BE AWARE OF YOUR SURROUNDINGS/SPACE

Make sure you’ve set up your recording space in a comfortable setting with the lowest possible noise interference. An open window next to a fire station is not an ideal place to record, for example. Eliminate as many factors as possible that are creating noise in the room, which includes unplugging anything that might be humming, buzzing, etc. (This is particularly important when recording acoustic guitar.)

CHOOSING A MICROPHONE

If you are one of the lucky musicians that has more than one microphone option for recording, a condenser mic is a good way to go when it comes to acoustic guitar recording. Condenser mics tend to offer a far more detailed and realistic sound than dynamic mics. If you have the option of using a stereo pair miking technique, it can only add more depth to the recording.

For electric guitars, there are many options for microphones that make for different sounding recordings, whether it’s condenser mics, dynamic mics, or other choices.  What sounds best is really up to you (see tip #6 below), but many people stick with the trusty Shure SM57 mic, especially when on a tight budget.

MIC PLACEMENT

Mic placement determines the amount of the “room” sound you will pick up. Decide what mood you’re going for in the song; the further away the mic is from the guitar or amp, the more ambient sounds it will pick up. Miking up close to the instrument/amp will produce a more concentrated sound.

MIC ANGLE

Besides how far away you place the microphone, the angle at which you place it matters, too.  With acoustic guitar, angles particularly come into play when using a stereo pair (techniques detailed below).  For electrics, pointing mics straight at the speaker cone or angled slightly away can produce two very different sounds.  Experiment until you get a sound that you like.

STEREO PAIRING

A stereo pair is probably the best way to get a great acoustic tone, as they can pick up many different characteristics of the guitar’s natural sound.

XY Pair- Put the mics together very closely, with their capsules practically touching. The back of each mic is spread apart at an angle of roughly 90 to 120 degrees, creating a “V” shape.

Spaced Pair- The first mic should point to the 12th fret of the acoustic guitar. The second should point down towards the bridge or at the strings just behind the sound hole.

USE YOUR EARS

It may seem like common sense, but it’s still worth mentioning that it doesn’t matter how technical you get with your mic placements if you’re not using your ears! Do a test recording and listen to the guitar playback… Are you picking up too much background noise? Move the mic closer. Are you picking up too much fret noise or plucking noise on your acoustic guitar? Move the mic back a bit, or relocate the microphone to where the fingerboard joins the body.  Is the overall tone not what you’d hoped for?  Try using a different microphone, placing it at a different angle, or explore a different technique, such as stereo pairing.

In the end, it will probably come down to a little trial and error before you find your favorite way to record guitar parts…  But with these six tips, you’ll cover all your bases and be well on your way to a great guitar recording!

So grab your guitar and start laying down some grooves. And if you need a little inspiration, try rocking out over a drum track played by a real drummer!

What is a song “sketch?”

How can you tell if the sketch is good enough?

1. Make sure all the parts you wanted are there. Sing along with the sketch and make sure you can sing your song properly. Pay special attention to all the lines in the verses/choruses/other parts, plus any breaks, transitions or other elements that the rhythm section should take note of.

2. Make sure the key and tempo is right for you. In most cases, changing the tempo or the key after recording the real instruments for the production will required a complete redo.

3. Try to ignore the simplicity and the sound of the sketch. Always remember it won’t be used in the final recording.

It all starts with an idea.  In Tim Knighton’s case, it was an idea for his original song called “Hail the Woman,” one of many tunes he wanted to record for an album.  ”The website was easy to use,” he explains.  ”So I picked a track that I knew I’d want to put on the album and thought I’d give it a try.”  Knighton recorded a scratch version of the song and sent in to Studio Pros to kickstart the production process.

Listen to Tim Knighton’s original version of “Hail the Woman:”

The first step for Studio Pros was sending him a sketch of the song, which included a guitar part under his original vocals.  (This sketch is used as a guide for the rhythm section to record their parts over later and won’t actually appear in the final product.)

“Hail the Woman” song sketch:

When Knighton approved the sketch, that was when the fun began.  Piece by piece, Studio Pros’ world-class session musicians laid down their parts (drums, bass, guitars, keys). Knighton received mp3 rough mix previews after each new instrument was recorded to make sure he was completely happy with the production every step of the way.  With each instrument that was recorded, Tim had a chance to give feedback and make one free modification per instrument to ensure he was happy with the instrumentation as it unfolded.  Once he approved the drums, it moved to bass, then final guitars and keys.

Drum track:

Laying down the bass:

Recording the guitar track:

Keyboard recording:

Laying down professional vocals and putting on the finishing touches.

Then came the element that Knighton felt was the most crucial aspect of his song: vocals.  ”I’m a big believer that we’re all given certain gifts and abilities,” he says, contemplating his role in the music world.  ”And the one I wasn’t given was singing, much to my annoyance.”  But instead of worrying about his own perceived musical shortcomings, he chose to use a professional vocalist provided by Studio Pros to breathe new life into his songs.  After sampling different singers on the Studio Pros website, he decided that Phil (pictured, right) would be the best fit for his material.  ”From the first track Phil did, I knew this was absolutely the guy who could make a real difference on my songs,” he says.

Vocal preview:

With the instrumental and vocal tracks complete, the homestretch of the recording process involved mixing and mastering the song by Studio Pros’ 7 time Grammy-nominated engineer.  The final product had taken the song from an idea bouncing around Knighton’s head to a fully realized, professionally polished production in almost no time at all.

“Hail the Woman” final production:

From his first song to his first album: Knighton makes his dream a reality.

Now a Studio Pros believer, Knighton decided to use the service for the rest of his album, having Phil sing on 14 songs and repeating the process for an album’s worth of material.  ”I’ve been absolutely delighted both with the quality and ease of use of Studio Pros,” he says, “and it’s a good value for the money, as well.  I think it’s an excellent service all around, and I would wholeheartedly recommend it to anyone.”  Knighton’s musical dreams have now been realized because of Studio Pros’ full music production service.

Knighton is from England, but now resides on the coast of Wales (“It’s not quite California, but it’s very nice,” he quips about his current hometown).  As a kid he played guitar in local cover bands, but always enjoyed writing songs.  Inspiration for his tunes have come from myriad sources, from the brass arrangements of Glenn Miller to the pop arrangements of Quincy Jones on Michael Jackson records.  But One of his biggest influences has been Led Zeppelin.  ”Jimmy Page is one of the best guitarists ever,” he says.  ”But not only that, there’s also a lot of acoustic.  That is the sort of contrast I have on the album, a mix of rock numbers and also some softer acoustic numbers.”

Once the album is complete, Knighton has grand plans for using his music to do some good in the world.  Noting that a friend of his recently lost a child to leukemia, he is planning on using proceeds from his music sales to rase money for UK charities benefiting children with the same illness.

Tom Gray grew up near Cleveland, Ohio, where he found himself involved in both the local jazz and rock scenes. A performer and composer, Gray was also classically trained as a singer, adding yet another facet to his diverse musical upbringing. But with the music he’s made with Studio Pros, he’s taken his versatile musical skill set and applied it all to pop music (“It has been really strange to find my ‘pop’ voice,” he admits).

But even as a pop artist, Gray lets his many musical roots show through often. “There’s a song called ‘Go’ that is almost like an avant garde jazz tune,” he says. “On the surface it’s approachable, but there is some really complex content (harmonic, meter, and structure) in there without sounding ‘jazzy.’”

Gray used Studio Pros as a tool to take some music that had been close to his heart for years and turn it into something tangible. “This album has been a long time in the making,” he says. “They are gems that I had written for myself but haven’t performed with anyone else. They’ve very intimate, very personal.” But after finding Studio Pros via a web search, Gray found a resource that helped him recapture and discover new inspiration in his own songs. “It’s funny, some of these songs are 15 years old and I’ve demoed them to death,” he says. But working with Studio Pros’ world-class session musicians helped him breathe new life into music he may otherwise left behind.

Gray was in need of those musicians after moving to Cincinnati and realizing he no longer had the musical contacts he once had. Knowing no musicians meant it didn’t make much sense to rent out a recording studio, so he turned to Studio Pros. “When I talked to Kati, I was really upfront about my vision,” he explains. “I made her listen to a whole album of demos. We decided to start with ‘Anywhere’ and see how it felt.”

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After sending in a piano-based scratch recording of the song, he received a re-imagined version on acoustic guitar. “The song was reinterpreted so well for that instrument, I fell in love with it all over again,” he recalls. “Here is a song that I know intimately, and it still had the power to surprise me. I was hooked–that laid a great foundation for me to trust the Studio Pros musicians.” So Gray decided to use Studio Pros for the rest of the album, interacting with the musicians by providing feedback while also allowing them to add their own ideas to build on each song. “They didn’t copy my performances, they internalized my intentions and gave me their expressions,” he explains. “They made it their own. We are really getting to the soul of the song and putting that out front, not any one musician. That was really important to me.”

Even with the songs so deeply attached to his own feelings, Gray found that Studio Pros’ session musicians could convey what his songs were really about. “The musicians and producer at Studio Pros are professional enough to hear my intentions, amplify the emotional currents, and build these tunes into something better than I could produce alone.”

“The end result is emotive, textural, subtle, and approachable. The song really shines through. It really exceeded my expectations.”

When the album is finished, Gray plans to put it for sale online and hopefully kick start his musical career. And how does it feel to finally be recording and releasing something so personal after all these years? “If I had to attach one overriding emotion to this experience, it is excitement,” he says. That excitement could take his music far.

Sam Inglis, feature editor of Sound on Sound magazine, reviewed 3 of the top online recording studios in the July 2009 issue of Sound on Sound magazine using one of his songs.  To test them as equally as possible, Sam used a Christmas song he wrote last year and used Studio Pros’ full music production.

Sam’s scratch recording: http://studiopros.com/blog/wp-content/uploads/2010/06/christmas-demo-at.mp3

After StudioPros’ full music production: http://studiopros.com/blog/wp-content/uploads/2010/06/studio_pros_2.mp3

Sam’s article spreads over 6 pages with detailed descriptions of the pre-production and production process. In brief, Sam writes: “Very high quality of playing and recording; strong production skills. Ideal  for: Anyone who wants to hand over production of their material to someone else and get top-quality results.”

Here are some of Sam’s conclusions:

“All the instrumental parts Studio Pros delivered were straight out of the top drawer.”

“…I would choose Studio Pros’ version ahead of the others”

Try Studio Pros’ full music production on your song.  Click here to learn more.

Along with Brad Ackerman (drums) and Kristin Allen (vocalist), Tim and Chris Allen form the band Allenton Hill, who cite influences as diverse as Owl City (on the song “Fireworks,” listen below) and Switchfoot.  ”Truthfully, most of our music has been influenced by three main bands: Hillsong, Phil Wickham, and Coldplay,” says Tim, who plays lead guitar, does some singing, and is the principal songwriter of the group.  He’s been playing music with his brother Chris, who sings and plays acoustic guitar and piano, since they were kids.  ”When we were young, we were always around music,” Tim remembers.  ”Most everyone in my family plays an instrument or two… Eventually the music fever hit Chris and me.”

“Dad always turned up the music when we were driving around and he’d have me pick out all of the instruments,” says Chris.  ”This led to me having significant appreciation for the details in music.”

The members of Allenton Hill, all in their early twenties, got together when they began to play at a local Youth Center in their hometown of Dayton, OH in 2006.  They met Ackerman, who has now been playing drums for about 16 years, when he ended up living at their house for a short time.  Although he currently lives in Nashville, Ackerman drives up to Ohio every week to be with the band.

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Tim was searching for recording studios on Google when his curiosity was piqued by the Studio Pros website.  ”Chris and I payed over a grand for recording at a local studio,” Tim explains.  ”We were terribly frustrated with the quality.  Then we threw five grand into recording equipment and built a home studio.  We started to get a feel for recording but we could tell there was something wrong with our music.”

Realizing that their recordings lacked professional mixing and mastering, Tim started researching his options and decided to go with Studio Pros.  ”We were impressed with the quality of the services as well as the great pricing offered,” he says.

The Allens handled most of the recording themselves, but turned to Studio Pros when it came time to lay down drum tracks.  ”We don’t have the facilities or training to record a drum kit successfully,” Chris admits.  So they had Ackerman record parts on an electronic set, then sent the files to Studio Pros to get a world-class session drummer to reproduce the parts on a professionally recorded drum kit.  ”When I heard what he had done, I was very pleased,” recalls Ackerman.  ”I said, ‘hey, that sounds like me!’”  Chris agrees: “We were very happy with the performance of the session player that we got.”

Once they had the instruments recorded, they turned once again to Studio Pros to put on the professional finishing touches via mixing and mastering.  ”We were looking for someone to take our track and really bring out the details,” Chris explains.  ”The staff was very happy to attend to our every request for small, detailed changes.”

Studio Pros customer service helped keep the Allens focused along the way.  ”Kati O’Toole sold us on Studio Pros because she was always keeping in contact with us, helping us along with our projects, and making sure we kept things on track.”

The final project lived up to their expectations–even when the bar had already been set high in their minds.  ”Our expectation was quite high,” Chris says.  ”So I would have to say that we were very much satisfied with the product Studio Pros gave us.  The only real surprise was the absolutely excellent customer service.”

As for their future, Tim and Chris will be sending their music to the top 6 Christian record labels in hopes to take the next step toward making music a full-time gig.  They’re hoping to get some responses from the labels before they take any steps toward making their songs available for purchase, so it may be worth keeping an eye out for Allenton Hill.

One of StudioPros advantages is the quick recording turnaround time. It provides songwriters who use our recording service to have a continues flow of creative ideas while producing their own albums. It also allows commercial agencies and TV music supervisors to get ques and music for spots and promos on demand and on a  tight schedule. The standard turnaround time between the time the client submits his order until he gets his first draft (our mp3 preview) is between 24-48 hours – faster than any recording solution available today. After approving the MP3 preview, it takes the studio about 24 hours to bounce and upload all of the final files.

When you need it FASTER than the standard…

We’ve come up with a rush service solution for those who need it faster.  With StudioPros’ Rush Service you get a custom track recorded in less than 12 hours or a full music production completed in just 2-3 days. We also shorten the time of waiting for the final files to be uploaded and upload it together with the preview for instant downloading.

Rush orders are assigned to a producer that will check the availability of the session musicians and create a specific time line for the track/production. We then stay in constant contact with you (the customer) to ensure your rushed tracks are delivered on time and according to your needs. If a change is required, it will also be done in matter of hours.

Give us a call at: 1-310-928-7776 and ask for Studio Pros’ Rush Service.

Same quality?

Quality isn’t effected by placing a rush order. The player won’t play faster or work under pressure. We simply set the order to the first place in the recording cue and verify the delivery of the track.

How much does it cost?

We charge 50% additional charge over our basic rates.

For example: A custom drum track that usually costs $125, will cost $177.50 if ordered with a rush service (additional $62.50). A full music production will cost $1080 instead of $720 if ordered with a rush service.

How to get your order rushed?

Call us at: 1-310-928-7776 and ask for Studio Pros’ Rush Service. We’ll check for availability, plan the production/track schedule and apply the additional charge to your card. You can also email us at: info@studiopros.com and during business hours (Monday-Friday 8:00am-16:00pm PST), we’ll reply promptly.

Luckily, with a little attitude adjustment, you can take the rationale that keeps convincing you it’s not realistic to capture your genius on record and turn it into plenty of reasons why recording an album is well within your grasp.  Here are some common excuses and explanations of why they don’t apply to you, so you can get that music out of your head and straight to the fans.

Myth #1: My songs aren’t ready

Sure, you have a few brilliant melodies bouncing around in your melon.  And you might have some gorgeous chord progressions just dying to be heard by the masses.  But that just isn’t enough to justify recording an album.  You want a song to be fully recognized before you can record it, and you need to finalize the arrangements before you could even think about heading to the recording studio.

Why it’s busted

In actuality, a chord progression and melody are all you really need.  Any song that can be sung with a guitar or piano is ready to be recorded.  Actually, with the help of Studio Pros, you don’t even need the chord progression–just some lyrics and a vision!  We can help take care of the rest.

If you’re shooting for full production, many decisions on song arrangement are made during the recording process.  As you record, you’ll learn more about each song’s needs, so there’s no reason to feel like every detail should be figured out beforehand.  You’ll probably find that your songs will change even if you think you have come up with the end-all version.

Myth #2: My songs aren’t good enough

You’re a perfectionist.  You need every song to be so good it could potentially change the world.  But you’re not there yet.  The songs you have now just wouldn’t cut it in the music biz, so you might as well wait until you write some really good songs before you record an album.

Why it’s busted

I hate to be the bearer of bad news, but it’s pretty rare that any musician feels as though they’ve written their best material already–otherwise, they’d have nothing to work towards in the future!  It’s great to feel like you’re recording the best work you’ve ever done, but you don’t have to think you’ve written 12 masterpieces before you’re ready to lay it down on tape.  The recording process can actually help you improve your songwriting skills, and having finished versions of your songs will allow you to move on to bigger and better things.

Besides, there’s no reason to worry about how your songs will stack up compared to the music that’s already out there; it’s not a competition, it only really matters if you like them!

Myth #3: I don’t have enough songs

OK, so we know you have some catchy tunes, and while they may not feel completely fini

shed, they are in a good enough place that you’re confident enough to put them on wax.  But as of now, there are only four that you feel that way about.  So it would be pointless to record them when you don’t have nearly enough music for a full album, right?

Why it’s busted

While it’s true that it’s always good to record more songs than you’ll need for a CD, there’s no rule that says you have to do it all at once.  In fact, it can be much less overwhelming to record smaller groups of songs than to attempt to tackle 10 to 15 at a time.  Not to mention that these days it’s not only very common to record an EP of four or five songs, but the popularity of digital download services such as iTunes have made recording albums a lower priority for most artists.  You can release one song at a time through services such as CD Baby and TuneCore if you want!

Myth #4: I don’t have enough money

Money used to be the ultimate excuse for not recording an album.  Recording stud

ios were in high demand, and paying for studio time and session musicians could run up quite the bill.  But more and more, money is becoming a much smaller hurdle to overcome when it comes to recording.

Why it’s busted

These days, the wide availability of home affordable home recording equipment has not only brought the recording studio into thousands of bedrooms around the world, it’s also forced professional studios to adjust their rates in order to compete.  Additionally, online collaboration among musicians and producers has been made possible through sites like this one, which hooks you up with professional musicians for affordable prices!

Myth #5: The logistics of finding the right players and studio are too complicated

I get it: you don’t want your music to be put in the wrong hands. Musicians are perfectionists.  There’s nothing wrong with that.  Unless, of course, it keeps you from recording your music.

Why it’s busted

Hooking up with quality recording facilities and session musicians is easier than ever.  If you’re looking to rent out a studio, call them beforehand to ask for a tour of the building.  Ask to hear samples of music they’ve recorded, and check their website for a complete gear list, notable credits, staff members, etc.  If they’ve made a bunch of recordings that you like, chances are you’ll also like what they do with your music.  If you don’t feel comfortable while taking the studio tour, chances are you’ll feel uncomfortable trying to record an album there.  Logical?  Yes.  True?  Very.

And as for those studio musicians?  Like I mentioned in Excuse #4 above, finding kindred musical spirits and teaming up with top-notch session players is easier than ever on the Internet.  Studio Pros offers singers, musicians, and mixing/mastering engineers, so you can be sure that you have every integral step of the recording process covered!

Myth #6: It’s just not the right time for my music

You play dark and brooding music while the world is buying happy and cheerful.  You write catchy pop songs, but the “hip” bands are playing unconventional indie music.  What you create isn’t what’s popular, so what’s the point of making a record that won’t sell?

Why it’s busted

Truth be told, this might be the worst excuse of them all, because nobody can predict when the trends will change.  Nobody knows what kind of music the next “it” band will play.  And most of all, because no band that’s ever changed the world decided not to record their style of music if it wasn’t all over the airwaves at the time.  When Nirvana released Nevermind, no radio stations were playing alternative music.  We all know how that one turned out!

You might have inadvertently written a song that will resonate with millions during an unpredicted time of crisis.  You might have music that would be perfect for a major sports team’s stadium introductions.  But you’ll never know until you get it out there.  So forget the excuses…  Now is as good a time as any to record your album!

What Is Digital Distribution?

Digital distribution, when it applies to music, is selling your content online in digital mp3 format.  Instead of purchasing a physical copy of a cd in an old school record store, consumers are now able to purchase recordings online.   This is a sad reality for record stores, but at the same time makes distributing independent music much more accessible!  Currently, the world’s largest digital music company is iTunes.  Ever heard of it?  I thought so.  iTunes has changed the music industry with their model of providing digital music for sale across the globe through their online sales.

How Do I Get My Recordings On iTunes?

Believe it or not, digitally distributing your materials for sale online through iTunes is easy!  Any independent songwriter can post their music for sale online if they take the proper steps.  Just another reason why independent musicians have much more advantage than 20 years ago when the need for label support was more necessary in making your recordings accessible to the public.

Which Companies Offer Digital Distribution?

These sights can help you get your materials live on iTunes:

1.  TuneCore
2.  ReverbNation
3.  CDBaby

All you have to have is a finished master of your materials and you’re ready to get your songs for sale on iTunes (but first make sure you go through the proper steps of determining if it’s ready for release).

Typically, an iTunes single song purchase is .99 cents up to $1.29 per song and the artist receives a designated percentage of the sale of each single song sold.  For every single sold on a .99 cents purchase the artist receives .70 cents.  Managing your iTunes purchases through these online distributors is easy and a great way to get your music sold.  I have personally used Tunecore myself in releasing my materials and find the layout very convenient and user friendly.  They keep track of my sales and have an accounting breakdown of sales per month.  As the artist, I can request to have the royaltees from my sales sent in a check whenever I’m ready, or can choose to have the money transferred to a future project.

Are My Songs Ready For Release?

Get a producer or trusted musical ear to take a listen to your recordings to help you determine if all of the steps have been taken to assure your song is ready for release.  Remember that once your song goes live, you cannot take it back.  Re-releasing materials after they’ve already gone up for sale is not professional.  If you’re happy with where your song is at, I would recommend emailing your final mp3 of your product to a producer at Studio Pros (info@studiopros.com) and they will give you some feedback on what can be improved and help you make the correct steps to get it released.

Improve Your Recordings…

Common improvements that can be made on home recordings are: get your programmed drum tracks recorded by a live drummer, putting some polishing touches on your vocals with  vocal tuning where needed and a professional mix/master by an experienced engineer to get the final polishing.  If you are hesitant of the overall quality of your production, Studio Pros can help you get a professional broadcast quality production complete and radio ready within weeks.

If you’re ready to take the final steps at making your materials live, you can do it today!  Contact a producer at Studio Pros: 1-310-928-7776 or email us at: info@studiopros.com and we can help you put the finishing touches on your recordings.  You can get your recordings distributed in no time!  Give us a call.

Robert Norris had all but given up on music by his early thirties.  ”Music just wasn’t fun anymore,” he remembers. “I basically ran out of steam and decided to get on with my life.”

Norris had been a musician since he was a kid, when he took drum lessons and started his first garage band in junior high. As time went on, he began learning music theory, became a lead singer, and even got to sample the rock star lifestyle in the beach town of Marshfield, Massachusetts. “The summer we graduated, 1975, the drinking age was 18,” he says. “We were playing in bars that we were barely old enough to be in. Lots of fun, great experience, and a taste of the life.”

After a brief stint at UMass Amherst as a vocal music education major, Norris sang in several bands around the Boston area and began writing original music. After a band breakup, he took to the studio to record a cassette tape of original songs called Nobody’s Dream Come True. But despite getting some local airplay and seeing some interest in his songs, Norris felt like he had hit a wall; music was set aside and life went on.

But as most musicians can attest to, the music bug doesn’t easily go away; years later, Norris wanted to start singing again. But having been removed from the scene and all his old musician contacts for so long, he needed to hire session players for his recordings. “I contacted a studio locally,” he says. “Having no other viable options, I scheduled a four-hour session to start my first song. He charged me from the minute I walked in till the minute I left with no allowance for the three breaks the musicians took. And to make matters worse, I didn’t really like what we had recorded.”

It was during his drive home from this self-described “session from hell” that Norris remembered seeing an advertisement in Recording Magazine for Studio Pros. “I was a little skeptical of the online recording process,” he admits. “I had just spent almost half the Studio Pros price on that four-hour session. How good could Studio Pros’ finished product be for so little money?”

But despite his initial doubts, Norris soon found himself becoming a Studio Pros believer. “They gained a sense for what I’m all about as an artist, and with each song the connection became stronger to the point where I felt less inclined to direct and more content to let my ‘band’ interpret their parts.” Norris enjoyed checking for Studio Pros emails every day and involving his wife in the experience as each track was completed. “Bottom line,” he says, “we finished the project on time, under budget, and far exceeding all expectations.”

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Now Norris, who decided to record his songs because of the current wealth of opportunities offered to independent artists, is awaiting the first shipment of his new CD: BluesRockJazzPop Volume One. “Downloads and CDs will be available on Amazon, iTunes, etc. in the coming weeks,” he says. “I’ve signed with a music library who will find music licensing opportunities for the recordings.” Norris hopes to use the recordings he made with Studio Pros to open up new doors in distribution and licensing, and maybe even start making a living with his music.

“Whatever and wherever my songs bring me, I don’t believe I would have gotten there without Studio Pros,” he says. “I look forward to recording Volume Two!”