Do you know where the front of the piano is? It apparently turns out that too many engineers don’t. And it turns out that I was one of them.

The other day, I opened up an email I got from Stumble Upon to peruse some new links, and came across this gem on Daniel Farris’s blog: Piano Recording: The Dumbest Popular Wisdom in Modern Record Making

Now I have not actually done any research on the piano to fact check Daniel’s post, so take all this with a grain of salt (I have some questions, too. Like what about the upright piano? Where’s the front of this instrument?).

The reason I felt inspired to share this idea with you, is because reading Daniel’s post caused me to have some epiphanies about the general understanding of capturing recordings in stereo, which I hope to further dissect and discuss. Whether or not Daniel’s post originates from knowledge that actually does reside in the history books, the ideas shared in his post are still valid in the field of creative recording, and illuminates a technique worth significant study, practice, and use. Not to mention that whenever you attend a piano recital, the instrument is positioned as Daniel has described.

For now I simply wanted to share this learning experience. Here’s the link to Daniel’s blog post: [http://danielfarris.wordpress.com/2009/02/23/piano-recording-the-dumbest-popular-wisdom-in-modern-record-making/]

Photo by woodleywonderworks. Licensed under a Creative Commons License.

I’ve been anticipating this book for a while now (I don’t think I realized how much, actually). Today, as the book comes out in the United States, I’ve been reading some blog posts. I thought I’d share some quick thoughts as I prepare to read FREE: The Future of a Radical Price.

When Chris Anderson first started talking about the economics of free, it naturally piqued my interest as Radical Notion (independent media), my startup, is a company which uses various versions of free as one of the core concepts of it’s business model. Chris Anderson’s discussions on free have been very exciting to me, as it put a name and economic model around many of the strategies on the cutting edge of the music industry. Strategies in which I have found inspiration for my own company. Namely, strategies which bands like Radiohead and Nine Inch Nails have acted as leaders for many other bands which are now developing very similar strategies.

I just watched a video of Rich Fahle interviewing Chris Anderson for Borders, discussing his new book. There are a lot of interesting ideas touched on in this interview that I can hardly wait read more about as I study the book. There were a couple of the things I thought particularly interesting in the video, though. One was hearing more of Chris’s thoughts on this idea of “freemium.” And the other was that (according to Chris) people who are over 30 tend to not believe in the idea of free as a business model, and people under 30 say, “no duh” to the idea of free as a business model.

Something that I whole heartedly disagree with, however, happens around the 5:10 mark where Rich Fahle says, “you can’t turn to an expert anymore, in this model that you’re describing, to do all that background business work. It sounds like what you’re describing is you gotta be a business man. If you’re an artist, you also have to be a business manager.”

Of course I totally disagree with this. I think that today, an artist needs a manager in a way that they have never needed one before. They need someone who thinks radically enough to direct their career in a way that is relevant to the changed establishment. To be successful in today’s music world, it is most important to find a manager who not only will pursue and/or invent new ways to harness the power of free (among an infinite number of other new marketing concepts), but an artist needs to find a manager who realizes that it is their obligation to protect this strategy at all costs. Because there will be others who want to partner or invest in the artist, then water down the strategy.

I recommend you watch the video (total length 15:02) [http://www.bordersmedia.com/borderspresents/anderson%20?cmpid=SL_20090707_RWB] Pay attention around 5:35 when Chris says, “Radical Notion.” I love when things like this happen!

Also, in honor of “walking the talk” of the book, Chris Anderson has partnered with a few companies to offer several ways to consume the book:

• The free version on The Long Tail blog (scroll down for audio book options)
• Free physical version available in the UK

For what it’s worth, I think I’ll opt to purchase the book, acquiring the “freemium” version. Nothing like being able to actually touch and smell a creative work.

Got any other links/thoughts/etc about Chris Anderson’s new book, FREE: The Future of a Radical Price? Please post comments.

Talk with you tomorrow, where we’ll get back to our usual discussion of making records.

After publishing my post a couple weeks ago, Record-Making Purgatory, I got to thinking about some examples of overdubbing ideas that may help spark creativity. If you’re currently stuck in a “purgatory predicament,” perhaps these suggestions will snap you out of it.

1) Overdub a second snare
Try putting an additional snare track over or under the original snare. Use a different snare/tuning/timber, and have the drummer (or anyone, really) perform this the entire length of the track. You may need to slightly edit the timing of the track later to line it up closer to the original. In the mix there are a lot of different options-wild EQ and compression settings, huge reverb, small reverb, gated, expanded, wild delay settings, or leave it totally natural. Do whatever you feel, but get creative.

2) Overdub a floor tom
Try this in sections of the song. Maybe there is a breakdown that it would fit nicely into. Maybe you simply reinforce the drum fills. If you go with the latter choice, and you know you are going to do this on the tracking day, you can plan ahead by yanking some direct mics off the drum kit to use elsewhere. Again, in the mixing phase your options are wide open to your complete creativity.

3) Overdub another part on bass
Usually when people think up parts to add to an arrangement, they never think to see what this may sound like on bass guitar. Don’t overlook this option. We did this on a project I was involved in a while back, and it was a brilliant idea.

4) Double the bass guitar with a synth bass
This can add a sub-harmonic, distorted texture under the bass. In the mix tuck it just under the original bass to make it all blend in, sounding as one part. The combined tracks can sound like the most unique bass guitar anyone has ever heard.

5) Reamp vocals
Kind of like using a synth to add a sub-harmonic texture to the bass, try adding a somewhat subliminal timber to the vocal. It will require you to obtain possession of a reamp box of some sort. I’m pleased with this one: www.reamp.com. In the mix, blend this new track under the original vocal, add a little EQ magic to the top end, and you will get a nice touch of added presence to the lead vocal (or backgrounds if you’d rather).

Hope these five ideas inspire your creative vision to help you escape the dreaded record-making purgatory. I may actually take my own advice, and try some of these ideas out on a project I’m currently working on.

I would love to know how this turns out for you. If you end up trying some of these ideas out, post links to your recordings in the comments for all of us to hear. And if you have any other creative overdub ideas that you would like share, please leave those in the comments as well.

You can’t out out “George Martin” George Martin. Or out “Prince” Prince

YOU are the magic puzzle piece that makes it all work. Don’t worry about giving away the secret to the sauce. No one can make it all work like you, because you are the magician. You are the integral piece that connects all the dots.

What you need to do is engage with your audience. Show them how it works. Expand the enthusiasm of your fans by discussing the build of whatever it is that drew them in in the first place.

“Want to know how we got the guitar to solo to sound like the end of the world? Modulated octave fuzz split through two amps. Check out my new video where I show you how.”

“Want to know we got the background vocals to sound so huge? MS and Blumlein stereo mic’ing. Head over to my blog where I explain that, along with many other recording and mixing techniques.”

They will go from enthusiastic to completely addicted, spreading your ideas, your name, and your mastery around in the process.

No one can out “You” You.

Photo by brokinhrt2. Licensed under a Creative Commons license.

Tracking day is the big day. You just committed a lot of money to the studio to make a record, and there’s no turning back now. It’s possibly the most exciting part of a project, because you’re still anticipating everything-imagining how glorious the end result will sound-yet simultaneously the project has come to fruition, because the basic tracks are being recorded right now.

Your overdubs are different. Now you’re off the big studio’s clock. The excitement from the tracking day has had time to settle, and now you’re simply putting in “another day at the office.”

This middle phase of has the potential to become record-making purgatory, where everyone is stuck with their own form of writer’s block. The artist can become unsure of themselves, bouncing from one extreme idea to another looking for direction. The A&R guy can become nervous, wondering if his project is losing competence. This can end up putting immense pressure on you to save the project.

So use the overdubs for what they are: a place take liberties. Do things that stretch the limits. Use unfamiliar gear and techniques. Employ methods that promote creative thinking; techniques that challenge writer’s block.

Overdubs are the pivital moment. They can make or break a record. It can be that one stroke of red amongst a canvas of gray. Don’t miss the opportunity to make a statement by introducing the sonic character which becomes the standard for the genre, or the hook that takes the song from average to platinum-selling hit.

Worst case scenario is that you end up with a track or two that don’t get used. You can always trim the fat, but you can’t add what’s not there.

The studio is the recordist’s instrument. It’s your moment to really dive into your creative outlet. You got into this line of work because it’s supposed to be fun. This is definitely one of your chances to make good on that.

Mondays are a crunch day. People don’t have time to read blogs for all the work that piled up over the weekend. There is too much stress over getting through another week. Monday is just flat out the wrong day to publish new blog posts.

This is why Wednesdays exist. The dust from the uproar of Monday has settled, and everyone is looking for a bit of a “time out” from work by procrastinating in a distraction of some sort.

When I go up against the stress of Monday, I’m always going to lose that competition. So I’d like to increase my chances of getting my blog read by showing up right at the moment people are looking to take their “time out.” Perhaps I’m being naive since record making is off the charts in terms of normal working hours and days.

In any case, I’m going to be switching my posting day from Mondays to Wednesdays. This is an experiment. If it works I will have increased my readers/subscribers/visitors, and I’ll stick with Wednesdays. If not, I’ll be testing out some other days.

As always, I’d love some feedback on this. So please comment away if you have a suggestion. Thanks for being loyal readers, hope your Monday is not too stressful, and I’ll see you Wednesday.

Photo by Greg Westfall. Licensed under a Creative Commons License.

I’ve got some friends who are a little bit older than me, and have been making records longer than me. It’s great to have these friends, as they are my mentors. They teach me things on a near daily basis. They challenge me to keep my production skills sharp.

I also have a group of friends who are a little bit younger than me for whom I act as the mentor. The (maybe not so) ironic thing is that they teach me just as much-and sometimes more-than I teach them.

This happens in three main ways:

1. They ask me questions, and I have my knowledge and skills tested because I have to come up with the “correct” answer and/or good advice.
2. They ask me questions, and I don’t know the answer. I research it, I teach it to them, I learn something new.
3. They flat out teach me something I knew nothing about.

I not only keep my skills sharp by keeping in touch with my mentors, I also constantly have my skills sharpened by the people whom I teach. It’s great to focus on networking with people who have been making records longer than you, and picking their brains for knowledge. But what action are you taking to put yourself in a position in which you can learn by teaching someone who has less experience than you?

Photo by foxypar4. Licensed under a Creative Commons license.

I’ve been drafting this post since mid March. The first two drafts I ended up with a 1000+ word review. I scrapped them both because they were way too long, and full of way too much detail. I decided I’d attempt once more, and if it didn’t work out this last time I’d totally bail on the post. So I stripped everything down to the bare essentials:

The 4-Hour Work Week by Timothy Ferriss

Why is this applicable to producers
I am not suggesting that you should make records in four hour increments. Although it would make for a cool experimental project, you’re not going to make a business out of this practice. What I am suggesting is that you need to expand your skill set-wear more hats. My reasoning for recommending this book is to point you to a resource which will get you thinking about how to accomplish more.

The highlights
The part of the book that most resonated with me was Step II (chapters 5, 6, and 7), which was all about accomplishing more by doing less, eliminating useless information consumption, and deleting interruption.

The point
As a music business professional you need to expand your skill set in order to stay relevant. The 4-Hour Work Week serves as a powerful resource to help you manage this diversification. It’s worth the weekend it takes to read it.

Timothy Ferriss, the author, also has a blog which is a great resource. [www.fourhourworkweek.com/blog]

Can people identify your work by listening to the records you produce, record, or mix? With every project you are a part of, you should be working with this in mind. Work to establish your identity so that when people think of a certain style of music, or a certain kind of instrument, you’re the person whose name comes up in the conversation.

You should become so familiar with a certain style of music, or a particular kind of instrument, that you understand the most accurate approach to best capture and represent that music or instrument within a recording. At that point, not only will you become known for your ability to produce, capture, and mix these recordings, but your name will become synonymous with that musical style or instrument. The production will superimpose perfectly over top of the artist’s music and sound, and in turn appear completely invisible in the recording. Moreover, once you understand the rules of capturing these recordings better than anyone else, you will also know how to creatively break the rules, making for a much more interesting and rich recording.

Think about how Chris Lord-Alge is known for his ability to mix power-pop and mainstream rock, Brian Eno as the guy who produces ambient music, Joe Barresi and his ability to record rock guitars, or Stephen Street for his work in the British alternative music scene.

Just like these guys, work to become the go-to person for a certain style of music, or for recording a particular instrument.

1) The Mother/Father email newsletter. If you’re interested you can find the signup form here: www.thisismotherfather.com

2) The Radical Notion (independent media) email newsletter. If you’re interested in signing up for this one, you can find the signup form here: www.radicalnotion.net.

We’re still brainstorming to come up with some catchy names for these newsletters, so if you got any ideas I’d love it if you would shoot them to me. You can leave them in the comments, or you can email them to me at stinson [at] producernotes [dot] com.

Thanks, and I’ll see you tomorrow…