and use a bunch of uncleared samples. But hey, if youre just hanging out in your room, and want to experiment with sampling from records just to get practice with the art of sampling and making your own loops, thats ok. Just be smart about it. Dont perform or release anything you dont have the rights to.

What I notice, when I complete songs of any style (and I do write all kinds of different stuff), is that I never get a consistent level from song to song, after I mix down and listen to a finished (but yet-to-be-tweaked) song in my car. Sound Forge to the rescue! When I make mix CDs for people, I hate when most of the CD (newer songs from newer artists) has a consistent volume, but then Ill throw on a song from an older record (say, Dont Dream Its Over by Crowded House). That song will be about half the volume of all the others. Still a great song, but if the person I make the mix for is listening in their car and all of a sudden the energy drops drastically, thats bad. Subconsciously, they may even begin to dislike the tune. Consistent levels are important, no matter if its a CD made for friends, or a CD of origi-

Getting Consistent Audio Levels (No-Budget Mastering)

Getting songs at a consistent, steady volume is one aspect of mastering (the process of getting equal volumes and equalization/sound so songs blend seamlessly throughout the duration of an album). Mastering is an art form within itself, but with Sound Forge you can do what I call the No-Budget Mastering technique: getting consistent sound levels with the Volume Control. Navigate to Process in the Sound Forge menu, and select Volume. Youll see the following screen:

nal material you plan on putting out.

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Figure 7.16

The Volume window.

I generally find that most songs I write have a tendency to fall into the needs a 2-3db boost category. This is easily done with Sound Forges Volume Control. Just boost it about 2-3 decibels, and process it. When the waveform redraws, youll see that the transients get higher, and closer to the top and the bottom of the waveform window. This is what you want, if youre looking to get consistent levels from song to song. Sometimes, if you boost too much, your transients will peak, and this will indicate clearly in two locations: in your VU meters on the right side of the screen, and in the waveform itself (the peaks in your waveform reach the top and bottom, and get squished.) If this happens, undo the volume change and set it to a lesser amount of boost.

Batch Converter was removed in versions that followed, including version 6.0 and 7.0. But thankfully, it has returned in Sound Forge 8.0. With the Batch Converter, you can instantly and easily: -

Sound Forge, in older versions before Sony bought the software, used to have a feature called Batch Converter (last seen in version 4.5). This was my favorite part of the software. What the Batch Converter did was allow you to process or change a folder full of files, all at once, using the same process, instead of individually processing file after file (thus becoming extremely time-consuming and also boring).

Batch Conversion (the Biggest Time Saver, Ever)

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- Convert stereo .wav files to mono .wav files (useful in certain virtual drum machines that require mono files only, such as the SR-202 by Computer Music Magazine) Process a bunch of files with the same effect (such as distortion) And much more! Convert 24-bit sample loops to 16-bit sample loops (more about this, below)

Above, we mentioned that you can convert 24-bit sample loops to 16-bit versions. I find this especially useful to me because I often buy magazines that offer a free DVD-ROM of sample loops (especially the UK-based magazine Computer Music), and most of these loops are now 24-bit. 24-bit sample loops are supposedly of higher-quality, but the only difference I see when I play them side by side with a 16-bit version of the same is that the 24-bit ones use up more of my hard drive space! Were going to give you a step-by-step on how to convert a folder full of 24-bit files to 16-bit versions (renamed slightly, and placed in the same folder as the 24-bit ones). This is just a basic process on how to Batch Convert. It can be done with type of processing or converting. Consult Sound Forges manual for more details.

Step-By-Step Batch Conversion Process

Lets assume you have a folder full of 24-bit sample loops that you want to make 16-bit. First, to access the whole Batch Converter Tool, navigate your mouse to Tools, and then Batch Converter (near the bottom of the list).

(24-bit .wav sample loops to 16-bit .wav sample loops)

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Figure 7.17

The Batch Conversion window. Find the folder you wish to convert, by clicking the Add Folder button.

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Figure 7.18

After adding the folder to be converted.

After you add the folder, click the Process tab (this is where you choose what to do, in this case, were going to be selecting the Bit-Depth Converter in the drop-down menu). After you select Bit-Depth Converter, click the Add Effect box (to bring up the actual Bit-Depth Converter window).

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The Bit-Depth Converter window (after selecting it in the drop-down menu and then clicking Add Effect).

Figure 7.19

After you select the options for Bit-Depth conversion (in this case, we want 16-bit), click OK.

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Figure 7.20

The Bit-Depth Converter effect applied. After you insert the effect, click on the Save tab in the same window. Then click on Add Save Options.

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Figure 7.22

The Save Options window.

The Save Options are probably the most complicated step in Batch Conversion. In this instance, we will want to convert our original files to .wavs (this isnt necessary, being as the source files are already .wavs, just 24-bit versions, but it keeps some consistency). Then, we will choose Append to names under the File Names option. What this allows us to do is add a word or phrase to the new filename. For example, I put the tag 16bit to show that they are not the original 24-bit .wav loops (they have the phrase 16bit right before the file extension). Lastly, since all were doing is changing the bit-rate (and renaming so as to not overwrite the originals), we can put the new converted files into the same folder (Same as source). After you do all of these steps, you simply run the conversion script by clicking the Run Job button at the bottom.

When the conversion is complete, Sound Forge will ask you if you would like to save the script (.bj file). You can if youd like; its useful to keep a script file saved so you can skip the steps if youd like to do the same type of conversion.

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Loading scripts is easy. Refer to Figure 7.17, and you will see a yellow folder icon in the Batch Converter pop-up window. Click it to load a saved script. If you would like to change options, all you have to do is click the Process tab again, and then the Change Preset button, and also the Save tab, and the Change Save Options button.

Burning a Track-At-Once Audio CD

Surely, at some point, youre going to want to burn some tracks onto an audio CD, to test your mix, or whatever youd like. Sound Forge has integrated burning software.

Figure 7.26

The Burn Track-At-Once Audio CD window. Make sure when burning an audio CD, you put a checkmark in the tick box for Close disc when done burning, otherwise the CD might not be playable in all CD players.

Saving to MP3

MP3 is the compressed audio standard these days, and is necessary to successfully promote and spread the word of your music. Other formats are equally useful, especially Flac (lossless audio compression), and Ogg Vorbis (.ogg), but nothing is as popular and widely usable as MP3.

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Get your audio ready to save.Then choose MP3 in the drop-down menu box (Figure 7.28). From there, you can set the options by clicking the Custom button at the right of the Save As window, after choosing MP3 (Figure 7.29).

Taking an uncompressed audio file in Sound Forge and making it an MP3 is basically childs play. Heres how to do it.

Figure 7.28

Selecting MP3 in the drop-down menu box.

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Figure 7.29

Customizing the MP3 options.

Sound Forges MP3 converter/save feature wont work infinitely. It is a separate program that needs to be purchased from Sony to continue to use after you have evaluated it for 20 times. Its worth registering, as it is extremely easy to use and works great. No Budget? No Problem!

If registering the Sound Forge converter isnt an option for you, I have a software suggestion: Quintessential Player by Quinnware. Its fully free, and one of the best programs I have ever used. It allows you to convert .wav to .mp3, and .mp3-to-.wav, and a lot more. Think of Winamp, but easier to configure and better, all around.

I use Quintessential Player all the time to make all my mixed-down .wav songs into MP3s, to share with friends and upload onto Myspace.com and other MP3-based underground music websites. I also use it to convert MP3s to .wavs, if I need to burn an audio CD and run into problems. Sometimes, when you burn an audio CD from MP3s with the consumer programs that come with your system, they dont handle MP3-to-

Find it at www.quinnware.com. As of this writing, it is up to Version 4.51, and 105 in its developmental release. I have had zero problems with this software since I first discovered it a few years ago.

Quintessential Player is exactly that: its quintessential for anyone who needs a great MP3, .ogg and .wav player/converter that uses very little computer resources, and is completely free to all. Sure, converting uncompressed .wavs to MP3 using this software is an extra step in the whole process, but again, a great alternative if youre on a very tight budget.

audio well, and you might get a glitchy disc when you play it in your car. Decompression into .wav, and then burning always fixes this problem.

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Converting Your Old Vinyl Records and Cassette Tapes to CD-R

We mentioned how to record from an external source elsewhere in this chapter. As long as you have everything wired up correctly (an RCA cable from your turntables Line-Out jack to your soundcards Input or Line-In, which can be RCA, inch, or 1/8th inch), you should have no problem recording entire songs or albums from your turntable, into Sound Forge. The best and easiest way to do this is to record one song at a time, instead of just letting the record player play straight through on both sides. Youll pull your hair out if you spent nearly a half hour recording one side of a vinyl record, and your computer crashed during the last 30 seconds of side A, or you ran out of hard drive space (its happened to me before).

The first steps you should take are making sure you have a good amount of hard drive space (every minute of stereo .wav audio uses about 10 megabytes of hard drive space, which isnt much these days but it adds up if youre recording a 45-minute vinyl record (nearly half a gigabyte of space, all in all). Next, cue up a song and see how the signal is. As said earlier, your level should be close to the red on the meters, but not really in it at all, and certainly not riding the red. Once you are happy with your signal, cue up the turntable so it has a few seconds of silence after you press play, before the song starts. Start recording in Sound Forge (press the record icon in the Record pop-up window) and then press play on the turntable. Let the first song play through, and stop recording in Sound Forge a few seconds after that song ends. Close the Record pop-up window, and youll see your waveform, which is the audio from the first song on your vinyl record. To save headaches later, save the song immediately. Use the standard audio file format these days, which is Artist Song Title Album. Or you could call it whatever youd like, but this way is the easiest to keep track of. Sound Forge defaults to saving the file as a .wav, which is what you want, being as its an accurate duplication of the original recording, with no loss of quality.

Speaking of quality, lets say your record is dusty and you hear a lot of crackle or pops while that first song is playing. Sound Forge can easily clean up recordings like this. The Audio Restoration feature (located in the Tools menu up top) is a great way to clean up dirty recordings.

(NOTE FROM MICHAEL DEAN: Chris recently converted vinyl for me, albums on that I cant play because I dont own a turntable. Check out my first band, Baby Opaque, from the early 80s, here: www.babyopaque.com Thanks Chris!)

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Figure 7.13

The Audio Restoration tools options and configuration.

The default setting in the Audio Restoration tool should clean up most vinyl recordings pretty well. Though, as with any digital effect, you may need to do some tweaking to get the best results. Too much of the Audio Restoration feature could make it sound very computerized, and not enough might make it sound unchanged. Experiment to see what sounds good.

Repeat the whole process for each song on your vinyl record, and burn a CD of it. You now can take your precious vinyl collection (including all those awesome out-of-print albums from the 80s, like Furnitures The Wrong People and Flesh for Lulus Long Live the New Flesh) with you, wherever you go. Make mp3s from the files you made, and put em on your iPod. Yay for Sound Forge!

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Its basically the same process as recording from your turntable. Go from the Line-Out of your tape deck into your sound cards Input or Line-In, and youre good to go. Just make sure, again, that you have the right cables to connect. Nearly all tape decks have a Line-Out that is identical to a turntable, which is a female RCA jack (stereo: left and right). As we mentioned before, depending on what your sound card requires, youll need to accommodate the opposite cable end accordingly.

Converting Your Old Cassette Tapes

One of the artists he showed me was his old friend DJ Trouble Money, who was so ahead of his time as a DJ, even at 17 years old. Im talking about seriously talented production, scratching, etc. When I told Steve that I could put all of his old, meaningful cassette recordings onto CD for him, he didnt believe it was possible. Sure enough, I proved him wrong.

My cousin Steve Frederiksen, who records and releases underground, oldschool-influenced hiphop under the alias The Natural, has an incredible oldschool hip-hop collection, from Ultramagnetic MCs and Geto Boys, to Poor Righteous Teachers and T La Rock, and countless other unknown groups and rappers that should have made it, but didnt. Hes got tons of demo tapes from the 80s, of friends and DJs he grew up with who either didnt musically stick it out or just never got the chance to be heard.

If I had a quarter for all the times people asked me how to do this, with their old out-of-print cassette tapes that they didnt want to get ruined (because old cassettes always get warped or magnetized, which is the most annoying thing, ever), I would be a very rich man.

To be able to bring your childhood with you as you drive to the grocery store in 2006, annoying all pedestrians on the way with the volume, hey, thats a great feeling, isnt it? Its cool that this is possible nowadays, thanks to amazing technology and awesome software like Sound Forge. All you need is a tape deck, the right cables, and a good sound card. Sound Forge does the rest. Heres how to remove hiss from old cassette recordings using the Smooth/Enhance feature in the Process menu in Sound Forge:

Steve had me convert all of his old tapes to CD-R, and Ive never been thanked so many times in my life! These recordings are a huge part of him, and bring him back to that time when he first discovered how passionate he was about music, and hip-hop.

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Figure 7.15

The Smooth/Enhance window.

Pull the slider to the left to remove hiss, and bump it to the right if its too muddy. Works wonders on cassette recordings, especially the Smooth function.

Forge It Up

Sonys Sound Forge 8.0 is seriously powerful software, as we have discovered. We only touched on some of the things it can do. Sound Forge can do much more than what we have shown, and it does all of it better than practically all similar audio programs out there. Affordable, flexible, and a lot of fun, Sound Forge should be your choice if youre looking for an all-in-one audio editor. Calling Sound Forge just an audio editor is almost insulting, because it certainly isnt just that. Check out the demo. I guarantee it will be time and money well spent. Chapter by Chris Caulder

(Chapter 8 ProTools, removed by Cliff.) Chapter 9 Reason, removed by Cliff.) Chapter 10

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The answer is simple. To help you make money. If you master the skills in this book, you may eventually be able to quit your soul-crushing day job and pay your rent on planet earth by doing what you love best: making music.

My friend Martyn Lenoble was originally supposed to be one of the writers on this book. But he got too busy with running a recording studio he started with some friends. (Thats what they call a quality problemAlso known as A Cadillac problem. A quality problem is a problem that isnt really a problem) But when we were talking about writing the book, he asked me, Why are you going to have chapters on working for others in a book with DIY in the title? Isnt the whole point to do it yourself? Why are you telling us how to work for someone else?

Business Basics

Getting Startedpaperwork

Running a legitimate business takes a little forethought and a little work, before you even get down to the actual work. It may seem like something you can skip now and do later, but you may find you save a lot of time later by spending a little time now.

Starting in 2004, the State of California adopted a policy of sending dunning letters (or as I like to call them, nastygrams) to anyone in the state that they think is operating a home business. Los Angeles is a good place to do this, because there are so many people connected with the film industry that work at homefilm editors, audio production people, seamstresses, etc, so a lot of the letters went out here.

To operate a home business in some cities, you will need a business license. I have one. You can try to have a business without one, but you may run into trouble down the line.

A Home Business Needs a License

They charge about 100 bucks to get this license, and if you dont feel that you work at home, you have to prove it. They basically sent them to anyone who filed a tax form and marked themselves as freelance. The burden of proof of not working at home is on the recipient of the letter. In a lot of cases, you can get away for a long time without having this type of paperwork. Usually if caught, people just say I didnt know and pay for the license. (Though I would never recommend that you do anything illegal.) 100 bucks doesnt sound like that much, but multiply it by a few hundred thousand, and that buys a lot of whatever.

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If you want be a good, upstanding member of society and pay taxes and all that, you can take steps to make sure youre legit. You can find out what you need in your city and state to operate a business by calling city hall (listed in the phone book) and asking for the new business department. Theyll hook you up. ***begin note*** Note: as soon as you file a local business license, youll start getting spam snail-mail from local business-to-business companies, such as business card places, sign painters and tax preparers. When I filed my business license, it was at 4 PM on a Wednesday. By noon Thursday, I already had mail from these folks. Amazing. My theory is that they send someone to city hall every day to gather new addresses, and put out junk into that evenings mail. Wow.

***End note***

DBA stands for doing business as. Having a DBA designation for your company will solve some problems before they come up. Basically the idea is to treat your business as a separate entity, and keep your personal finances separate from your business finances.

DBA

Ever notice those boring notices that almost no one reads that are published in local papers that say things like Official notice. As of (date), The Very Large Corporation of America will be operating as Moms Cookies in the city and county of Los Angeles? This is a DBA notice.

A DBA notice has to be published in a paper with wide circulation in the area the business is operating. And it must be a paper that people in the chosen field might be expected to read. These definitions are pretty wide and amorphous, which is why people usually publish these things in the paper that charges the cheapest rates. In Los Angeles, there is one paper that I find unreadable that I swear gets all their income from publishing DBA notices. Having a DBA also allows you to open a bank account for your company. You probably wont need to do this at first, but once youre making money, you will want to. Only use this account for this business (many people have several accounts if they have several businesses). Having a business account with a DBA and will allow you to cash checks written to the company name, which is a lot more professional looking than asking people to make the checks out to you. You will also be able to get checks printed with the company name on them. You can

Many cities require this. Its basically a legal notice to prevent confusion, so people know whos running what. Its required to keep things honest. Again, your local city hall will tell you what you need.

also get a bank card with a Visa logo that you can use for company expenses, which makes record keeping a lot easier. (You can also apply for credit cards in the name of the company while youre at the bank, but most banks wont issue a real credit card to a small new company run by one or two people unless the people involved have good personal credit. And credit cards are dangerous. I recommend not getting them until youve got some money rolling in on a regular basis. Credit card companies are legal loan sharks. I missed a few payments and am now paying 100 bucks a month on a card with a 300 dollar limit!)

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LLC

LLC stands for limited liability corporation. I have one (Squitten Pix, LLC). An LLC is a very easy to start corporation that offers a lot of protection. The main reason people use them is if they have a lot of large projects. For instance, a film company will start a separate LLC for each film. That way if someone sues that film project, an LLC makes it difficult to pierce the corporate veil and go after money from all the films made by that company (or the corporate officers personal funds). Sometimes a taxi company will have a separate LLC for every car in the fleet. That way, if a driver hits someone and is sued, it is harder for the person to take the whole company. This privilege is sometimes abused, but when used correctly, its a smart idea. The advantages and details of starting an LLC are outside the scope of this book, but I went through a corporate registrar. A corporate registrar is a company that takes care of a lot of the complicated paperwork for a reasonable fee. They can also let you use their address as their legal registered mailing address, so all the junk mail goes to them. My corporate registrar is called MyCorporation. I like them. Instead of doing what a lot of companies try to do: offer too many services and not do them well, MyCorporation does a few things really well. They make it easy to get an LLC or other types of corporation in any state. They take care of a lot of the paperwork. They make it easy to search and register a trademark. They make it easy to register a DBA. And thats about it. But theyre very easy to deal with, and very proactive about answering e-mail. Theres a link to them at the bottom of our movie site: www.cubbymovie.com

BMI: www.bmi.com

You have to register with one of the organizations to get this money. Its free to register and you can do it online, but you can only join one, not both.

When someone uses a song or piece you wrote, you are supposed to get paid. Performing rights organizations gather up these monies, take a fee for doing so, and send you checks. A lot of people I know get regular mailbox money like this and base a good deal of their income on it.

Performing rights organizations like BMI and ASCAP in America, and GEMA in Germany collect money owed to composers from all revenue sources (TV, film, radio, live performances, even the Internet).

(d)Performing Rights Organizations

I have not found a reasonable difference between the two, as far as quality. I have heard rumblings that BMI may begin charging money to join, but as of this writing, they are both free to join.

ASCAP: www.ascap.com

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In order to get paid for having your music used in a film, the filmmaker has to turn in cue sheets to ASCAP and BMI. Cue sheets list the name of the movie, the name of the songs used, how many seconds of the song were used, at what point they are used in the film, the composer, and the composers affiliation (ASCAP or BMI) and the name of their publishing company. (If you dont have a publishing company, you can make up your own company name when you join, and that is your publishing company. If you are your own publisher, you should join both as a composer and a publisher, and list both when you turn in info for cue sheets. On a major companys production, they will most certainly turn in cue sheets. On an indie film, you may have to prod the producer, or even explain to him what a cue sheet is, and then prod him. If the person hiring you isnt proactive about turning in cue sheets, you can turn them in yourself. But make sure you talk with them about it first, so two sets dont get turned in.

(e)Cue Sheets

http://www.ascap.com/playback/2005/winter/cuesheets.html BMI has similar information at www.bmi.com

ASCAP has a tutorial on the finer points of Cue Sheets at

http://www.bmi.com/library/brochures/cuesheet.asp

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Figure 10.1

BMI Sample Cue Sheet

Youre not really a business until youre doing some business. Here well tell you how to get clients. Business cards, Websites, building a client base, and more. These are very helpful to operating your own audio business. You want to strike a balance between doing the business end of your business and the creative side. You want to mainly be doing the creative side. But if you dont take care of these few logistical issues, you may not have a business, or you may not have one for long.

Finding Clients

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Dont spam people with them or be desperate and thrust them on famous people you dont know. But a lot of times business comes from a card handed from one person directly to another. I get mine done at www.vistaprint.com They have a lot of cool stock art you can choose directly from the Website, or you can upload your own. They actually have a deal where you can get cards free, but they put an ad for the company on the back. I highly recommend paying not to have this ad. It makes you look very amateur.

You should make business cards. They should have your company name on them, what you do, your Web address, your phone number, and your e-mail. Bring a few with you always, and give them out where you think its appropriate.

Business Cards

The nature of how to set up a Website it outside the scope of this book. There are many good books on the subject. You can learn Web design in a weekend if you apply yourself.

You need to have a Website to have people be able to find you, check out your stuff, and contact you. Your Website works for you, worldwide, even while youre asleep.

You need a Website. Almost everyone has one. And especially every business has one. Its difficult to do business without one You may already have one, but it may not be optimized for getting clients.

Websites

We covered this in more detail back in chapter three, but its so important that it bears repeating here.

Building A Resume-Give it Away

The best advice I can give you to build a resume is to give it away for a while. You can do free work for people for at first, and you can always list the jobs on a resume. This is not dishonest to list free or volunteer work on a resume. If someone asks you point blank, Did you work free on this job, tell em. But other than that, its OK. I would suggest looking for work on student films and no-budget indie films to start. A good place to advertise is craigslist.org. (Craigslist is a great place to look for anything-a roommate, a new guitar, a lover, a pet,

a new home for a pet you dont like any more, a new home a your lover you dont like any more, etc.)

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I recommend doing music for films as a start. Its easier to break into than doing commercials, TV, games, working in a studio etc. Those things tend to come later, through personal recommendations, after you get some experience. You might want to put something like this:

Subject: I will do music for your film free.

Hi. Im starting an audio production company and I will do music for your film for FREE! I can compose in many styles (rock, techno, acoustic, ambient, classical and jazz piano, etc.)

All I ask is that you give me one copy of the film when its done, credit me, and I retain copyright of the music (but this does not affect the copyright on your film. You own that.) Check out samples on my site at www._________.com

***Begin bulleted list

Also put the word out with everyone you now that you are looking for work doing music for films, TV, and Websites. ***End bulleted list

You can also go to filmmaking seminars and make a flyer with your notice and post it. This is also a good place to hand out business cards.

You might also want to put up flyers at a local film school on the bulletin board, or send an email with your offer to teachers at a film school.

Its a Web board for filmmakers in the UK and New York City. You have to sign up to post, but its free to sign up.

You can also post to the daily e-mail list at www.shootingpeople.org

Do work for free as if youre doing it for pay. Give 100%. Call the person your client, even if no money is involved. If you get in a disagreement with the client, dont ever say to them, Im working for free to support one of your arguments. If you can work out the dynamics of working for free, you will be much more able to do it later for money. (Check out the chapter on soft skills for more info.) Subject: I will do music for your film cheap. After youve done some work on a few films, if you feel a little more confident, you might put out an ad like this: Hi. I will do music for your film for $50 per song. I can compose in many styles (rock, techno, acoustic, ambient, classical and jazz piano, etc.) Then save this part for the follow-up e-mail and the written contract: Check out samples on my site at www._________.com

As you do more work free and cheap, your ability, confidence, people skills and reputation will grow. You will probably find people referring other folks to you.

All I ask is that you give me one copy of the film when its done, credit me, and I retain copyright of the music (but this does not affect the copyright on your film. You own that.)

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And if youre making background music for movies and games, its not the same ego rush as being in a band with your song on the radio. Songs on the radio inspire people to know all they can about the artist. Background music is exactly thatbackground. While music is extremely important to the feel of the project its in, most people dont know or care who makes it. So if you get some money for it too, that might help make up a little for the anonymity. *****begin sidebar**** It is often advantageous to avoid using the word art to describe what you do when talking to business people, even though they use the word art. If you talk all starry eyed about the beauty of art and beauty, a lot of business people see a green light to try to rip you off or take advantage of you. They see you as someone who knows and cares nothing about money and are just happy to get your stuff out in the World, no matter how little you get paid. Presentation

Keep in mind to be flexible, especially in price. When youre up to $500 or $5000 per piece, there may come a time when you will be interested in a project and want to help someone out by working cheap or free. Dont get an ego. Be honored that youre making money at all, and stay humble. There are no rock stars in this book, only workers among workers.

*****end sidebar****

Make sure, even when you are doing work for someone for free, you sign something to make the terms clear--what you will create, when and how youll deliver it, and how (or if) youll be compensated. A contract is not fool-proof, but is a good thing to have to state both partys responsibilities and compensation up front. It can help avoid disagreements down the line. And if the disagreements cannot be rectified, a contract helps you get what you are owed if you ever have to take it to small claims court. ***begin note*** ***End note*** Note: In most states, a person under 18 cannot legally sign a contract. If you are under 18, you will probably have to have your parents co-sign under your name.

(c)Signing Agreements

Getting Less Money Now Vs. Maybe More Later

In many cases, you are given a choice of a lot (or more often, some) money now, and a promise of more later if the project its attached to does well.

The only exceptions are if the person has a track record, or if I really believe in their project, they dont have much money, and I dont really care if I get paid much or at all. Some projects have that effect on me.

In most instances, Id go for money now. Indie projects tend to not make money, or not make as much money as anyone would like. Partially because people who are good at art are not always good at business.

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Large corporations tend to just pay you cash when you turn in the product. Independent (indie) projects generally have little or no money and are flying on a dream. As a result, indie projects often dont have any money to pay you up front, and they offer to pay you deferred. Often the amount the promise later is more than the amount an established company would pay you now. Or other times, its a deal of up to x amount. (Remember that zero is one of the numbers in an up to sequence. Someone can say up to ten-thousand dollars and pay you nothing. ) Not all indie projects are run by scammers. Some are, but theyre easy to figure out. Look on the Los Angeles craigslist board and study some of the postings under film. A lot of them read like they were written by con men. Stuff where the person tries to sound like a bigger shot then they are is a dead giveaway. Like Mammoth Hollywood Blockbuster Films, Inc. is seeking scripts, and young beautiful actresses for upcoming reality TV show pilot. We will make you a star. We have studio connections and interest. Get on board NOW!!!!!! would make me go running.

Copyrights can be bought and sold. The copyright on this book is not in the names of the writers, its in the name of the company. That was agreed upon before hand, in our contracts. (NOTE: THIS NO LONGER TRUEAFTER THE BOOK WAS DROPPED, THE COPYRIGHT REVERTED TO THE AUTHORS, AND WE GAVE UP COPYRIGHT WHEN WE RELEASED THE BOOK UNDER CREATIVE COMMONS.) When a movie is sold, the copyright is usually transferred from the production company to the company that buys it.

When The Client Owns Your Music

The reason a company would want to own all rights to the music is simple: media corporations are based on the ownership of media. It makes more sense to them to own it outright. That way, they dont have to come back and get your permission each time they want to do something with it.

People can contract you to either use your music, or outright own it. They usually pay more for the latter. Make sure youre clear on these terms, in writing, before you start.

You should agree with people ahead of time, in writing, what the terms of them paying you should be. When you first start out, you will probably have them pay you nothing up front, and

Getting paid

pay all of it when youre done. As your skill and reputation grows, you may be able to charge a down payment. One-third to one-half is a good figure. The terms of whether you can keep this if they are not satisfied should be in the contract also, and how quickly you need to be paid after you deliver.

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Heres a simple one-page agreement that could be used when doing free work for people when you start: Music Agreement ***Production: Begin Legal Document should be formatted to look like a legal document

I use these contracts and believe them to be solid. You may find differently. But generally it is better to have something in writing than nothing in writing.

A contract needs to include certain things. Basically it needs to state what you (the Artist) are responsible for doing and providing (and what you are not responsible for doing and providing). It should also state what the Client is responsible for doing and providing (and what they are not responsible for doing and providing). It should also state how quickly this all needs to be done. Putting all this in writing goes a long way to prevent misunderstandings and arguments later.

(d)Contract Terms

The Artist hereby irrevocably grants the Client the rights to use this song in this film. The Artist will retain copyright on the songs and may use them in other projects, but will not do so for six months after the date above. The Artist will be credited in the film. The Artist will deliver the rough drafts of the music within two weeks of the above date, and will deliver the final music, with changes requested by Client, within 30 days of above date. The Artist authorizes the Client to use these in this film (and only this film) in perpetuity throughout the known universe, in any mediums extant or later invented.

The pieces will be two minutes in duration each. The Client will work with the Artist on the feel and mood of the songs.

I, ________________________, (herein called The Artist) hereby create two pieces of instrumental electronic background music for Fantastic And Groovy Films, LLC. (herein called The Client)

(date you write the contract)

Both parties hereby release each other from any and all claims, liabilities and damages arising out of the rights granted hereunder, or the exercise thereof. The Client will not use the songs on a soundtrack record without written permission from the Artist.

The Artist will not be paid, but the Client will give the Artist one copy of the film on DVD when the film becomes commercially available. If the film is to be broadcast, the Client will turn cue sheets with the song listed into BMI and

The Client will not use the songs on any medium outside the film (except in a trailer for same).

The Artist will be able to use the Clients name on a resume and Website under work done. THE ARTIST:

ASCAP.

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Drafts of the song will be delivered by the Artist to the Client as MP3s. The final pieces will be delivered by the Artist to the Client as data CDs sent through the US Mail.

Signature: _____________________________ Date: _______________

Printed Name: _____________________________

City: __________________________ State: ________________ Zip Telephone Number: _____________________ E-mail address: ________________________

Address: ____________________________________

ASCAP or BMI?:__________________________ THE CLIENT:

Publishing company name:__________________________

Signature: _____________________________ Date: _______________

Printed Name: _____________________________

City: __________________________ State: ________________ Zip Telephone Number: _____________________ ***Production: End Legal Document should be formatted to look like a legal document. For a contract where you are to be paid, you could change this part: E-mail address: ________________________

Address: ____________________________________

The Artist will not be paid, but the Client will give the Artist one copy of the film on DVD when the film becomes commercially available. The Artist will be paid $100 by the Client for each of the song. This will be paid within five business days of the Client receiving the final data CD. To this:

Also, the Client will give the Artist one copy of the film on DVD when the film becomes commercially available.

The Artist will be paid $300 by the Client for each of the song. The Client will pay a $100 down payment at the signing of this agreement. The $500 balance will be paid within five business days of the Client receiving the final data CD.

to this:

Also, the Client will give the Artist one copy of the film on DVD when the film becomes commercially available.

Always put the date at the top of contracts. Send them two copies and stamped-self addressed envelope. And dont sign your name until they send you the signed contracts back. If they are unscrupulous, they could add something to it after you sign it and before they do. Wait until they send you back two signed copies, sign one and mail that one only back to them.

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Generally in business, and your business is no exception, people generate an invoice when money is due. This is even required by most larger companies. Many companies cannot pay a bill until a bill (invoice) is presented. A invoice can be simple. It should have your company name, address, phone number and email, your name, the date, the service being charged for, and the terms (How many days from the date of invoice the bill should be paid.) Heres an example: ***Production: Begin invoice should be formatted to look like invoice INVOICE FROM: DATE: 9/11/2006 Billy Tastic While you dont have to do this for smaller clients, it will establish you up front as someone who intends to do business as a professional.

(d)GENERATING INVOICES

P.O. Box 29704 323-555-2302

Smooth Sounds For Cool Cats, LLC

Los Angeles, CA 90029

www.smoothsoundsforcoolcats.com FOR: Mellow Funky Nifty Films, Inc.

bt@smoothsoundsforcoolcats.com

123 Fake Street 805-555-1293

Ventura, CA, 93009

SERVICE: two songs written and recorded for Song one: Malibu Cue 23 COST: $500 each unnamed Malibu Beach movie.

Song two: Beach House Serenade TOTAL: $1000

TERMS: Please remit within 30 days.

Make checks payable to:

Thank you. ***Production: End invoice should be formatted to look like invoice You can put a company logo, if you have one, at the top of the invoice.

Smooth Sounds For Cool Cats, LLC

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If they still dont pay you, you may have to consider it a loss, but a polite suggestion that it might end up in small-claims court might loosen their purse strings.

If they havent paid you within 35 days, (allowing five extra days for mailing), place a polite call to them. Ask for Accounts Payable when you call.

Print the invoice out and mail it to Accounts Payable at the company you are billing.

Finding An Agent

There are different ways to get an agent. You can send them some samples. They can come across your Website. Often times, its someone else referring you.

I pitched the idea for this book to my agent, originally. (One of my agents. I have two literary agents.) He found a publisher for it, quickly, and took a percentage for doing so. The percentage is almost always 10% or 15% or 20%. It varies on several factors, from the track record of the agent (the percentage is higher if she has more experience selling successfully), to the experience, skill, marketability, track record, and even desperation of the artist. (Often a new artist has to settle for what they can get, and an artist with many projects sold can negotiate to have the agent take a lower cut.)

Agents are people who find work for other people. They exist in music, sports, film and writing and other fields.

My friend John DeBorde has a good agent and makes a good business doing soundtracks for TV, films and video games. He doesnt have to leave his house to do this, his agent gets the work for him. So John gets to just concentrate on the art. He does all the work over the Internet, from getting the assignments to delivering the goods.

Read a deal you are offered, and beware of contracts that do not expire. You could be stuck with an ineffective or even scary person for a very long time. Sometimes a business or artistic relationship can feel like a dysfunctional marriage, and thats something you dont want.

Be careful about signing your life away.

When you have an agent, the check does not come from the company to you. It comes to the agent, they take their share, and send you the rest. Hopefully promptly. (It should say in their contract how quickly they pay. Its usually 30 days at the most.) They can also sometimes request in the contract to be able to take out related phone and mailing fees. But these days, most agenting is done by e-mail, so thats less of a factor than it used to be.

Money goes to the agent first

Advantages and disadvantages of having an agent

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Agents take a percentage, which seems like a drag, but often times they get far more work for you than you could get yourself. This is very much not a drag. Agents also deal with the business and negotiation so you can just concentrate on your art. I would suggest not jumping at the first agent (or any) offer you get, and be willing to try to ask for more if the contract seems very much weighted in the other persons favor. Some things can be negotiated, some cannot, and its often hard to know up front which are which. Just remember to be confident, but not cocky. Thats the best way to approach all business.

The totality of the nuances of copyright law would fill a room, and I dont have enough space to list it all here. I would recommend reading a few books just on copyright. Music Law: How To Run Your Bands Business, by Richard Stim, Nolo Press, 2004. Getting Permission: How To License & Clear Copyrighted Materials Online & Off by Richard Stim, Nolo Press, 2004. Richard Stim is a lawyer and a musician. But basically, a copyright is a legal protection granted to yourself and registered by the US government. It lists you as the legal owner of the composition. Copyrights can be granted to individuals, or also to corporations. You give yourself a copyright by putting a notice on the final published art, like this: Copyright 2007 Michael W. Dean

CopyrightWhat You Need To Know

You can register copyrights cheap at the US government Website, http://www.copyright.gov/register/sound.html

You can put that on a CD or even on an MP3. Any original, creative work can be copyrighted.

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Figure 10.2

US Copyright Office Web site

You will need to follow the directions on the Website, and be ready to enter a credit card number, or send in a check. A copyright on a song, or collection of songs, costs $30 at the present time. The benefits of having a copyright registered are similar to having a contract with someone: It wont guarantee no one will try to rip you off, but it makes it easier to follow up if they do. Copyright laws vary from country to country, but having a US copyright if you live in the US

You used to have to send in sheet music, and pay per song, but now you can send in a CD and copyright a collection of song for the same price.

There are also alternatives to copyright. A good one is Creative Commons. A good place to start for information on CC is here: http://en.wikipedia.org/wiki/Creative_Commons

Creative Commons

covers you in a lot of other places too. If you live elsewhere, check with your governments Website for information on local copyrights.

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Creative Commons has been gaining popularity in recent years. There are different levels of CC, and they allow sharing of media in a less demanding way than conventional copyrights. What you use is up to you. Research and use what you feel comfortable using. And it is fine to use different types of protection for different projects.

Originality

Total originality is key, for you and your clients. Your music should contain no melodies or samples from other music. Using royalty-free sampling collections like Sony Pictures Acid loops is OK. TIP: You can get much cheaper and equally good loops from Ousted Productions, which is run by our own Chris Caulder. The site is: www.oustedproductions.net Sometimes a client will bring you a piece and ask you to write something with the same feel and style. This is usually because they like the piece, but cannot afford it, and you work cheaper. Doing this is somewhat dodgy morally, but if you dont nick any melodies or words and bring something of yourself to it, you should be OK. You might explain this to the client up front, so they dont expect a duplicate.

I know of a gal who got in a lot of trouble sampling a line from a movie and using it on a song on her Website. It never went to court, but she got some nasty cease-and-desist letters from the movie companys lawyers. And cease-and-desist she did! Youll be doing yourself and your clients a favor to only generate your own sounds and samples, and not use samples taken from records, CDs, the radio, TV, etc.)

http://fairuse.stanford.edu/Copyright_and_Fair_Use_Overview/index.html

There is an excellent article on fair use written by Richard Stim at

This a complicated situation. Some people think that sampling a certain number of notes is considered fair use and doesnt require payment. This is often contested, and people sue to get paid when their work is sampled. Anything someone else produces can be protected. (This includes samples of music, talking, movie dialogue, the Road Runner going beep beep, etc.)

Samplingwhats the law?

(c)In closing

On business I have to repeat what Jonathan Richman once told me. He said that if you are given a choice of doing business with someone feel good about and someone you dont like who has more game, its often better to trust your heart and go with the people you like. Youre going to have to be in some of these relationships for a long time, and its important that you like the people. You may be talking to them many times a day for a long time.

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Basically, learn the basics of business. Cover your back. Set your business up, get it out there to the World, and do a little maintenance each day or week on the non-creative side of work. If you have a head for business, do it yourself. If not, get an agent to do it for you. Either way, you want to spend time creating, not filling out forms. Find the best way for you so you can do what you want to, which is make music. Well cover the rest of what makes a good businessperson, being likeable and personable, in the next chapter, Soft Skills To Pay The Bills.

Chapter by Michael W. Dean

Chapter 11

This chapter is actually the most important in the entire book. Being able to make quality music is important, and its good to know your computer inside and out. But the musicians that end up with long-term clients are the ones that also have good people skills. You can be a stellar musician who plays in your room, alone, and never gets heard. Or you can be a musician who gets hired to do all kinds of work by all kinds of people all over the World. The difference is soft skills, that is people skills.

Soft Skills to pay the bills

A good musician who has good people skills is a lot more employable than a great musician who makes everyone angry. We need to learn how to play well with others, and not just musically. Being a good communicator (listening as well as talking) is a very important part of overall musicianship.

Communicating effectively and proactively

A lot of what makes you successful is not just talent, its being able to deal with clients. Some people skills are innate, others are learned. Heres some of the more important ones that can be learned. A lot of times, the nave or otherwise problematic client will do one of two things. Either they will be satisfied with the first thing you do, or conversely, will never be happy with draft after

Sometimes, the client you are dealing with does not know exactly what they want. Or maybe they do know what they want, but lack the vocabulary of the professional to clearly communicate it. In this case, you have to go the extra kilometer to come to a place where you are both happy.

What if the client doesnt know what they want?

draft. The first sounds fine, and is definitely preferable to the second. But the first has its issues, and the second is hell.

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Generally, we do not specify up front how many drafts of music we are willing to do for a client. A top-tier professional working for lots of money wouldnt do this: they would revise until the job is done. But top-tier professionals usually work for professional clients, people who are used to communicating what they need. We basically address the issue of revision in our contracts in this way in Chapter 11: The Artist will deliver the rough drafts of the music within two weeks of the above date, and will deliver the final music, with changes requested by Client, within 30 days of above date.

The Artist will deliver the up to three revised rough drafts of the music within two weeks of the above date, and will deliver the final music, with changes requested by Client, within 30 days of above date.

But if you really thought the person was going to be problematic you might be more specific in add to the wording:

You should not only keep a list of your business contacts, but keep a diary of what happens with each client. Not a detailed diary with pages and pages of prose, but maybe a page on each, listing relevant dates, what happened, what they said and did, what you said and did, and what the outcome was. (This will also help a lot if there is a dispute, especially if it goes to court.) You can keep this diary electronically on your computer, but sometimes its easier to see trends with people (and in your own behavior) if its written out by hand.

But this involves either hearing from someone else that the client is nitpicky, or having great intuition. Either is likely. Musicians do talk to each other about who is good to work for and who isnt. Agents will know even better. And as for intuitionthats a people skill that most either have or they dont. But if you do have some, you can consciously hone and increase it over time. This involves looking at the indicators that people give off, and it involves reflecting on past experiences without forgetting what happened.

I decided to just do something simple in Acid. I was being paid $500 to do the music, and it didnt feel like it warranted setting up instruments or amps at that rate. So I just opened Acid and set up a project at 23 seconds. I did three different projects with the same drum beat. One had sax added on top, one had sax and a blistering lead guitar sample, and one had just percussion. I e-mailed the three MP3s to the client, and he liked the beat. But he said he wanted it funkier, so I added some funky bass guitar under it, and we were done. He sent me 500 bucks via PayPal, and I uploaded a .wav file of the final for him. I saved a copy of the e-mail where he said he was completely satisfied with the results and moved on. (Its good to save e-mails

I remember one time I was being paid to do background music for a phone sex commercial. The only criteria I was given was that the music was to be instrumental, sexy, and exactly 23 seconds long. (The commercial was 30 seconds, but they had something else planned for the first or last 7 seconds, I guessprobably someone cooing the phone number.)

After youve been in business a while, go back and look at your log, look for patterns, both positive and negative, in particular clients and in yourself . Take an inventory of your interactions. When someone else was making you mad in their dealings with you, take a look to see if you want to deal with them again as is, under changed circumstances, or not at all. Also consider, even if they were problematic, where you might have done better in dealing with it amicably.

I went through many many drafts of many many different projects with this cat. I finally intuited what was actually going on he was enjoying the process of feeling in control. Once that was clear, I politely told him, I have done more drafts on this than I am contractually obligated to do, and need to wrap it up and move on to the next project. Politely was the key word in making this work. Expressing my true exasperation in this case would not have contributed toward making a win-win situation. And fortunately, my contract with him specified only ten drafts, tops of any work. I had requested and received a $1000 down payment from him, so if he hadnt paid me (he almost didnt), I would not have been completely out of luck.

He had no idea what he wanted. He said it should be modern and sparkly, but with punch. I asked him if he knew any popular music with a feel like what he wanted. He didnt know any modern music. I told him to ask his kids. He didnt have any. I made a few drafts and actually pulled out some stock stuff I made and he didnt like any of it. (Between jobs, Ill often make different types of music and different types of projects and keep them archived, along with the project files, for later use. Often times a client will actually love one of these projects as is, or with very little in the way of tweaks). Finally, I just made a very basic loop that was just a stock drum beatjust drums! And he loved it.

A very different case was a client who wanted background music to play as soon as his e-commerce Website was clicked on. A short time into the call, I could tell he didnt know what he was doing, and he didnt know anything about e-commerce either. Anyone who is jumping on the Web bandwagon in 2005 is a dilettante. And anyone who puts auto-play music on a Website, and doesnt know that it will crash about 1/3 of the browsers that click on it, is not smart enough to be doing their own e-commerce site. But he wanted to pay me $3000 to do what I figured would be about two days work, tops.

like that, in case they ever change their mind later.)

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I have since learned to trust my gut a little more in turning down projects that dont feel right from the gate. ***Insert Note*** Its tacky and sometimes illegal to offer the same music to two different clients, unless they both know that is what you did, and agree to this in writing. (Like sometimes a pop song will be hot for a minute and the artist will end up being paid to have it in many movies at once.) But with background music you create on your computer, youll do well not to sell the same piece to different clients without both of them agreeing on it. But this shouldnt be a problem, with how easy it is to make and alter songs in Acid, Pro Tools, Reason, etc.)

***End note***

What producers want

Producer is a very amorphous job title, that can mean three different things in music, ten different things in film, and several different things in advertising, gaming, DVD production and other fields where you might be hired to do music. When I say producers here, I am talking about project producers, project directors, project overseers. Not necessarily producers in the sense of record producers. (That

would be more you in this situation.) Im talking about the people who hire you. So in this chapter, producer basically means your boss on a given project. She may not be your boss in the sense of who youd have to report to for years in a 9-5 cubicle job, but she really is your boss for the two weeks or two months youll be getting paid by her to make whatever it is she wants you to make for whatever it is she makes.

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Basically, producers want good music that fits the project, delivered in a timely manner, for a good price, with no hassles. Weve already covered all that in the rest of the book. So is that it? No. Theres one more thing they all want: to feel in control and feel respected. (And that affects, and is affected by, the other things we just said they want, above.) That producers want to feel respected and in control is not to say they are all egotistical control freaks with low-self esteem. Some are, but lets assume here the one youre working with is not.

Producers usually have insanely high-pressure job descriptions, and work way more than 40 hours a week. So youre going to make them happy if you dont bug them, communicate only as often as you need to in order to get the job done, and communicate effectively enough with them that you remain part of their solutions in a given day, and never become one of their problems. Basically what it comes down to is asking the questions you need to ask, and not bugging them beyond that. Producers love to have several people in their Rolodex that they can not call for a long period of time, and then call any time of day or night and ask Can you produce this type of music for this type of project by, oh, say, tomorrow? and have you do it. This involves finding a balance between feeling like a doormat and being available when things need doing. Only you can determine these limits for yourself, but you need to stay a little flexible on it. It is the nature of media production (film, games, DVDs, TV, Radio, etc.) that things often come up on a deadline out of nowhere. If you can provide in situations like this, you will be far more employable.

Also, you want to be able to grok what different producers want. You should be familiar with their work, and if youre not, become so, quickly. You should know that when Bill calls and says I need music for a cowboy movie, this will be different than when Isis asks for the same thing. You can check this out by checking out other films, videos or games they have done. Conversely, they might not want to just simply replicate what theyve used in the past, and might want a little chance-taking on your part. One reason that producers use more than one musician (other than making sure they can get someone on short notice) is to keep it fresh. Ten different people will make fresher music for video games than having the same guy doing it every time, no matter how

creative he is. So another part of making the producer feel respected is respecting the fact that they work this way. Dont feel small and sad if they dont call you for a while. (Though if they dont call you for a long time, and you havent made them mad, feel free to give them a call and let them know you still exist when you have a slow month.)

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What you really want to do is find an equilibrium between your creative impulses and your impulse to not starve. You want to be creative without alienating the client. Again, this is a balancing act.
Artists, in their heart, just want to play. Artists are just kids. The same thing that makes a five-year-old is a lot of what makes me, at 41, want to make powerful music on my computer. Both are attempts to make something cool, something we can look at and proudly say, I made this!. Both the five-year-old and myself also want to have someone pat me on the head and say, You done good. The difference is that for the five-year-old, mommy or daddy saying it is enough. For me, I want to put it in a cool movie or video game and have hundreds of thousands of people experience it. And I like to get paid. Thats a great pat on the head, one that a child has no need for. To get paid by people for making your music often involves compromise. And these compromises can be painful or painless. Part of it is the kind of situations you allow yourself to be in, part of it is your attitude about it. When you create music to order for a client, the client is going to have something in mind. If you can make something that is fairly satisfying to yourself, and satisfying to the client, Id say youve won. Thats not a bad way to be. You can also deal with another way: Do your own Pure music to satisfy your artistic itch, and then do anything else musically to pay the rent. This is not a compromise any more than an actor who works as a waiter is compromising. In fact, it sometimes keeps you purer than trying to get your art into your commercial ventures. Bill Laswell produced a record by my band, Bomb. ( http://www.kittyfeet.com/bomb.htm ). About half way through the recording, I was getting the feeling that he was not really that into it. (We may have also been a little high-maintenance, but this is my story, so Ill tell my version of it, lol.) I asked him why he took our project. He said, Michael, I am a music addict. I love to play and record my own music. To pay for this addiction, I record a few other records for major labels each year. Fair enough, I suppose. I asked him, So why did you pick us this quarter?. He said, I disliked

Creating win/win situations

your band less than any of the other demos that agents sent me.

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This kind of made me feel bad, but he did an OK job finishing the record, and basically fulfilled his half of the deal. And we did our share. Its a good record. (Hate Fed Love). And at least Laswell was honest. I had to respect that. When dealing with clients, I do not recommend you be as cavalier as Laswell was with me. You do not have the stellar reputation and track record he has (he produced Motorhead, The Ramones, White Zombie, Public Image Limited, Ornette Coleman, The Last Poets, and dozens of other amazing acts) and cannot get away with being this cocky. Even if you do get to that point, Id recommend not doing it. Id recommend that when a client raises an issue with you, dont behave flippantly, but be honest. (I dont look at honesty as a purely moral issue, but I have found that telling the truth causes less pain to me and others than not telling the truth.) Get into their mindset and see what the client wants. Its usually a desire to be understood and respected. What this means is different for each client (and each artist.) Use the force, be the Jedi knight, and make it work. You want to be asked back. Work for pay should always be a win/win situation. Work fairly, get paid an honest wage, dont be greedy, and thank everyone. Be confident but not cocky. It will take you far.

Intuition, by definition, cannot be taught. But everyone has some in them, and I can give you some tips to strengthen yours and bring it out into the light of day more. Its like learning a sportyou train your muscles to act instinctively so that in the moment of battle the muscles, hopefully, react correctly, without thinking.

Unconventional approaches to problem solving

Again, this goes back to taking inventory and keeping a diary and examining your interactions, with the critical eye of a scientist.

Note that critical here does not mean damning. It means with a empirical eye. Do not beat yourself up for things youve done that you could do differently. Just dissect the situation and look at it from all angles and see what you might do better next time. It is important to be open to workarounds, and be able to find them. A client does not want to hear you call and say I cannot meet your deadline. Lets say my computer crashes while working on a project and the final music is due tomorrow. Hopefully, Ive backed up the projects last night on my external FireWire drive. I would either find a friend willing to let me use her computer, or do something else. If I had to, Id go to a store with a seven-day return policy, buy a computer, finish the project, wipe the new computers hard drive clean, and return it for my money back. If they take a 10% restocking fee, Id get the cheapest computer I could, and return it. Even if the amount I paid to return it was the same amount I was making off the project, I would have kept my word. And thats important to building and maintaining a client

base. Dont make your problems their problems.

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If their e-mail was down and I had to deliver draft audio for them to approve, Id call and play it to them over the phone. If I were working on an audio program that only had eight tracks and I needed nine tracks, Id mix six tracks down to two, then have six more tracks free. Or record the final vocals live during the mixdown. If I had to deliver something overnight to a different city and it was a holiday, Id go online and find out which overnight services deliver on a holiday. You have to learn to think like this to be as employable as possible. All my days are filled with doing things like this, all day, every day.

Dealing with problems & still having the client return

Some people are just jerks. Other people are nervous, and have a hard time being happy. And sometimes systems crash, and floods happen, and mail doesnt arrive, etc.
You should be on top of your game enough to avoid most of these in advance. You should plan, have extra gear on hand, allow more time you need into deadlines, not wait until the last minute, etc. But if problems do arise, and they are your fault, try to remedy them before contacting the client. If you cant remedy them, call the client and let her know whats up. Dont blame her, even tacitly, if its got nothing to do with her. If it is her fault, be careful about how you present it. It is not a good idea to blame. It is better to explain things in a compassionate, almost scientific way.Think WWSD? (What would Spock do?) before you call them. Maybe make a few written notes (in your running client diary maybe) of the facts, then call them and explain. If you need an extra day, ask if its possible. Dont demand it. Chances are, they will be cool with the wait. If they arent, think about what you can do to rectify the situation. Dont be a pushover, but dont be a creep. Think about what can make the client happy. Then do it, even if it means you make no money on a small job, or less money on a bigger job. You want the client to return, and you want them to recommend you to other clients.

Knowing when to end a relationship

(and how to do it without creating an enemy.)
Sometimes the problem is the client. Or maybe a coworker. It can be a drag to have to say to someone I dont want to work for you (or with you) again. And a lot of people end up making enemies when they do this.

Basically, you want to avoid making the person feel bad. And before you get to the point of fir-

ing them, you want to give them a chance to correct whatever it is that you are not digging.

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You have to be very realistic and be honest with yourself. You should look back at your client interaction notebook and honestly see if you were at fault. (Again.WWSD?). Try to remove yourself from the situation and look at it as an independent arbitrator. Except in criminal cases where a stranger physically attacks a stranger, most disagreements have input from both parties. Each is at least a little bit at fault. Talk it over with some smart friends (but not ones who are involved, and not ones with big mouths.) Dont try to lead them into agreeing with you, and cosigning your BS, just give them the facts and ask them what theyd do. Ask three friends, then ignore what they said, and follow your heart. If your heart is relatively pure, you should be able to listen to that little voice of reason in your head, and do the right thing. If the answer is Yes, the person is messing up, you should give them an opportunity, in writing, to correct the situation. Do it in writing, even an e-mail, and keep a record of it. (Dont forget to back up your e-mail, along with the rest of your hard drive.) Write the letter in a way that does not condemn, that states only facts, backed up with dates, and presents at the end what you would consider as an equitable correction or remuneration. Then sleep on it before sending it. Then send it. If they respond favorably to your letter, and are willing to make changes, leave it at that. If they keep their word, youre golden. If they dont, a while later you may have to cut them lose anyway. If they give you an angry response, wait a day or two before responding. They may change their mind. If they dont, write another letter, calmly and unemotionally ending the situation. DO NOT BLAME THEM. Do not make them feel bad. This will create an enemy. Just state your position. Dont say Ill never work with you again, or any variation of you are a bad man, just say it isnt working and youd like to end it. And be clear. Be gentle, but firm. Leave no doubt where you stand.

Keeping clients in the loop without having them breathing down your neck

A buzz word that a lot of people in the corporate world use is proactive. Clients like to keep a proactive hand in the work. Sometimes that means just keeping in touch and keeping you on track. Other times, it means meddling. I remember seeing this sign in an automobile repair shop:
PRICES FOR LABOR:

$40/hour

$100/hour, if you help *****end figure******

$65/hour, if you watch

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Artists just like to be left alone. Clients like to meddle. Basically, you want to find a balance. The way to do this is to be proactive on your own with them, before they get to. Keep in touch with them and let them know where youre at. Ask questions when you need to. Conversely, dont bug them too much. You will get a feel for each client, and how much hand holding they need, and how much hand holding they want to do. And dont bug clients with your personal life. If you are having trouble meeting a deadline because your baby has a flu, or your boyfriend just left you, dont tell your client. Just find the time and a way to get the job done, and do it. (Even if you have to subcontract it to a friend.which is always an option, if your friend is reliable and good, and is cool with you taking credit for his work, if you pay him.) Its not dishonest. You are a company, and can use different employees to get things done. Professional sound companies do this all the time. The client doesnt usually care who produces the music, just that it gets done. And if you are overseeing someone else doing the music, you are still having a creative role. The name for that role, by the way, is producer.

Record Keeping

Any business that does not keep records goes out of business.
You need a database to keep track of your contacts. There are several, but I use the easily available ones: Microsoft Access, and Microsoft Outlooks contact list. If you dont want to shell out bucks for this, Open Office (www.openoffice.org) contains a great database program. You should make a separate entry for each client. Record their name, address, e-mail, phone number, date you first worked with them, date of each job, how much they paid, and make notes of any problems that occurred. Also use your database to keep track of when to invoice them, and if they are overdue on a payment, so you can send a gentle reminder to pay. Send all your clients a Christmas card. Not an e-card, but go buy actual paper cards, and send them one. Theyll remember it, and remember you. Also, if they havent hired you in over six months, send them a card (again, in the mail, not as e-mail), telling them what specials you have running, any new high-profile clients youve worked for, and any new gear you have. Offering specials to existing and potential clients once in a while (20% off on jingles, 20% off if you refer a paying client, etc.) is not a bad idea. Not a bad idea at all. You must keep records, and it isnt that hard.

Perfectionism vs. Timely Completion

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I once saw a sign (it may have been in the same auto shop with the labor prices listed above) that said You can have it good, quick, or cheap. Pick any two.
This is a cheeky assessment, but quite true in most industries. Making music is no exception. But if you want to develop a client base, you may have to push to give people all three, within your abilities and schedule. There is also the problem of when is done done?. Sometimes we want to work on something forever, carving out every nuance, and adding paint strokes to our music forever. Our music is our baby, and we want our baby perfect. But music made for hire is often made under a schedule, and sometimes you have to just be able to step away from the canvas, cut the cord, and say Soups on.. Just make sure it is soup, and not an uncooked broth. Work on getting good yourself at knowing the difference, and knowing in a way that your client will be pleased with.

The Bottom Line on Soft Skills

Soft skills are even more important than stellar musicianship. Making music for movies, TV, video games, and Websites is not rocket science. It takes some musical skill and computer acumen, but not boatloads of either. Of course, if you have boatloads of both, you can go further. But not if youre not a good businessperson, and not if you cant play well with others. People with slightly above-average musical and computer skills will get a lot more work than virtuosos who throw tantrums, cannot communicate proactively, and make life difficult, not easier, for the people who employ them. Your job, as a music producer, is to make life easier for the people who employ you. That is the essence of being very hirable. Dont forget it.
You will see this fact reinforced in the next chapter, Chapter 12 - Closing Arguments, and in even more in the last installment of our book, Chapter 13 Interviews.

Chapter by Michael W. Dean

Chapter 12

CLOSING ARGUMENTS

Well, were almost there. Youve learned a lot, but we have a little more to chat about before you go bounding out into the World. The writers who worked on this book wanna each take a few minutes to tell give you

some pep-talk stuff that might help. (Yeah, you wont find this in a lot of normal tech books, but this is not a normal tech book)

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A normal tech book tells you how. But we want you to not only know how but also why. This chapter covers why we do this. We also talk about the how, but not the tech part, but the career part, the art part and the heart part.

Photo of Chris Caulder

I know how overwhelming all this stuff is: music theory, production tips and tricks, sequencing basics, song analysis, chord construction, chord progressions, melodies, counter-melodies, rhythms, syncopated rhythms, harmony, etc. It has taken me many months and several years figuring it all out, and I still dont fully understand all of it. As I mentioned previously, writing and producing music is an ongoing process. Information comes in, goes out, and comes back

(d)Dont Lose Hope

(c) Chris Caulder

in, and goes out again.

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It all may seem tedious or overly complicated at first, but it becomes fun later, when you actually begin to understand how things work, and things become second nature from experience. Music production knowledge becomes fun when you realize how the right EQ settings can make a decent mix sound incredible. Songwriting and theory knowledge becomes fun when you realize how a basic chord progression (G, D, C) can be seasoned with more complex chords (Major 7ths, Minor 7ths, 6ths, or Minor 9ths), thus drastically improving the overall sound and originality of the progression. Production knowledge becomes fun when you find out how to use delay and reverb so creatively, that when you let others hear your song (other aspiring songwriters or music producers), they wonder How did you do that?! Show me how to do that! Some people are born to be doctors, car salesmen, or scientists. They find medical procedures, customer-handling tactics and mathematical formulas fascinating. I am one of those people who finds music theory and production techniques fascinating. I am proud to have contributed to this book, for those reasons. I am one of those people who gets chills down my spine when I hear an A minor 9th chord (one of my favorite chords), or a G major 7 (one of the most beautiful chords, ever). I am one of those people who involuntarily smiles widely when I hear indie artist Juliana Hatfield sing the third verse in her 1993 hit My Sister. I cant help but sing along to that entire song, especially that part. I sing along to all of her songs. I play along with Jimmy Eat World and Jets To Brazil CDs. I just love music. I eat it, breathe it, and live it.

I work a crappy day job (like most people) to pay part of my bills, but I dream of being able to do music full-time: performing, producing, recording, touring, teaching, whatever. I use the little free time I have each day to do something music-related, so I bring myself closer to my goals. Whether its releasing a new song online, or trying to get my songs licensed in independent films or as background music for television shows, or figuring out lessons for the several students I teach privately, Im always working on something music-related. And time-wise, its really difficult. Especially these days, when I am so tired during the week that the only true free time I have seems to be on Saturday and Sunday. But I keep at it. Music gets me up the morning, and keeps me alive. I cant be one of those people who live complacent, without really trying for anything that sets their heart on fire. Music is such a great gift. Music is something that every single person in the world appreciates, no matter where youre from, how old you are, or what language you speak. Music is the universal language. It holds so much power. It has promoted peace, has brought two people together (many times), it has saved lives, and it has gotten people through tough times. It has brought me some of the best friends of my life (You like that band, too? You rock!). Few things in life are as powerful as music. I love being a musician. And Ive thought about why I am, when it seems like such a hopeless career at times. And Ive figured it out: I am a musician because I want to give back what all the great musicians and songwriters have given me all my life: that feeling I cant explain, that piece that has filled the hole in my heart,

Never Stop

or made me smile, or made me think about things I hadnt thought about, or made me think how great life is, just because that song existed in the first place. I am a musician because I love the feeling I get when people compliment my recordings, or say how much they enjoy a song by Beautys Confusion (my band), or how much they enjoyed our live show, or say they relate to lyrics Ive written. Ive even gotten compliments from people who said they wanted to end their life, but a couple lines or verse I wrote in a Beautys Confusion song were the reason they couldnt kill themselves. Now if theres any reason to continue to write and self-release music, that would be it. I cant think of a higher compliment for me as a songwriter.

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I have such immense respect for so many musicians out there, from the hugely successful ones to the ones who clean toilets for a living, but have amazing songs on the Web that they give away for free. I am constantly sending emails to musical artists, complimenting them and saying, quite honestly, how much their music means to me. Oftentimes, its the indie artists that I can easily get a hold of and who respond the quickest, as they make their contact information readily available on the Web. As much as Id love the following band to know how their music has blown me away and changed my life, it would be quite hard to get a hold of Coldplay. I just love communicating, complimenting, and networking with bands of all styles. I guess its my way of trying to change the musical world in a positive way, or at least shorten the gap between artist and fan. Its not at all a plea to get hooked up with bands who are already established. I just love sending positive vibes to people. Youd be surprised how infrequently artists get complimented on their music. Just the other day I got an email back from Los Angeles-based trip-hop/instrumental hip-hop artist Saru (aka Steve Branson www.downtempodojo.com), and he was very appreciative of my email, and even added some Beautys Confusion songs to his internet radio station! He is an artist whose music floors me, constantly. And I let him know. And it felt good when he responded with genuine appreciation. 01 Dont be a rock star. There are far too many in the music industry today. Some are exceptionally talented (and feel they have the right to act like a rock star), others just plain suck as songwriters and performers. There is no room for a rock-star attitude in music. Do what you do, have confidence in your art, but if and when you become successful (on any level), make time for your fans. They sign your paycheck. Never disrespect them. This is a rule I live by, and always will, no matter what level of success I might achieve. Modesty, humbleness and friendliness go a long, long way in music. Look how many people respect bands like Jimmy Eat World, Pennywise, or Jets To Brazil (three bands I have met and/or hung out with at the height of their careers, and who have always, always been completely down-to-earth), or an artist like Henry Rollins (met him twice and he was extremely cool both times). On the other hand, take a look at bands with horrible attitudes (I wont name any names). Chances are their careers were cut short, or their album sales drastically dropped, or no one came to their shows. Bottom line dont be a rock star. As the old saying goes, nice guys finish last. Nice girls do, too. And if you read that phrase differently, its actually a wonderful compliment, not a self-deprecating remark.

(d)Five suggestions for all aspiring musicians

02 Dont get discouraged with the current state of the music industry. I know that all the fly-by-night artists are selling the most records these days. Again, I wont mention any names. I glance at the shelves of my local department store. I see what the hot sellers are. I see the album covers. I see how beautifully photographed and scantily-clad they all are. I ignore all of it. Real music is not about image, its about music. Bob Dylan and Tom Petty are awesome. So are the Pixies. None of them look particularly sexy, but write timeless songs. That current teenage pop star you see on MTV daily is not awesome. Shes entertaining and cute, and yeah, sometimes shes sexy, but she has no real songs. Shell never write a Mr. Tambourine Man or a Free Fallin or Where is My Mind?

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I take Jack Johnsons music seriously, as well as Damien Rices. Good music is not about image. Dont get discouraged. Some of the best songs are by unknowns, or completely underrated artists. Some people dont take John Mayer seriously. I think hes fantastic, musically and lyrically. And damn, can that guy play guitar. Dont get discouraged. There is room for all styles of music, and at all talent levels. Every sound has its audience. 03 Dont let your day job take over your life, if you want a career in music. So many people become their day jobs. I could never do that. When I meet people who ask me what I do, I tell them I write and record music, write poetry, teach music, and I make independent films. They if then ask me how much I make doing it, I mention my day job. This is not dishonest. My day job is not what I do, its how I pay the bills that arent covered by art. I constantly focus on my dreams and accomplishments. Sooner or later, they get the point. I do not care what a persons job is, whether theyre a doctor, carpet cleaner or restaurant employee. What matters to me is who they are, what theyre about, and how nice they are to me, to themselves, and to people they encounter along the way. People are not their jobs. It makes me ill seeing someone extremely talented give up their passion because theyre too busy with job stuff to keep it going. I knew this guy a few years ago who was an incredibly talented guitarist. His favorite bands were Smashing Pumpkins, Mogwai, and Hum. He was into progressive guitar playing: melodic and technical. He inspired me a lot. We lost touch for a few months and when I ran into him again at a bar downtown, he told me he stopped playing guitar altogether. I was so let down, and baffled. He said he just had no time for it anymore. I said to him, You should make time. If youre working too many hours a week at this job, get a different job. But dont stop playing guitar. Youre incredibly talented. He said, I dont know. I just got sick of it. That is truly sad. I couldnt convince him to continue playing, no matter what I said. I tried every angle. Im very black-and-white when it comes to a lot of things Im passionate about. I could never give up music no matter how hard it was to make time for it. It is my reason for living. If you want something bad enough, you have to put in the effort. Dont let any obstacles get in your

way, and boy, there will be a bunch of them.

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It sounds like such a raw, mean thing to say, but theres no other way to say it: When youre passionate about something, either put 500% into it, or dont do it at all. Theres a quote I love: Id rather have a life than a living. Think about that sentence. It has such tremendous depth, in only eight words. Ive said those eight words to a lot of people. They wrote me off as an unmotivated person. They couldnt be more wrong. Dont let your day job take over your life. Live your life. Make time for what you love. You only have one chance to get it right. 04 When it comes to musical inspiration, dont listen to one certain sound. This is a problem I have with a lot of punk musicians I have met, or hung out and talked with. A lot of punk artists listen to punk exclusively. You cant become a better or more creative musician if you listen to only one thing, all the time, and write it. Same goes for electronica artists. Why limit your ears by only listening to house, or trance, or drum n bass? I think people who listen to only one style of music exclusively create tension and elitism among their peers who are more openminded. I can honestly say I have one of the most broad tastes in music of anyone I have ever known. I know only a couple (yes, two) people who have as broad of a musical taste as myself. One is my good friend Susan Hollister, and the other is my good friend and fellow musician Rom Di Prisco. They are two incredibly interesting, friendly, inspiring, and well-rounded people. I believe its partially because of their broad music tastes. Sure, that theory sounds really bizarre, but it makes perfect sense to me. Being a musician, you must absorb all that you can, so you can learn all you can, and creative something unique, or improve on whats already been done in a more creative way. Music is constantly evolving, and the stuff that usually lasts the longest or is most interesting (at least to my ears) is the stuff that draws from so many different styles and genres. Heres a small example of what I listen to (Ill name 20 different styles of music, and 40 different bands that I basically love):

POP Keane & Sarah McLachlan ROCK Superdrag & Jimmy Eat World METAL Slayer & Pantera SYNTHPOP Erasure & Pet Shop Boys HARDCORE Refused & Nine Shocks Terror INDIE ROCK Jets To Brazil & Rilo Kiley UNDERGROUND HIP-HOP Buck 65 & Sage Francis MAINSTREAM HIP-HOP Eminem & Outkast OLDSCHOOL GANGSTA RAP N.W.A. & Geto Boys FOLK Nick Drake & Suzanne Vega COUNTRY Hank Williams I & Johnny Cash R & B/SOUL Alicia Keys & Joss Stone TECHNO BT & The Crystal Method JAZZ John Coltrane & Diana Krall PUNK Dead Kennedys & Pennywise ALTERNATIVE POP/INDIE Juliana Hatfield & The Sundays SINGER/SONGWRITER Elliott Smith & Nyles Lannon (aka N. Lannon)

TRIP-HOP Saru & Puracane ELECTRO/POP Goldfrapp & Fischerspooner SHOEGAZE My Bloody Valentine & Lush

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Point is, just listen to everything. Absorb everything. Its all great. It all needs to be listened to. Youll learn so much about songwriting and production if you take in all that you can, musically. Be open to new sounds, new styles, new artists. Always keep an open ear. 05 More about inspiration: Buy a rhyming dictionary. Watch a lot of movies (thought-provoking ones with good dialogue or a really great story like Before Sunrise, Things You Can Tell Just By Looking At Her, Sling Blade, Shawshank Redemption, When Harry Met Sally, Leon: The Professional, Buffalo 66, Waking Life, etc. And of course, the documentary, D.I.Y or Die: How To Survive as an Independent Artist). Youd be surprised how much inspiration can come from a really good movie. I have written a bunch of songs that were inspired by a line I heard in a movie, or a character. Take more walks. Read more books! Watch the sun set. Watch the sun rise! Make an afternoon of people-watching (sitting on a bench, observing people who walk by, or talk near you). Daydream. Meditate. Write out some stream-of-consciousness thoughts (write the first thing that comes to your mind, no matter how stupid it may sound or seem, and write it quickly, and then keep adding to it, just as quickly). There are so many things you can do to constantly be inspired to write music or lyrics, or fire up that sequencing software and fiddle with a virtual synthesizer. Another constant source of inspiration for me personally, is just reading through the latest music and producing magazines (such as Keyboard, Sound On Sound, Music Tech, Future Music, Computer Music) when I read reviews of albums or reviews of new music equipment, I want to immediately leave the bookstore and go home and write something! And I have done this before, on many occasions. I guess Ill sum this up by saying: give music your all. Dont let anyone or anything dissuade you from what you love, or what youd love to do. If you read this far, chances are youre serious about music. And if you just bought this book because you want to explore music as a fun hobby, thats cool, too. Its your life, and to quote Imogen Heap from Frou Frou, Youve only got one. Make the best of it, and make the most of it.

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Photo of Cliff Truesdell by Sarah Hahn

(c)Cliff Truesdell
Do one thing really well.

When I began recording music on the computer, way back in the heady days of the late 20th Century, I fell into a pretty common trap regarding music software. I bought into the idea that the more software I had the more creative Id be. I collected programs, many of which did essentially the same thing. I had every digital sampler, every suite of plug-ins I could afford, some I couldnt, and at least a demo version of almost every major program on the market. I taught myself the basics of Cakewalk (now Sonar), Cubase, Vegas, Acid, Cool Edit Pro and many others.

On the one hand, I learned valuable lessons. I learned the similarities and differences between lots of programs. I was able to see which programs and features worked well for me and which ones didnt. But ultimately the result was that I never really got to learn any program in depth. I was spending inordinate amounts of time trying to get programs to run and then troubleshooting them once they were running. I had clogged up my computer with a ton of useless software (hard drive space was more of an issue in those days). Sure, when I needed a plug-in, I had huge lists to choose from, but most of them were just taking up space and processor resources. Eventually I realized that there was one program I seemed to be most comfortable with, and there were certain plug-ins that I was using much more than others. Of the 20 or so different kinds of programs and over 300 plug-ins I had installed on my computer, I was doing 90% of my songwriting and recording using three programs (a looping program, an audio recording program and a virtual sampler/drum machine) and four plug-ins (a compressor, a reverb, an EQ, and a delay).

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When my computer finally crashed, I had to start from scratch with a new Operating System. This time I installed only the few programs I was actually using and a handful of plug-ins above and beyond what I was utilizing on a regular basis. The first result was that I immediately found my system was running much more smoothly now that it wasnt jammed up with a bunch of useless crap. Even more importantly, my work suddenly became much more efficient. Having fewer choices meant less confusion; less time spent decision-making actually led to significantly more creativity. This is not to say that from time to time I dont get drawn in by the promise of some flashy new piece of software. Its just that for the most part when the buy-it-now bug hits me I remind myself that even after years of working with certain programs theres still an incredible amount to learn. For example, I use Propellerheads Reason software just about every day and I can think of a dozen features right now that I havent had the time to investigate. This all comes back to what I mentioned earlier in the section on software choices. Its not really important which software you choose but how you choose to use it. Taking the time to learn one or a few programs really well will greatly improve you chances of success.

On the other hand[el]Continue learning

Its very easy to become comfortable with a program or studio set up or style of working. Trying new methods and new programs is a good way to shake things up and open yourself up to new possibilities. Yes, its very important to know at least one program very well. But it can also benefit you to remain open to other programs and recording methods. I chose to build my home studio around specific software and hardware in order to facilitate an easier working relationship with the already successful studio owners around me. I primarily work with rock musicians and I use Pro Tools on Apple computers. Its my bag and I dig it, man. But I started creating music on PCs, working with Sonic Foundrys (now Sonys) Acid program. I make a point to keep up to date with it as much as I can. One of the most reward-

ing jobs Ive come across in the last two years was a PC-based project that was referred to me specifically because the studio owner who passed the job on to me knew I was adept at Acid and still working with it on occasion.

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Having a working knowledge, if not a deep expertise, in a number of programs and skills can help you in the long run. If you have a particular talent or area of interest its definitely a good idea to focus on that, at the very least as your starting point. The important thing is to keep your eyes (and ears) open to other possibilities for work that you may be missing. For example, there are a number of mastering houses that started as recording studios run by engineers who offered mastering services on the side, then found they had an aptitude for it and there was a market. Many people start out recording bands and then find they are able to make more money doing commercial or jingle work. And some engineers who record bands started out doing commercial or jingle work, or just recording their own band. You never know what opportunities will be presented to you. Be as prepared as you can to move quickly and efficiently on anything that may come your way.

Do Good Work.

Seems like a no-brainer, doesnt it? Its actually not that easy sometimes. Make it a priority for yourself youll be ahead of the race right out of the gate. In any work, and certainly in music related fields, there are many elements that make up a job well done. Paying attention to the all of the details from start to finish on any project is crucial. Make sure all of your equipment is in top working order before you start a new project. If youre working a lot, be prepared to take the time to back up your work to an external hard drive at the very least, once a day. Be as involved as possible at every level in a project. For example, if youre creating music for an unfinished movie, ask to see as much as possible. Find out what the overall mood and tone is. If you have time, read the novel the movie is based on. Or if its a documentary, do some research, at least online, about the subject matter. And ask questions. Heck, ask stupid questions, always bearing in mind that there are no stupid questions, except the ones you dont ask. The balance between doing what you define as good work and working for a client can sometimes be difficult. The best work you can possibly do is the work that makes the client happiest. You may have clients who make choices you disagree with, or even advise against. Sometimes it can be small stuff like where the percussion track should go in the stereo field and sometimes its huge like changing the speed of a song from a ballad to a fast rock tempo, changing instrumentation or rewriting vocal melodies. A large part of doing good work for a client is maintaining a constant awareness that youre working for a client. Even if it means dealing with the frustration of what you interpret as bad decision making. Ive been on both ends of this. I can tell you from my experience as a client that few things are more difficult to deal with in a recording studio than an engineer youve hired, and who you are paying, who insists on following his vision at the expense of your own.

Its not who you know, its how well you treat them.

Youve probably heard the saying, Its not what you know, its who you know. But who you

know probably wont want to be much help to you if youre a big jerk. There are a very few people in this world whose talent shines so brightly that they are able to excel in their chose field regardless of circumstances, surroundings and working relationships. They are the rare exception and definitely not the rule. Most of us will require, throughout our lives, the assistance and aid that is the benefit of long-term working and personal relationships. How you interact with the people you work for, with and around, will play a big role in determining how successful you are.

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Much of the work that you will find in audio and recording fields will rely very heavily on word of mouth. There is a point at which word of mouth, in my experience, becomes far more important than any other kind of advertising. A recording studio (just like any business) can flourish or wither purely on the basis of whether or not the owners and engineers are pleasant to work with, regardless of the high quality of their work. Word gets around.

Have a good time. Your clients and the people you work with can tell if youre enjoying the process and it rubs off. Sometimes thats easier said than done. Computers crash, microphones get knocked around, and sometimes you may even have to work with people who dont follow the advice I gave earlier about being nice. But you can always find ways to make a bad situation better. Take frequent breaks if you need them. Try and find the humor in every situation. If the band youre recording are Neanderthals, just picture them as the drunken version of the Flintstones, fronted by Homer Simpson at his worst. (But keep your chuckling to yourself) Looking at the bigger picture, whenever possible alternate difficult projects with fun projects. Its always important to pay attention to the bottom line, but sometimes you may find the most rewarding projects arent necessarily the big money makers. How much you enjoy the process will often have a big impact on the quality of the final results.

Enjoy yourself

More Cowbell

And finally, the single most valuable piece of recording advice I have to offer is this: When in doubtmore cowbell.

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Photo by Paulo from the Echo Park Film Center

(c)Michael W. Dean
Follow your dreams. Or dont

I hate the saying, Follow your dreams. Because dreams arent much without follow through. Hippies say Follow your dreams and often up homeless or in jail. People who actually do things with their lives, who actually do follow their dreams dont say follow your dreams, they just do it. I would rather just be a worker among workers and make great stuff, consistently, and deliver. I leave the philosophy to the stoners. I saw a saying I really liked: I tried following my dreams and they put a restraining order on

me. Now I have to stay 500 feet away from my dreams. This is funny and silly, but there is a grain of truth to it. A lot of people who try to follow their dreams end up giving up. Sometimes because life happens: Children, rent, spouses, etc. etc. But sometimes people give up because someone told them to.

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Screw those people. To paraphrase my friend Liza, People who offer non-constructive criticism are rarely doing anything themselves. Thats why they try to cut you down: because they are doing nothing and its easier to destroy than to create.

Be realistic

Its hard to be a rock star, and if you do arrive, its hard to maintain. You dont have much of a chance of doing it. You might be able to do it, and Im not going to tell you not to try, but I am going to tell you its unrealistic. Its much more realistic and less of a heartbreak to just be someone quietly making cool stuff from their bedroom, and getting it out in the World. And you can even make a living doing it. Thats what I do. I used to want to be a rock star. I almost was on my way once. My band Bomb

But being in a band, and trying to be a rock star was a drag. Im much happier now, making cool music, books and films in my bedroom. And I still get to tour the world sometimes, and I dont have to argue with other people. And strangers still write me fan e-mails for what Im doing currently. You can do this too. Make something great that people want to be involved in. Thank, credit (and feed!) people, even when you cant pay them. Pay them when you can. Treat them with respect. Put stuff in writing, be fair, and keep your word. Its really all youve got. You need an absolute Im-on-a-mission-from-god conviction to make it in art. (But dont be egotistical. Serve the art, not yourself.) Be confident, but not cocky. People are attracted to confidence, and turned off by cockiness. Have a plan, and follow through. And know that it doesnt happen overnight. Ive been quitting my job for decades. Its a slow process. Ive done art full time for 30 years.

(www.kittyfeet.com/bomb.htm) was great, and was signed to a major label. We had a blast, toured the World, and the songs are still around. (You can download some from the above site.) Strangers still write me fan e-mails today, twelve years after we broke up.

And only made a (modest) living at it for four years. Only lately has it worked out OK. I also get to travel a lot, doing signings, seminars, public performances, etc.

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I would highly advise you to shoot for very cool realistic goals. Then attain them. Then set your sites a little higher after you have some success. To me, the life of an artist is not a point you reach, its a long line made up of a lifetime of small points.

Dont just read about music. A good artist has a wide range of influences in their life. Sure, you need to keep up on your game, but keep up on life too. I read a lot of technical manuals for gear I work with, but I also read a lot of periodicals on other subjects. And I try to find time to at least glance through the newspaper every day. And I read books that are not directly related to my chosen fields. ***Production: the word illiterature below is correct. Do not correct it. I read a lot of fiction, non-fiction, erotica, literature, and low-brow illiterature. (Like comic books and John Grisham novels.) And I read and post frequently on a Web forum that I like. Im currently re-reading the book Future Shock by Alvin Toffler. This book was written in 1970, and has tons of predictions that have actually come true, things like the Web, distance learning, decentralized organizations and the increase of ad-hocracies (the perfect mix of anarchy and democracy, in my opinion), telecommuting, blogs, on-demand printing, people flying airplanes into our office buildings, etc. Its an amazing book. I also highly recommend The Age of Spiritual Machines by another fine futurist (and electronic music pioneer and inventor) Ray Kurzweil.

Stay open to many influences in your life

A lot of artists go through periods of depression. For anyone out there who thinks suicide is a good career move, I adamantly recommend against it. Im really glad I was a failure when it came to offing myself at age 20. Im 41 now and my life has never been better. If youre depressed and need a reason to live, if nothing else, remember that you can hurt more people alive than dead.

Dont kill yourself

My apartment is really sparse. All Ive got is a mattress, a laptop and a pile of clothes on the floor. Anything else is related to art. Its all art supplies.hard drives, guitars, cameras, data DVDs, cables, modems, microphones, fax machine, Xerox machine, manuals, books. I dont buy jewelry or video games or nice clothes, or any blingy BS.

Be all about the art

None of that matters. All that matters is how I am of service to other people, and the art that I

put into the World. I am offended by diamond commercials. Any woman that I would date would rather have more computer memory or paint or hard drives or sculpting supplies or even gardening tools than some ugly lump of cold, dead carbon. The things that people see as important blow my mind. Thats one reason I really liked the book and movie Fight Club. Strong characters who felt the way I did. I have always felt that advertising tricks people into working at jobs they hate, so they can buy crap they dont need. I just had never heard it put so succinctly as it is throughout this entire film.

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I use the word Conversely because some would see this next part as contradicting the above section. I dont see it as a contradiction at all. Selling and selling out are two different things. Selling out is doing something you hate, or allowing your heart art to be compromised for the sake of the marketplace. Selling is just getting paid a good wage for good work. I feel its OK to go through any channel you want as long as you dont screw people over, including yourself. A common problem in dealing with major corporations is that there are often too many people in the chain of command. And all of them have to justify their jobs by making changes, even when few are truly needed. But Ive been lucky. I havent had to compromise, and my stuff is somewhat widely available. The main thing corporations do well is distribute. So I like making stuff myself, and then taking it to them only when its time to sell. They dont do art well. But they have selling raised to a science. Unfortunately they usually are better at selling garbage than art. But occasionally some cool art slips through. This is advice for getting your stuff out there, stuff that sings to your heart. My advice for doing movie background music is different: Its a job. Like working at Starbucks, but cooler. Do what the client wants, and get paid for it. Its work you do to support your own music jones. Ya know? The phrase agoraphobia means fear of crowds. But the literal meaning, from the Greek, means, Fear of the market (It was adapted to mean fear of crowds, because open markets are usually crowded.) Production: Note that the spelling of true below as twue is intentional. Please do not correct. And squicky is the word I wanted to use. Please leave it also. I think a lot of artists have a fear of the marketplace. They think that making money means

Conversely, Dont sell out, but dont decry commerce

they are not a twue artist. They feel squicky and nauseous when presented with business dealings.

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A lot of artists also buy into the starving artist myth. Its only a myth, created by starving artists to make themselves feel better, and propagated by marketing people to give them an angle to sell starving artists work, while ripping them off. You dont have to starve. Consider your art to have worth, and behave accordingly. Dont think of it as the best thing ever to come along, because this is a hubristic, vainglorious attitude, and incorrect. Look at yourself as youd look at a talented craftsman, like a great auto mechanic, or a talented cabinet maker, and youll do fine. People dont write fan letters to mechanics or woodworkers, but the services and products these people provide make peoples lives better, on a daily basis, and the workers are well paid for their efforts.

Be a worker among workers. Its the best way to survive, and the best way to produce fine work. Get up on a daily basis, do the tasks set before you, do the best you can, and go to sleep happy. Get up and do it again. And again. And again. For the rest of your life.
Thats the key to being a great artist. Period. Alright. Weve heard from the experts who wrote this book. Now lets hear from some outside voices, some people working daily in the business of making a living at making music....in Chapter 13: Interviews.

Chapter 13 Interviews
People interviewed:
ROM DI PRISCO JOHN DeBORDE ANGIE JAY

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ALEXANDER BRANDON LESLIE ANN JONES JAMEY SCOTT GREG GORDON This book would not be complete without some kick-ass advice from people who make their living making cool music for movies, TV and Video games. And to round it all out, weve also added a few of the people of they type who would be hiring you, and also someone who manages a hot, influential rock band. Michael Dean gathered the coolest people in the biz together for a virtual cup of joe and asked them some questions about what they do, why they do it, and what makes them tick. Because no matter what youre gonna do in music, hearing what someone else does and how the do it can help you. That saidlets do it.

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Figure 13.1

Photo by Kyla Phillips (www.pixieparlour.com)

Rom Di Prisco

Rom Di Prisco
www.romdiprisco.com

Rom Di Prisco is a classically trained composer specializing in music and sound design for video games, TV, and film. Rom also records music under the name Bitstream Dream.
He has done film and tv work for Artisan Entertainment, MGM, Robert Redfords Wildwood Productions, and numerous TV networks such as MTV, Spike, UPN, and A&E.

Rom has over 8 years experience in the videogame industry, and has worked on over 25 game soundtracks for companies like Electronic Arts, Rockstar Games, Atari, and Midway.

Roms music has also been released on over 25 record labels worldwide, such as Bedrock, Capitol / EMI, Instinct Records, and Nettwerk Records, and he has produced remixes for artists such as Skinny Puppy, DJ Christopher Lawrence, Richard Humpty Vission, Ivy, and Cirrus.

You did regular electric music first, right? How and when did you get to working with computers to make music?

I started taking piano lessons at around age 7. I started writing my own songs around age 12, and started making electronic music by around age 14. My first real setup was with an Atari 520 with SMPTE Track, and a Roland S-50 sampler, around 1985.

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There havent really been any ground-breaking new genres in electronic music in a while, but I think mixing genres together where its heading. This will keep it fresh and exciting. Also, artists self-releasing their own CDs is the way of the future. I am much more happy now releasing my own CDs than having a label do it for me and controlling everything, and never sending me my royalty checks. I have been ripped off by labels more times than I can count. Just the opposite. I actually encourage people to trade my material online, and I personally think its good advertising and promotion. A lot of people who have downloaded my material end up buying the CDs anyway, and I never would have reached such large audiences without fans trading my songs in the first place. Im all for it! 3. Are you threatened by peer-to-peer file sharing services?

2. Where do you see music (specifically electronic music and music made on computers) going? Not just musically, but as far as dispersal of the power, distribution channels, fame, money, business, etc.

6. How and why does a pretty darned good musician with good people skills get more work than a stellar virtuoso who is high-maintenance?

Absolutely everything they can, and nothing less. Its a very competitive market, and a lot of games sound better than film and TV these days, so producers can be very picky, and they rightly should be.

5. What do producers want with game soundtracks?

A lot of people think you need connections and contacts, but I did it the exact opposite way. I have never had any connections anywhere, and just plugged away for years until I had some success at it. It took me 10 years to break in, so patience is very important. You have to love games, play a ton of games, get familiar with all the major players and developers, know the industry inside out, and really have a love for the industry. Send out demos to a company that is working on something that would fit with your style of music that you compose. Do a LOT of research! And never send out a demo until you have something very professional sounding, that is equal to the quality of music that is being used commercially. Sometimes you only have one shot, and people will remember bad demos. I know from personal experience, from people remembering my old demos ;)

4. What advice do you have for people starting out trying to do game soundtrack work? How do you break in.

7. How much money can someone make doing this sort of work?

Nobody ever wants to work with someone that is high-maintenance. I have had to collaborate with high maintenance people many times, and it was a nightmare. That is the biggest turn off when hiring a composer. Be honest, down to earth, and easy to get along with, and it will take you far.

This can range quite drastically. Usually a per-minute fee is paid, which ranges from as low as a few hundred dollars to as high as $1500. Licensing can be all over the map too, and is very unpredictable.
8. Do you have an agent? What are the advantages and disadvantages to having one?

Yes, I work with about 8 different agents for different markets. They can help you get a foot in

In a good week its 50 / 50, but in an average week its more like 60% business and 40% music. I used to do everything myself for a long time, and only recently started working with agents. In the old days, I would say it was 80% business and 20% music, so agents can really help you get some time back for actually making music. In an average week I work at least 6 days, quite often 7 days, and usually put in about 14 to 18 hours a day, sometimes a little less or a little more depending on whats going on. If it ever just becomes a job, then Im done, and Ill quit for good. 10. Do you still love making music, or is it just a job?

9. How much time do you spend a week doing business, and how much time do you spend a week doing music?

the door to get your demo CD heard, or make a connection, but you have to still have the goods to impress once they get you a contact. The only disadvantage is that they take a cut from your profit, but you wouldnt have gotten that work without their help in the first place, so I wouldnt call that a disadvantage at all.

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11. What hardware and software do you use?

Keyboards/synthesizers
Edirol PCR-M50 controller Roland Juno 106 Roland TB-303 Roland S-50 Roland JV-880

Roland XV-5080 Yamaha AN1X

Multiple Akai Samplers

Microphones

Studio Projects C1 Mic

Computer hardware
2 Macs, 2 PCs

Computer software
Logic Audio Bias Peak Sound Forge

Too many VSTs to name...

Effects units
Boss SE-50

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Aural sweeteners:
Aphex 104 Exciter

TC Electronics Finalizer 96k

Mixer:

Mackie 1604

Digital tape recorder:

Tascam DA-30 DAT

Those were good times. I worked on music for EA between 1997 > 2002. There were a lot of very talented composers and audio people that used to work with EA in the past, it was awesome, but now EA licenses all their music, and they dont hire composers anymore, so the magic is gone from their soundtracks, in my opinion.

12. What was it like working on SSX Tricky and Need for Speed?

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Figure 13.2

John DeBorde

Photo by Sueyin Wong

John DeBorde
John DeBorde is an award-winning composer of music for Film, Television and Video Games. His credits include Voices of the Sierra Tarahumara (Sundance 2001), Pursuit of Equality (Best Documentary - San Francisco Intl 2005), The Sims: Bustin Out and more than 500 promos for the WB TV Network. With a Masters Degree in composition, he is classically trained and has roots in rock and ethnic music. John DeBorde is represented by Four Bars Intertainment. *****Note: Intertainment is the correct spelling above***** www.johndeborde.com

1. You did regular electric music first, right? How and when did you get to working with

I picked up my first computer in 1993, and began to tinker with some of the music programs that were available then, but didnt really find a lot of artistic satisfaction at that point. In 1995 I put together my first serious studio, and at that point I began to understand the technology enough to realize my artistic vision, and that was extremely rewarding. Ive basically pursued some form or other of computer-aided music production continuously since then. So I guess the short answer to your question would be yes- I worked a great deal in analogue before I went digital. Probably because digital didnt exist for the average Joe back then! Im really grateful though, that I learned how to play real (as opposed to virtual) instruments, as thats probably still my favorite way to make music.

Somewhere along the way there I picked up the electric guitar and rock music became my primary focus for several years.

I started playing the violin when I was nine, then the trumpet and several other traditional instruments. I first got into composition with synthesizers and tape in the mid-eighties, while a student at UCSC. They had one of the early personal computers in the electronic music lab, and I remember thinking, Who would want to use a computer to make music? It seemed incredibly strange to me, and quite divorced from the idea of what music is about. In my early experiments with computers, I thought the software was really clumsy, and that they needed to get some musicians to program it.

computers to make music?

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No, not directly. I am a client-based service, as opposed to the commodity-based business of selling records. I deliver music directly to my clients for use in their productions, and they in turn distribute the product. I suppose if file sharing puts them out of business though, that would be bad for me.

3. Are you threatened by peer-to-peer file sharing services?

Hopefully it wont become impossible to make a living with music!

I also think that there will be greater opportunities for independent artists to reach the masses, but that the powers that be will continue to peddle fame, as our culture is so obsessed with it.

I hope that the democratization of the tools makes casual music making available to the masses, but I think there will always be some who are a lot better at it than most, and that those who excel will make what is by far the most interesting music.

I see electronic music continuing to blaze new and interesting trails as the power of computers increases, and new means of generating sounds are developed.

2. Where do you see music (specifically electronic music and music made on computers) going? Not just musically, but as far as dispersal of the power, distribution channels, fame, money, business, etc.

I do happen to think its pretty uncool to steal music though, and dont do so myself. I figure if I want to be paid for my music, I should be willing to pay others. What goes around, comes around and all that. 4. What advice do you have for people starting out trying to do soundtrack work? How do you break in.

Start small and be prepared to take a lot of baby steps on the way towards building a career. Be open to what you need to learn to be successful. For example, if you dont know anyone in the industry, go to an industry event and meet people. The best way to learn is to just jump in and start doing it. Most important of all though, is that if youre truly passionate about it have to do it, just keep

Film, TV and games are all collaborative media, and its important to be able to work well with others. 7. How much money can someone make doing this sort of work?

Well, nobody likes to work with a jerk. There may be the occasional producer whos willing to put up with it for a short while, if your work is great or youre in demand, but if you become a problem as opposed to a solution, then it doesnt bode well for you being hired again.

6. How and why does a pretty darned good musician with good people skills get more work than a stellar virtuoso who is high-maintenance?

Theyre also looking for a solution to their problem: They need music for their project. If you can provide that without hassle, then youve made their life easier.

Generally, they want great music that will work with their project! Specifically, they want music that will support and enhance the story without becoming a distraction. Music plays a predominantly supporting role in visual media, so its important that it functions towards that end.

5. What do producers want with soundtracks?

at it and never give up.

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As you might expect, there is a pretty wide range here. For someone who is just starting out, she or he would be lucky to make a few hundred dollars on a small project. A fairly standard rate for video game work is $1000-$1200 per finished minute of music, with some composers making more, and some less of course. Independent films typically pay a lot less than this. I dont see their checks, but Ive heard that composers like John Williams and Danny Elfman make more than a million dollars per film for their creative fee, with a healthy amount for royalties tacked on the back end. 8. Do you have an agent? What are the advantages and disadvantages to having one?

Suffice it to say, its possible to make a living, but not easy. Not many composers ascend to the point of becoming wealthy I dont think. Yes, I have an agent. The only disadvantage I can see of having an agent, is that you have to share part of your fee with him or her. Presumably though, a good agent will be able to negotiate a better fee for you than you can for yourself.

The advantages are many, especially if the agent can secure work for you. It can definitely lend a great deal of credibility to you, and if you have any rough spots in a negotiation or difficulty getting paid, its nice to a have someone to play the bad cop. I think there is a misconception though that if you have an agent, the agent takes care of all the un-fun stuff for you (whatever that might be), when nothing could be further from the truth. You are solely responsible for your own success or failure.

9. How much time do you spend a week doing business, and how much time do you spend a week doing music?

I would say on a rough average, that I spend less than half of my time actually working on music. Its amazing how much time it takes to take care of all the little details of the business end of things. If Im working on a score, I might spend all my timing writing music. If Im not working, I usually spend most of my time looking for the next job! 10. Do you still love making music, or is it just a job? I still absolutely love making music. There are times, however, when it definitely becomes a job, which kinda stinks, but what a great job to have! Doing it professionally though, definitely removes an aspect of the pure artistic freedom of making whatever music you feel like making

I do try to take as much time as possible to just make music for fun, because its one of the best ways I can think of to spend my time. It usually involves playing a real instrument though, because Im pretty sick of sitting in front of the computer after being there all day long. I definitely keep track of anything that I do for fun for potential future commercial use, though. I dont draw a particular distinction about whats fun music and whats work music, as theres a lot of crossover there for me. Basically, whatever gets the job done best. I have both Macs and PCs in my studio. I do just about everything on my main Mac, but offload some of the heavy duty digital lifting to 3 PCs. 11. What hardware and software do you use?

at any particular moment.

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Two of my PCs run Gigastudio for my sampling needs, and the third one runs additional soft synths. I use RME cards in my PCs and they are connected digitally to the MOTU interfaces on my Mac. I also have some hardware synths and a sampler, but they dont see much use anymore. 12. Do you work at home, or are you ever called to travel with your work? Yes, I work at home. Partly by choice, and partly because of the low overhead.

In my current setup (and its always evolving) I run Digital Performer, which is my primary music app, on the Mac, as well as some other apps like Reason and Live, and a multitude of software synthesizers and plug-ins. I have 2 MOTU 2408 interfaces on my Mac, and all the audio in my studio is routed through them into the computer. I also have a UAD-1 card for some additional plug-in processing power.

Just that this is an extremely competitive business, which can be very discouraging at times, so I dont usually recommend it as a career path for someone unless its pretty much something that they have to do. That said, I find my work incredibly rewarding and feel extremely lucky to be doing what I do.

13. Anything youd care do add?

Its rare that I travel specifically to compose, but I do travel a fair amount of travel to meet with clients. I like to travel to film festivals if a film I scored is screening, and I attend conferences and trade shows a good bit for the networking. Also, its nice to get out and meet people after being cooped up in my studio all the time.

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Figure 13.3

Photo credit Robert Padilla

Angie Jay and Al Jourgensen

Angie Jay

www.thirteenthplanet.com
www.ministrymusic.org

Angelina Jourgensen a.k.a. Angie Jay manages the influential industrial band Ministry and the entire career of her husband Al Jourgensen, who is the co-founder of Ministry.
(Ministry was the single most important influence in the sound and concept of Nine Inch Nails. Trent Reznor 2005) Angie Jay is also the vice president and director of 13th Planet Records; the vice president of

Dos Locos Entertainment; and president of the touring production company, Saba Tour, Inc.

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I work endlessly at ensuring our relationships with business associates and partners are solid and rewarding. Most of our associates enjoy the fact that they can get very quick answers because I obviously have immediate access to Al. Even more important is that I am also Als business manager, which means we have 100% control over our finances and we know exactly where every cent is spent because we prepare and execute the budget ourselves. 3. Is doing your job harder, easier, or the same for women as for men. How and why? Bottom line: Either youre good at what you do, or you are not. Initially, I think women in the music industry face biases; However, respect is something one earns, and so if you have to work twice as hard to earn the respect you want, then just do it and dont bitch about prejudice and sexism etc. Because that is a waste of time and energy. Sexism is always going to be there.

When everything is in-house you have more control over the direction of your career. Al runs the show here. I refer to myself as the facilitator of his ideas and vision. Al always considers my opinion and input, but ultimately the final decision is his. He has an uncanny, instinctual gut reaction to people and circumstances which I have grown to respect over the years. Within five minutes, he can make a call on someone that proves to be 100% correct. I dont even question it anymore. Its pretty amazing! Additionally, I have a vested interest in working non-stop to ensure projects are financed, that people and vendors get paid so that the Ministry name continues to be respected in the industry.

2. What are the pros and cons to keeping the management in-house, like Ministry, as opposed to outsourcing it, like most musicians do.

Ive been approached by many bands to manage them; however, my hands are very full with the Ministry boys, and now with the launch of our new label 13th Planet Records which is an international company, we are very busy. Besides, I took this job by default anyway it was Als idea, not mine! My passion and goal is to one day produce independent films.

I start my day about 6 a.m. The first hour is used to consume massive quantities of coffee, feed all of our animals (cats, dogs, birds and fish) and brainstorm/outline the day with Al. About 7 am I get on the phone to our European business associates our distributor, publicist, agent, publisher and merchandising company. By about 10 am, Im ready for my East Coast calls to our US/Canadian business associates in Toronto and New York. By Noon its time for the West Coast our agent, publicist, attorney etc. By about 2 pm I respond to emails, faxes, paperwork, etc. until 4 pm. Then its time to feed the critters again, and, if time permits, feed myself as well. From about 4 pm to 8 pm I start preparing for the next day, following up with various production deadlines and ensuring were on track. I check in with our designer on an almost daily basis Hes a very busy guy! Al and I pretty much work all the time. Were both workaholics and perfectionists, so we work weekends, too!

1. Whats a typical day for Angie Jay? And how many hours a week do you work? Do you manage any other acts?

Id rather spend my time setting my goals and then achieving them. I know a lot of awesome women in this industry who are extremely respected, and thats because they do their job well, are consistent, reliable and when they give you their word, you can take it to the bank. I truly believe that a manager is only as good as the team s/he creates around them. Were fortunate because we have one of the most excellent teams around everyone that Al and I choose to work with are masters at what they do, and they all love what they do. So when you are surrounded by positive, passionate people, that tends to shift ones paradigm significantly.

Out of a possible 10,000 super talented artists, lets say theres only going to be one that breaks in. My advice for folks starting out is: Think about it. What is it that will set you apart from the other 9,999? You can be the most talented artist in the world, but unfortunately, most artists are under the misconception that you just add water and its instant success. It takes a lot of very hard work and tenacity to get to the point where you can support yourself as an artist. But even hard work wont get you there, either. Although most artists have a complete distaste for the business of music, it is very important to educate yourself; The main reason being to protect yourself from getting ripped off, which happens ALL the time. The artists I know who are successful (and by this I mean they can support themselves) have what I call an independent Viking spirit. They dont whine, complain, bitch or make excuses. If something gets in their way, they find a way around it. They live in the solution, not the problem. Also, you just have to be a character! 5. How and why does a pretty darned good musician with good people skills get more work than a stellar virtuoso who is high-maintenance? Do you have any past personal experience with this?

4. What advice do you have for people starting out trying to make a living at music? How do you break in?

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Its a huge responsibility to be a manager. If you want to be a manager to make money off artists, and you are just starting out, then go intern at a huge management company and work your way up the ladder. The flip side of this is the young managers who actually do care about the creative spirits they are nurturing and put their own money and energy and time into a young act, only to have that band make it huge and then turn around and fire the manager that helped get them there. 7. Does Ministry have an outside agent or manager, or is it all you? What are the advantages and disadvantages to having one? I honestly dont know why anyone would want to be a manager.

6. How much money can someone make managing artists? It depends on what kind of manager you want to be. Theres the kind that takes 20% commission off the top of everything, including publishing, which I feel is wrong. You can make a fortune off the blood, sweat and tears of an artist. Its gross. It makes me sick. Some managers become partners with their artists and rip them off. Artists tend to be very trusting people especially when they are young. It depends how your conscious guides you what do you want to do with a trusting, creative spirit who has turned their destiny over into your hands.

Oh my god! Yes, but I wont go into specific details. Ive met some of the most amazing creative mindsa few of them are their own worst enemies because they are intolerable and completely bipolar. One day its yes, the next day its no. I personally cannot deal with that drama, so I dont. Some managers, agents, etc. like that kind of drama its exciting for them. To me, its just self-indulgent and a waste of my time.

Its a team effort and everyone we work with is loyal, devoted and bring a standard of excel-

Its just me. However, as I mentioned before, a manager is only as good as the people they work with. And Al and I are so fortunate to have found amazing folks to work with from our tour manager, our attorneys, our publicists, our agents John Finberg and Gerald Wilkes, our inhouse designer, Lawton Outlaw, our webmaster Afra Ahmed, our eStore folks at All Access, our merchandising folks at Cinderblock, our amazing crew, our production folks at dB Sound in Chicago, our friend Tony Rancich at Sonic Ranch, our engineers Marco and Justin, and most importantly to our label consultant, Stan Vincent who literally changed our lives, Missi and Robert at Megaforce.

lence to the 13th Planet cosmos. Al and I are in the fortunate position of really liking everyone we work with, and we feel very supported. Were a team, and like they say, theres no I in Team.

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I have a rule: Dont talk numbers with Al. I like to separate business from the creative process, so when the musicians and other folks working with Al need to talk money, business, etc., they talk to me. Then when its appropriate timing, I discuss it with Al and we make a decision, and then I negotiate and finalize the deals. This way, Als creative relationship with everyone remains 100% pure and not tainted by business. If anyone gets pissed off, they can get pissed off at me and not bring it into the studio. I feel the creative space needs to be kept sacred.

8. How much time per week does your band spend doing business, and how much time do they spend per week doing music?

In full-on production mode, which we are in right now, Al will spend anywhere from 10 to 15 hours in the studio working with the other musicians. Sometimes, when hes mixing, hell go for 24 hours straight. And yes, its all drug free. The musicians call it: Boot Camp Jourgensen. It gets pretty crazy around here when Als writing a new Ministry album. 9. A lot of bands have imitated Ministrys sound. How do you feel about this? How do they feel? Imitation is the highest form of flattery, correct? Most of the bands influenced by Ministry and Als work acknowledge him as an influence and I think thats great! Obviously, Al himself, as a young musician, was highly influenced by other artists. Artistic influence and inspiration is fantastic as far as Im concerned.

10. It seemed at one point that the band was in danger of self-destructing. And it seems like its all good now. How has the band managed to stay together and sane for so long? What did you have to do with this? Al was addicted to narcotics for a very, very long time. To some people, this was funny, or an opportunity to capitalize on Als success and rip him off blind, which many did. A lot of people surrounding Al at this time were just waiting for him to die so they could live off his catalog. There was so much money at one point, but not one intervention attempt not one! To me this is just sad.

As for Al, he doesnt really pay it any heed because hes too busy writing his next song. Hes always a little shocked when these young artists (who are #1 with a bullet on Billboard) come up to him and thank him for his work and tell him how much he inspired or influenced them. We live a fairly insulated life and Al has not yet fully realized the impact hes made on a lot of artists.

I met Al back in 1988 in Toronto, and at that time, he was running the show and at the top of his game. THAT is the Al that I know and love, so when I checked in with him in 2002 and took a look at what was going on, I was shocked and disgusted. Thank God Al was ready to get clean and Id always told him over the years that when he was ready to make that decision I would be there for him. He made the decision and I supported him and hes been clean for over three years and with the amount of productivity in the past three years (five records, three tours and the launch of a new label), Id say my guy is back in the saddle again! He is surrounded by positive, supportive and genuine people now, and thats a good thing.

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Figure 13.4

Alexander Brandon

Photo by Jeanette Brandon

Alexander Brandon

http://brandonfamily.blogs.com/club_silicon/ Alexander Brandon is an award winning composer and audio director that has been working in the game industry for over ten years, starting with Epic Games in 1994, having done VO, sound and music for over

I see computers as the way to achieve composition, performance, and distribution in the future. However I dont see computers as being the best way to creatively take advantage of acoustic instrument performance. One should never assume having a computer and knowing how to write on a computer means understanding an acoustic instrument. 3. Are you threatened by peer-to-peer file sharing services? Not in the least. In fact, I encourage it because my work has up to this point been work for hire and it is widely distributed, giving me a modest but reasonably sizeable fan base.

2. Where do you see music (specifically electronic music and music made on computers) going? Not just musically, but as far as dispersal of the power, distribution channels, fame, money, business, etc.

Pong was released the year I was born. So in a way I am the same age as home video games (though video games were developed as a laboratory concept at least ten years earlier). My earliest game experience was Asteroids at a local Annapolis, Maryland arcade called the Emporium around 1981. From that moment, I was hooked on video games. My first computer experience was when my father brought home a Seequa Chameleon IBM PC portable clone.

twenty best selling titles. He has written music for games such as Unreal, Unreal Tournament, Deus Ex, and Gauntlet: Seven Sorrows. He has written the book Audio for Games: Planning, Process and Production, is the columnist for Game Developer magazines audio column, and is on the board of directors of the Game Audio Network Guild. 1. Did you play Pong when it came out? Tell us about your early computer game experiences, and your early computer experiences.

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Understand the games. Understand what could work better for games. Whether this means fitting music youve already written to a game, or writing new music to break ground in a game, its great, but do your research and love the medium youre in. I love movies, so I wouldnt ask for a movie soundtrack job if I didnt. Believe it or not theres a lot of composers out there who dont play games trying to write music for them. Usually what theyve already experienced, that theyre familiar with. Sometimes this is what they consider will work based on the games design, sometimes its their personal stylistic preference. Katamari Damacy is an example of a game that defies this, and I applaud that. However, theres a lot of risk involved with completely stepping out of what you know. Good communication and flexibility is part of being service oriented. Whether youre a virtuoso or not, youre providing a service and being hired. You work for them, not the other way around. 6. How and why does a pretty darned good musician with good people skills get more work than a stellar virtuoso who is high-maintenance? 5. What do producers want with game soundtracks?

4. What advice do you have for people starting out trying to do game soundtrack work? How do you break in.

There have been people I know who do their jobs very well but are hard to communicate with. I steer away from those people for the latter quality because time is important on a project. High maintenance adds more time, and sometimes it can ruin an entire set of assets for a project because a composer refuses to rewrite. 7. How much money can someone make doing this sort of work? The standard rate at the moment is $1000 per minute. This is for someone who can do a pretty darn good job. A film composer with a blockbuster under his or her belt can command ten times this much or more.

If youre still living with your parents or are in college (or both), $500 per minute and lower is certainly something you can expect, but if your demo soars, go for as much as you can. 8. Do you have an agent? What are the advantages and disadvantages to having one?

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No, because Im in-house. I would have one if I were freelance. The advantage is you have someone selling your work and someone in touch (at least they damn well should be) with the top publishers and developers. The disadvantage is you need to give them a cut, and work isnt guaranteed because to survive an agent needs more than one composer. 9. How much time do you spend a week doing business, and how much time do you spend a week doing music?

I spend almost all my time now working on management rather than production. I keep busy outsourcing contractorssound designers, voice actors, and composers; linking a production team to legal and licensing, and establishing process company-wide for quick and cost-effective audio. I love making music but Im ready to devote my profession to what is far more difficult to do: management. My personal time will be spent writing things Ive wanted to do for awhile. 11. What hardware and software do you use? I use and have used Nuendo, Wavelab, Sound Forge, Cubase SX, Waves plug-ins, Lexicon reverb, EMU instrument modules, Absynth, Mackie consoles (although Ill be using a Yamaha 01V96V2 soon), Houston control surface, Waldorf Microwave XT, Roland synths, Korg synths, and my first pro synth was a Proteus MPS+. I loved that thing! 12. What was it like working on Battlestar Galactica and Bloodrayne? 10. Do you still love making music, or is it just a job?

Battlestar was awesome. It combined the file format of MODs with people talking actual counterpoint and instrumentation with the team at Vivendi requesting me to with me requesting me to use techniques by Stu Phillips. If Stu saw what I had to do to achieve his style hed probably faint. But Christian Johnson and his staff were very professional and it was the best project Id worked on.

*****begin sidebar*****

Bloodrayne was essentially me providing a vampy track to a very helpful buddy of mine and him getting it placed in the game, and throwing me some dough. Ironically, I still havent played these games yet because during both of these projects I was in the midst of my wife and I having our first baby.
13. Do you record voiceovers for games? In what capacity? Tell us how this works please. I do, and Id have to write a book to explain the entire process. I direct, I engineer, and I voice act as well. The whole deal. Its a very important process as it needs to combine with the blocking, pacing, facial expression, ALL the things that a film director needs to focus on. (George Lucas had a dialogue coach on Episode 3 of Star Wars because he had too many other things to manage).

*****begin sidebar*****

A MOD is a file format used for game music in the early to mid 90s. It was better than MIDI but not as good as streamed WAVs.

Were on the edge of the next generation. I promise you that very soon, post-production for game audio will be getting closer and closer to the quality level of Hollywood film. My estimate is that game audio will rival film audio (since VO is lagging still) within the next five years for the top-tier titles.

16. Anything youd care do add?

No one but you should control how the audio sounds. Granted, you take direction, but you still have the control. Youre the pro.

I have advised on audio engines since Unreal, well, actually since my first game, Tyrian back in 95. I have a hand in tech because tech is what makes our world go around. Without the right tools you can get stuck, with nothing to adjust your levels for a final mix. At worst, you can be stuck with waiting for programmers to implement your audio for you to hear it. And waiting again for every tweak. With the right tools, its all you, and you control it all. It also makes you responsible, which is great for the producer and the team as a whole. You wouldnt tell a designer how to place a staircase; you wouldnt tell an artist what lighting they need on a level, and you shouldnt tell an audio engineer how wide the radius should be for a localized sound.

15. What have you done as far as adding to the software environments that developers use to create games and the audio for games? Tell us about this please.

Ive written one book and that took six months. I also write a column for Game Developer Magazine that takes about four to six hours per month.

14. You also write books. How much time do you spend doing that vs. making audio.

The problem? Most game studios are only getting their feet wet with it. Essentially VO requires a great script that needs to be rewritten based on live performance testing; a good director to ensure the casting and performance are done properly; and implementation and pacing in conjunction with the animation and art teams to see the whole thing through.

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Figure 13.5

Leslie Ann Jones

photo courtesy of Skywalker Sound

Leslie Ann Jones

www.skywalkersound.com

Leslie Ann Jones joined Skywalker Sound in February of 1997 as manager and mixer of scoring for the facilitys recording and scoring stage. She was quickly elevated to the position she currently holds as Director of Music Recording and Scoring. Her dual position at the company utilizes her skills in both managing a recording studio and as an engineer. A veteran recording and mixing engineer for over twenty-five years, Jones

career comprises work from all genres of the music industry, as well as feature films, television, and commercials. In 2004, Jones won a Grammy Award - Best Chamber Music Recording for the Kronos Quartets Berg: Lyric Suite, and was a Grammy nominee for Best Engineered Recording-Classical for Petronel Malans Bach Transcriptions release 1. You are both an engineer and a producer. Those roles are more often relegated to two different people. How does it work on your end?

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Well, in my career as an engineer my clients have always relied on my musical sensibility in addition to my technical skills, so producing is just a natural extension of that. And I get credit for something that many times I do just as an engineer. In a former life I was a guitar player and singer. It depends on whether I am in the studio or in my office as Director of Music Recording and Scoring. The easiest way to answer is there is no typical day. I show up anywhere from an hour to several hours before the session, depending on how complicated it is. Mostly we work 9 AM-7 PM, but often when we are mixing we go much later. We often work weekends as well. If I am in session I show up early to help set up microphones and check to make sure they are all working. Then we record or overdub or mix. If I am not in the studio then I return phone calls and e-mails and do pre-production on sessions to come. That involves talking to the engineer (if it is not me) and the producer to find out what their technical needs are. 4. Where do you see music (specifically electronic music and music made on computers) going? Not just musically, but as far as dispersal of the power, distribution channels, fame, money, business, etc. We are in quite a transitional period for all types of music. There seems to be a resurgence of people wanting to play in the same room together, and the Internet has provided a great opportunity for marketing as well as thievery, so who knows what the future holds? 5. What advice do you have for people starting out trying to do soundtrack work? How do you break in. 3. Whats a typical day for Leslie? 2. What instruments do you play?

Well, it is the relationship between the composer and director that is most important. The best way to break in would be to find a young or new director and work with him/her on a score. That is how you learn and how you build up your reel. No one is an overnight success in this business; It takes hard work, and plenty of perseverance and tenacity. 6. What do directors and producers want with soundtracks?

It varies like anything else. Smaller budget movies have less money to spend and they are more conscientious of time. Larger budget movies spend more money and more time. But, everyone wants it good, fast and cheap.

7. Also, how proactive are clients in demanding a particular sound.Do they give you much freedom or are they very in your face during the production of a score. It varies. Some clients have a particular sound they are going for and some are not even around when I record or mix because they give me a lot of freedom.

8. How and why does a pretty darned good musician with good people skills get more work than a stellar virtuoso who is high-maintenance? I dont think that is true necessarily, but I would say that ones patience can only go so far. Life is hard enough without having to work with jerks, but having said that, you have to have a healthy ego to be successful. People who are artists, including musicians, hear no a lot more than they hear yes. One has to be tenacious to survive, and part of that includes ego. 9. How much money can someone make creating music for movie sound tracks, commercials and video games?

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The range could be from $50,000 to $350,000 a year

I do not have an agent or manager but then again I am on staff, as I have been for most of my career. Many of my friends who are independent engineers have managers. I have heard more than once that the managers dont actually get them much work but are very handy when the subject of negotiating a deal comes up. 11. How much time do you spend a week doing business, and how much time do you spend a week doing music?

10. Do you have an agent? What are the advantages and disadvantages to having one?

It depends on how much time I am in the studio. If I am booked on sessions I return calls and e-mail on my lunch break and before and after work. If I am not in session, then my entire day is spent on business. 12. Do you still love making music, or is it just a job?

This is one of those jobs you have to love because it is very intense work and can be long hours. I still love my jobbeing in the studio with artists who are creating music is the best job in the world! 13. How many hours a week do you work? Do you work weekends? Do you ever work from home? I average 50 hours a week. Sometimes more if I work weekends, which often happens. I do not record at home as I like having a studio to go to but I often do my admin work from home.calls, e-mails, etc. Most of our recording is done to Pro Tools. Personally I am a Mac person I recently finished a record with an artist named Karen Blixt, a local jazz singer. She and her producer Frank Martin assembled a stellar group of musicians for the tracks and that was big fun because it is so easy when the players are good. Then I can spend my time being creative with the sound. 14. What was a session you particularly enjoyed, and why? 13. What hardware and software do you use?

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Figure 13.6 Jamey Scott Photo credit: Sean Spence

Jamey Scott

www.JameyScott.com

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Jamey Scott was educated as a bachelor of music at San Diego State University where he studied Jazz guitar performance and composition with Bill Yeager and Rick Helzer. After graduation in 1993, he took to music production and quickly rose up in the gaming soundtrack industry.

He has worked on top titles such as Jak3, Daxter, and Gears of War. He also works on animated shorts, TV shows and films. His score for the critically acclaimed art animation Eternal Gaze helped the film garner over 30 festival awards and Academy Award short-list status. He lives and works in Burbank, California and owns a first-rate commercial production studio. I started out in the traditional way of doing things. I learned to write music on paper and have musicians play it. When I was in college getting traditionally trained, there were several students who were heavily into the electronic thing. I found it fascinating and totally liberating, but I came from a poor family and I didnt have a computer so I wasnt able to embrace electronically generated music until much later. In fact, it wasnt until I was put into a professional situation in which I had to come up with music quickly and inexpensively that I started to fool around with midi music. Fortunately at the time, we were starting to see good sampler technology become available to us lesser means folks, which allowed me to start creating music that was less synthesized and more organic in nature, which is what helped me cross over from my more traditional background. 1. How and when did you get to working with computers to make music?

As far as dispersal of power goes, I think were already seeing dramatic changes in this area, but one fundamental truth remains iron-clad and that is that promotion is the key-holder to all success and power in the music industry. The acts that will succeed commercially are the ones who get their stuff to rise above the noise through promotion and big advertising money, which is still well controlled by the big labels.

Ive watched it unfold over the past 10 years, pretty much as predicted. That was a very prophetic article and a huge influence in my decision-making habits in regard to my career. Sort of like jumping forward into the future and getting next weeks winning lottery number. That was when I knew I needed to become an engineer, make my own music and seek out opportunities for it to be placed in the audio/visual medium. It just happened that I had a quick and easy launching opportunity in the game industry.

Most commercial music is now electronically produced, so I think the future is already here in that regard. I remember reading an article in Musician magazine back in 1993 in which it predicted the end of the music industry as we know it in regard to digital distribution, the uprising of the personal home studio, the breakdown of intellectual property, etc.

2. Where do you see music (specifically electronic music and music made on computers) going? Not just musically, but as far as dispersal of the power, distribution channels, fame, money, business, etc.

Financially, Im very concerned about the future of music. Ive seen the value of music go down severely, due to the sheer volume of music thats being produced now. It used to be that making music was an accomplishment and it was valued more. Now, making music is as easy as turning on your computer and downloading a shareware app, so the amount of music being made has contributed to the significant devaluing of music in our culture. I dont quite know what thats going to mean for the future finances of the industry, but I think its safe to assume that its not going to be good for individual musicians.

On the flip side, digital distribution opens up great possibilities for refining revenue streams and actually making it feasible for artists to receive money from song sales, which was according to my understanding, a rare occurrence in the pre-digital recording industry era. Ive yet to see it organized to the point where musicians can generate significant incomes, but I dont think its impossible. A lot of what made musicians successful in the past was the fabrication of hype surrounding them. If there is a way to do that online to the point of generating sales, then I think musicians could have a shot at actually making money. But were still dealing with traditional channels to the general public, so its going to be a while. I think iPods and the Apple Store are the catalyst of the next generation of the music industry. 3. Are you threatened by peer-to-peer file sharing services?

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Well, Im not really affected by that because Im not selling songs. I sell music that supports visual mediums, so my revenue streams come from an entirely different sector. I think the devaluing of music as an entity is a threat to all musicians, but some would argue that its inevitable. When you create an entire industry on the foundation of a fabrication of value, then I believe its inevitable that it will ultimately implode.

However, there is a business component that is just as vital. If all you have is good music, then its going to be tough to succeed because the key to success in the industry is following up good music with a flawless business aptitude and the ability to maintain successful relationships. As music has become cheaper and more easily obtainable from almost anybody, its extremely important to be able to go beyond the music and really make it about selling yourself and having developers excited about supporting you as an artist. If youre a mean-spirited, difficult person who only cares about getting paid for your tracks, that doesnt really instill a lot of confidence in the people who have the power to support you or drop you. No track is so good that the feel couldnt easily be duplicated by someone else that a developer prefers to work with. Music is no longer the commodity it once was, so I think musicians need to adjust their attitudes to accommodate and bring more to the table than just another track of music. Right now, I think they just want the game to sound good. Im sure theyd prefer to like the music going into a game, but in this age of mass-commercialization and focus groups dictating entire productions, I think it has less to do with what a producer wants and more with what he 5. What do producers want with game soundtracks?

When I started making music for games, most musicians wouldnt lower themselves to do such a thing. Its ironic that its become such an in-demand prospect. As far as specific advice, I think in a way, the music ultimately speaks for itself. If you can make really great, appropriate music that sells itself then I think youll have a chance of getting your music into a game. Internet channels are the magic bullet for an up-and-coming composer. Good news travels fast around the Internet and if you can get people excited about your music by it being passed around, it will inevitably end up in the e-mail in-box of someone who has the power to hire. (And its usually better for you if someone they know sends it then if you accost them yourself with it.)

4. What advice do you have for people starting out trying to do game soundtrack work? How do you break in.

I think the sense of entitlement that we see from file-sharers is born of this nebulous institution and I think the downfall is a significant vindication to fans of music who feel cheated by the manufacturing of mega-stars and dishonest music. In the minds of many fans, theyre not hurting the artists as much as theyre disenfranchising the power-mongers who exploit the fans for corporate gain. I cant say that I totally disagree with that perspective, but ultimately it does hurt the artist by devaluing music as a whole.

6. How much money can someone make doing this sort of work? Thats a seriously sliding scale. Beginners usually have to work for free to get noticed. Most people never make it past the beginning stage because it takes too much patience and hard work. Mid-level guys can start to make anywhere from $200 per minute to $500/minute and up. The established guys typically make $1000/minute or more, but thats changing because the established folks doing music for games are largely doing adaptive music and that means that you cant really charge on a per-minute basis. ****begin sidebar**** Adaptive Music is music that can adapt to the current game state in a manner that serves the needs of the games changing state.

I would love to see this happen and have the game industry join the world of music publishing so that the artist can benefit from monies generated by the music outside of the game. Game publishers have yet to truly tap into this financial potential because the industry is still young, but I definitely predict it happening in the very near future.

In the future, I think well start to see the popularization of game soundtracks translating into significant sales figures, so once that happens, I think well see game producers looking to music to generate not only sales for the games, but for significant stand-alone income.

thinks will sell more units. To that end, if they can hire someone to make whatevers popular, they will do so.

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Say your character in the game is walking down a hall and faces two doors. If you go through the door to the right you get jumped by a monster. If you go through the door to the left, you enter an outdoor area with a beautiful vista. Adaptive music would change or branch depending on which door you went through. As the artist, you create separate pieces of music for each possible outcome. The branch analogy is a good one, in which the music can follow several paths, as opposed to a typical linear piece which is always the same every time you play it. Another good analogy is a star or mandala kind of structure. Different types of games might call for one or the other or an entirely different approach. Some people used to call it interactive music which isnt entirely accurate, as in most instances, you dont really interact with the music directly, but rather it adapts to follow you through the game. ****end sidebar**** Definition by John DeBorde

There is a potential of making a large up-front fee in games but there is rarely potential for a really significant sales-based income figure. There is no traditional publishing for game music and most, if not all game music contracts are work-for-hire with no regard to intellectual property or performance rights and royalties. This is a huge sore spot for those of us scoring games and one that makes it unattractive to those coming from the field of broadcast composing.

Well, Ive got a lot of consistent clients now, so I spend much less time trying to obtain business as I do actually doing the work. I still have to do my invoicing, studio maintenance, books, taxes, etc. but I would say that its 10% of my time these days. If my luck runs out, Im sure Ill be back to spending 70% of my time seeking out business but for now, Im good. I absolutely love making music when it works. There is no greater feeling when youve created something and you play it for the people youre working with and its all smiles and high-fives. Thats what makes it all worthwhile. Unfortunately its not always like that, but Im very passionate about what I do and I try to bring that vibe to every project I accept. Sometimes its hard to motivate myself to get started, but that never lasts long once I get moving. I work primarily in ProToolsHD and frequently use Digital Performer as a sequencer. I have three Gigastudio computers running pretty much all of the sample libraries. I have an HD3Accel system that Im very pleased with. It works consistently, never crashes and does way more than what I need it to do, so Ive been pretty hands-off for some time now, in terms of studio maintenance. There were many years, where I spent so much of my time dealing with technical issues, upgrades and computer compatibility issues that I would rarely have time to get much actual work done. Now, Ive got a rig that does what I need it to with very little fuss, so Im pretty much freezing it in time, forgetting about upgrades, and simply focusing on the work. Its nice that computers and recording systems have become relatively stable for us to be able to do that. 10. What was it like working on Unreal Tournament, Daxter 9. What hardware and software do you use? 9. Do you still love making music, or is it just a job?

8. How much time do you spend a week doing business, and how much time do you spend a week doing music?

The only disadvantages is that agents are difficult to get, and the good ones who will believe in you and stick with you regardless of the revenue streams youre creating for them are far and few between. I got very lucky on that account.

Yes, I have an agent and I believe its helpful in my career. Having someone else with a vested interest in the success of your career can be very beneficial both financially and in terms of moral support. Careers in music deal with the luck variable as a primary factor, so everyone attempting to do it will inevitably have ups and downs. Having someone to cheer you on when youre on a down swing can be a career saver. And having someone manage your affairs with your best intentions in mind, both artistically and legally, can help you maintain your focus on whats most important: the music.

7. Do you have an agent? What are the advantages and disadvantages to having one?

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Well, those are just a couple of examples in a very long line of projects but specifically, the Unreal Tournament games, I was primarily a sound designer. I did the sounds of the weapons and the sounds of body parts flying through the air as you slaughtered them, that type of thing. That stuff is a lot of fun for me and I consider it an extension of my composing skill set. Little mini-compositions, if you will. I had a lot of fun on those games and working with Epic. I worked directly with the lead game designer, Cliff Bleszinski and he was always a blast to work with. Hes very upfront about his opinions and his opinions are extremely insightful in terms of what gamers like, so I learned a lot from him and evolved a lot during those projects.

For Daxter, my involvement is much more significant. Ive been working on the project for over a year and Im responsible for pretty much every single thing you hear coming out of the

After that, Ill be working on Gears of War and Unreal Tournament for Epic pretty much fulltime until they ship. These games have some of the most amazing graphics that Ive ever seen, so Im very excited to be a significant player in the productions. Im also currently scoring a feature film called Automaton Transfusion. Its an independent zombie horror-thriller thats actually quite good!

speakers, including music sound effects, Foley, dialog, cutscene mixes, etc. Its a rare and excellent opportunity to have that much control on a title. Ive attacked it with a tremendous amount of verve that the developer, Ready at Dawn has been kind enough to afford me.

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Figure 13.7

Greg Gordon

Photo by Rachel Phillips

Greg Gordon

www.pyramind.com Greg Gordon is the founder and President of Pyramind Inc., The Institute For Advanced Digital Audio Training. Pyramind was founded in 1988 and was one of the Bay Areas first fully integrated MIDI and Digital Audio production facilities. In 1989 Greg engineered and mixed Jerry Garcias (Grateful Dead) performances for Merl Saunders Blues From The Rainforest. He went on to engineer hundreds of recordings for many other notable Bay Area and international artists. For over fifteen years as a studio owner and producer Greg composed music and created sound design for a wide variety of commercial clients including: Sony Computer Entertainment America, Electronic Arts, KRON-TV, CKS Pictures, Cineville Films, Grey Advertising, and

Maclaren Mccann. In 1997 Greg was asked to develop the digital audio program at SF State Universitys multimedia studies program and subsequently built relations with Apple and Digidesign to create his ultimate vision of a Digital Audio-based music production school. Currently on the board of governors for the San Francisco chapter of the National Academy Of Recording Arts and Sciences (NARAS), Greg co-chairs the Producers and Engineers Wing committee, as well as being active on the Dance Music committee and the education committee. Greg is also a Silver member of GANG (The Game Audio Network Guild) and is a contributing author to Matt Donners recently published Thomson Press book entitled Protools Overdrive as well as the PeachPit Press book on Protools 6. When not running The Institute For Advanced Digital Audio Training Greg can be found making tracks of his own or traveling the world in search of new exotic sights and sounds. 1. You did regular electric music first, right? How and when did you get to working with computers to make music?
Yes. I got my start working in studios at the age of twelve when I auditioned for Super Kids. It was produced by The Boston Educational Group as a learning resource to help kids learn how to read. It was a lot like Sesame Street but all on tape. I was cast as a character named Ickittythe letter I and sang a bunch of songs for them. All those recordings where produced at Coast Recorders (now called Toast) on Ninth and Mission back in 1976. I knew then that I wanted to sing and work in studios.

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Computers came into the scene a couple of years later with first the Amiga and then the Atari. I was completely ignorant of computers at the time, but the concepts fascinated me. We did our first recordings with MIDI sequencing then, using a DX 7 an SP12 and the Atari. Wed lock that up to the Teac using FSK syncIt wasnt until 1986 that I started working for Joe West at a little shop in Daily City called Computers & Music. It was there that I got my first real exposure to programs like Mark of The Unicorns Performer, Voyetra, and a little-known application at the time called Sound Designer. It wasnt but a year later, 1987, that I set out to build an integrated MIDI-based recording studio in downtown San Francisco.

All through high school I sang and performed in rock bands and was so attached to my band by end of high school that I didnt want to leave San Francisco for college. As a result I went to SFSU where I went into the Broadcasting program and took every recording and production class they had to offer. It also didnt hurt to have a band mate who was very into DIY recording. This was still pre-MIDI and he was the kind of guy who was into building and tinkering with electronics so he bought a kit which enabled him to build a small mixer and connect it to a Teac four track-recorder. We produced our first recordings this way in the living room of his parents home.

To answer this question properly would require a books worth of information. Succinctly put: Moving forward: computers, their operating systems and software will only continue to become better, more robust and more powerful. So, too ,will the means of digital distribution and digital rights management. There will be fewer mega-stars but also more people will be making a good living being creative and innovative with music, multimedia and performance. We are still only at the very beginning of the personal media revolution. We have much yet to see unfold. The success of iTunes and the iPod are a big hint of whats coming. Google obviously gets it or they wouldnt be wanting to digitize all the books of the world. Performing rights organizations like BMI and ASCAP are in as much a need of an overhaul as the record industry. Centralized servers with vast music libraries able to track click-throughs,

2. Where do you see music (specifically electronic music and music made on computers) going? Not just musically, but as far as dispersal of the power, distribution channels, fame, money, business, etc.

Besides the fact that most of the time you dont need or want a virtuoso. You want someone who will do what is asked of them, not cause problems and not cause the project to go over budget. 6. Do you have an agent? What are the advantages and disadvantages to having one?

First and foremost this is a people business. You need to know how to get along under stressful circumstances (ie: deadlines, technical problems, personality conflicts) and the single positive thing I have heard most in the studio: Gee I really liked working with that guy. He had such a great attitude he was really a pleasure to work with. Lets make sure we hire him again next time

5. How and why does a pretty darned good musician with good people skills get more work than a stellar virtuoso who is high-maintenance?

Get the best education you can. Learn about as many aspects of the industry as possible. Find a mentor. Score as many sample and demo pieces as possible and get as much honest feedback from trusted industry sources as possible. You must be honest with yourself. Use the feedback to improve your works until you get almost only positive feedback and then begin to submit and post samples of your work in as many forums and to as many pros as will let you. If youre good at what you do, that will ultimately speak for itself but diligence and persistence at the onset is critical. If you really want to score films and/or games you might even consider hiring an orchestra (In Budapest?Thats cheaper!) to record your works.

4. What advice do you have for people starting out trying to do soundtrack work? How do you break in.

No. I see it more as a great equalizer forcing the major record labels to get with the program of developing and nurturing the careers of quality talent. Artist development went the way of the Dodo bird through the greedy label days of the eighties and nineties. Labels are coming to realize that their future will depend on nurturing and developing strong careers of a talented pool of artists and giving them longevity based on tour and management support. This, talent, and marketing dollars will be what differentiate the winners from the losers, and the career artists from the flash in the pans.

3. Are you threatened by peer-to-peer file sharing services?

performance streams, purchases etc will become the norm. Artists wont be able to get away with one killer single and nine fluff tracks to sell an album. As mass media becomes more de-centralized, singles will dominate and Pod Casts and other forms of personal-media mixes will become the taste makers of the future.

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Its all about who you know and what you know. Hopefully your agent will know both at the right time.

I have in the past. The advantage is knowing that someone out there cares whether you get work or not. And that hopefully they have their finger on the pulse of whats going on so you dont always have to. The disadvantage is if they are not well connected you could flounder with them and never get to the jobs you might have been able to find on your own if you had the time and ability to sell and market yourself. 7. How much time do you spend a week doing business, and how much time do you spend a week doing music? I now run a school as well as a studio and a production company. Ive found that running a

full-time commercial studio was too draining and did not allow me any freedom to pursue musical creativity. The school has allowed me much greater freedom, and as a result I am now writing and working on music more than ever. 8. Do you still love making music, or is it just a job? Ill always love making music. 9. What hardware and software do you use?

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My favorite combo these days: Protools HD for mixing and mastering. Ableton Live and Reason with a healthy dose of Spectrasonics and Native Instruments synths and samplers for Pre-Production and re-wired back into PT. 10. What was it like working with Jerry Garcia?

Jerry was amazing. In the studio he was a total pro. His focus and concentration really impressed me as did his desire to do what was right for the song. Before working with him I had no idea how into technology he was. He was way into his MIDI guitar rig and Ill never forget tracking his Roland MIDI guitar rig into Performer and watching the poor little Mac Plus with the Opcode MIDI interface choke on all the controller data coming in. It was a good thing the tape kept rolling, and we never missed a lick. I had a great time with he and Merl Saunders experimenting with the different sounds, tweaking the parameters to get them to best respond to his guitar and integrating all these new sounds into The Blues From The Rainforest Album. A career in the music industry rarely goes the way you think it will. Its great to have vision and determination, but be prepared to roll with the punches and always pull yourself back up smiling. The winners are the ones who keep doing it day in and day out and are grateful for being in a creative, challenging and rewarding industry. Its not for everybody so be sure not to over-glamorize it. Just like any other highly competitive industry, its about smart and talented people who have relentlessly pursued their vision and found themselves in the right place at the right time. And most important of all, be able to deliver the goods. 11. Anything youd care do add?

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By the way...please consider planting a tree after you read this. Planting a tree combined with reading a book that is NOT printed on paper is a great way to contribute in a small way to helping save the planet. --The Management.

CHRIS CAULDER is a passionate, multifaceted artist based on the East Coast. He has been in numerous bands since the mid 90s, including trip-hop duo Beauty's Confusion. Chris is a selfpublished writer with eight poetry books under his belt, and he is also a digital filmmaker and amateur actor. His two main websites are THEMIXTAPE.NET and OUSTEDPRODUCTIONS.NET MICHAEL W. DEAN is the author of the books "$30 Film School", "$30 Music School" and "$30 Writing School." He directed the films "D.I.Y. OR DIE: How To Survive as an Independent Artist" and "HUBERT SELBY JR: It/ll Be Better Tomorrow." Michael was the singer in the band Bomb (Warner Brothers.) He has toured America and Europe lecturing at youth centers, colleges and museums. He has a bunch o stuff on the Web, a good place to start is WWW.KITTYFEET.COM !!!! MEW! !!!

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