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RECORDING - HOME OR AWAY Do It Yourself Approach - There are basically two ways to record your own CD. The first is what a lot of independent artists are doing: they do it themselves in the privacy of their own home. They get themselves a computer, install the software and go to town. The advantage to this approach is simple; you can spend a year recording your CD and tweak every tiny thing that bugs you. You can punch in your guitar solo seven thousand times ‘till you get it right. You can fix any pitch problems, add tons of layers, spend a bunch of time getting a killer tone, go nuts without getting yourself in debt like you would if you had to pay an engineer or for the same amount of studio time. The only problem is that unless you practically have a studio in your home, you are going to have a rough time recording a full band, especially if you play the kind of music that needs to be played live, with real musicians. Jazz, Fusion, Blues and some Rock are a few examples. Drums are a nightmare and big amps can also possibly pose some problems. That is why the kind of music that generally gets recorded using this “do it in the privacy of your own home” method is ambient, techno, electronica and the like. Not to say you can’t record other genres effectively but a recording studio tends to produce better recording results when you need to record traditional instruments. The Traditional Approach - Rehearse the band and get in the studio. This poses one big obstacle: MONEY! Studio time is expensive so you need to be well rehearsed or at least use musicians that are quick. Both my CDs, “Big Bad Sun” and my first release, “Prospect s” where recorded this way and with no rehearsals. We only had three days to record the “Big Bad Sun” CD so more then the other two guys in the band, I had to be tot ally prepared. I had to know exactly how I wanted to start and end each song, the form of each tune, have my lyrics together. Recording a CD in three days is impossible if you have to spend more than two hours on each song so I had to 18 have an image of each song in my head before we even got in the studio. By the way, most CDs are recorded in about a month but when you are paying for the studio time yourself, plan on doing it in about five days or you’ll go broke. Who Does What The Engineer - When recording at home an engineer is out of the question (unless it is you), you would have to be Bill Gates to be able to af ford to pay an engineer to come over everyday for six months. In a recording studio, you will have to hire one or use the one that they give you. Out of all my years playing guitar in dozens of recording studios, I still don’t know how to turn half the stuff on much less mix my own tracks. As I said, most recording studios will supply an engineer but you may want to hire one with a good reputation. You can always listen to CDs that they engineered. Basically engineers are passive for the most part, they work best when they are told what to do. That’s where problems arise. I mean, during a recording session if the engineer where to ask me; “How do you want me to EQ the snare drum?” I would be dumbfounded for an answer . I know what I like when I hear it but I don’t know how to EQ it to make it sound like what I like. So if you are not up to giving the orders, you may want to consider hiring a producer A word on Engineers - Engineers are different than us guitarists. Unlike us, they are into compressors and limiters and things like this. Compressors and limiters are boring to guitarists, they have unexciting brand names that sound like French food or German medi- cine, names like Sennheiser, Neuman or Neve. We aren’t interested in them because they are basically made to control volume, which is something strange to us. We are always trying to figure out ways to play louder anyway. The last thing that we want to think about is ways to by Chris Juergensen compress or limit our volume. Besides, guitarists like things with exciting names like “Nuclear Harmonic Expander” or “Tri-Stereo Distortion Booster” ( I made these names up, but you get the point). Plus the compressors and limiters that they like are old and crusty and look like crap, we guitarists prefer things that gleam and are shiny. As much as engineers love compressors and limiters, mastering engineers love them even more (I’ll get to mastering later). Mastering engineers go so crazy with compressing and limiting that recording engineers get pissed off. They often complain that the engineer that masters the music cranks up the volume too much and then cut s off the highs and lows and erases the dynamics of the music. It is best to stay out of the whole thing and let them do what they like to do. The Producer - Sometimes you can find a guy that is good at both engineering and producing. One reason a producer is good to have is because with only a few days in the studio, you are going to have a hell of a time editing your tracks by yourself. Let me explain: let‘s say you are recording your vocal track, usually you sing through the song four or five times and record each take on different track. Each time you sing through it, the producer sitting at his groovy producer desk in the studio, picks the phrases from each vocal take that he likes the best. He makes notes on your lyric sheets, marking which phrase he likes from what t ake. After you are done singing through the song several times he will tell the engineer how to glue the different parts he likes together. If you aren’t the greatest singer, it is an enormous undertaking, like putting together a jigsaw puzzle. It would take you way to much time to do this yourself. He will also tell the engineer how to mix everything, what kind of reverb, delay, how to EQ your guitar. Being a musician, you would figure that you could tell the engineer how to mix everything but I found that after hours in the studio I tend to lose my sense of perspective but a good producer’s ears never seem to get tired. A good producer also has a fascinating ability to know how things will sound recorded. Guitarists tend to listen to the sound of our amp and that’s where it ends but the producer listens to the sound of our amp, imagines the sound hitting a specific mike placed in a specific location in the studio, travel to the mixing board, get some reverb and delay added, get MUSIC MAKER
mixed with the other instruments, get mastered, burned and getting stuck in a cheap CD player then getting listened to by someone who probably doesn’t even play the guitar. Musicians tend to listen in real time but a producer must be a clairvoyant. You should definitely take a listen to the CDs that he has produced before you hire him. Each producer has his style, some guys like everything super wet and some hate wet sounding recordings, so it is best to match up your likes and dislikes with his. When you meet with him, tell him what kind of image you have and maybe give him some CDs of recording that you like. One reason I picked the producer I did for the “Big Bad Sun” session is because he, like me, is a guitarist and pays special attention to mixing the guitar correctly. Choosing A Studio What to look for - Because the computer is used mostly these days rather than t ape, the process is a lot faster. When things were recorded on tape, half your studio time was spent rewinding each take. It may seem trivial but when you record nine or ten songs four or five times each, punch-in solos, separately record the vocal tracks several times each and edit them, you spend an enormous time rewinding tape. Since studio time is expensive definitely pick a digital studio over an analog one. Whether or not you record at home or in a recording studio, there is also one more great advantage to using computers for recording, you can send the data out for various purposes. Mastering is one example but also imagine this, you could record your tune and send the dat a to me, and then I could record in a guit ar solo MUSIC MAKER and send it back to you. You could send your data all over the world and have dif ferent people record different tracks. Couldn’t really do that in the old days. Generally the medium sized studios will charge you less if you bring in your own engineer but of course you will need to pay him separately for his time. The big studios will charge you more and may be less interested in the project. A word on digital recordings - Remember how I was saying that engineers like old crappy outboard gear? Actually there is a pretty good reason for their obsession with these old compressors, limiters and pre-amps. It is because of the new digital revolution. You see, most engineers, especially the ones in their forties, feel the sound of all the digital components plus the SSL board gives off a very cold, sterile sound. To compensate for this they like to use older outboard gear, tubes included to add some warmth back into the mix. I personally buy this argument. The older recordings definitely have a warmer tone but recording in a completely analog studio seems impractical. Best of both worlds - There are some guys that combine both the “do it yourself at home” and “traditional” methods for spectacular results. Keyboards and sequences are recorded at home, the data brought to the studio, drums, guitars and vocals added, data brought back home, tweaked and tweaked again, etc.. This method is also very cost ef fective as it reduces your time in the studio. Once It’s Recorded Mastering - Don’t screw up here. You get in the studio, record a great session, mix it down, and add the perfect blend of equalization, reverb, delay and whatnot. Now you have to get it mastered. When you master a CD this is what happens, the data goes to a mastering studio, the mastering engineer will then arrange the songs in the proper order, do fade-outs on the songs he is supposed to, make sure all the songs are the same level, EQ the whole thing, compress the music so there is no jagged edges sticking out, and raise the general volume. He basically makes it easy to listen to. My general rule of thumb is that I never let the engineer who mixed the music master it. It is a whole different thing and it is best to let someone who is listening with fresh ears to master it.The cost of mastering depends on the mastering studio and amount of songs that need to be mastered. I would suggest you wait at least a week to master your CD. You should listen to it a bunch of times in dif ferent stereo systems before to make sure you like the mix first. Studio monitors sound great so don’t let them fool you, compare it to some other CDs at home in the same stereo that you always listen to. Whichever recording method works best for you is for you to decide and both methods have their advantages and disadvantages. My final advice is this: it is easier to make music than it is to sell it so be not only an artist but also be a businessman. Do the maths, homework and all the preparations you need and finally sell enough to make a profit!! Chris Juergensen - Native New Yorker, long time studio musician and session guitarist Chris Juergensen is in constant demand. He has played sold out venues as intimate as the world famous Blue Note and as large as the Long Beach Auditorium. After teaching guitar for six years at the prestigious Musicians Institute in Los Angeles along side with Paul Gilbert (Mr. Big), Scott Henderson and Joe Diorio, Chris lef t the states to become the Director of Education at Tokyo School of Music in Japan where he still resides. Big Bad Sun - Traditional in nature, contemporary in sound, Chris Juergensen’s Big Bad Sun is a bold departure from the blues you may be familiar with. Passionate guitar playing, good story telling plus crystalline production makes this CD destined to become a true, modern day, blues classic. Prospects - his first solo CD, has been critically acclaimed throughout the world. For his efforts in promoting international music education, Chris was made an honorary citizen of New Orleans by the Mayor of the city , Albums can be purchased from: chrisjuergensen.com bandvillage.com cdbaby.com guitar9.com abstractlogix.com magnatune.com towerrecords.com 19
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Page 3: MUSIC MAKER MUSIC MAKER 132 Editori
Page 6 and 7: Remote Control Chris Wilson, the ex
Page 8 and 9: IT ISN’T MUCH TO LOOK AT THESE DA
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Page 12 and 13: Couple dancing Forró at Forró Fam
Page 14 and 15: IT WILL SURPRISE SOME BUT NOT OTH-
Page 16 and 17: lack field hand picking cotton from
Page 20 and 21: Legends of Music Lonnie Johnson The
Page 22 and 23: CD Reviews By Peter Stevenson Winkl
Page 24 and 25: Electric Guitar Pickups The job of
Page 26 and 27: MICROVOX microphone products update
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