Recording - March 2010 - 10

PHOTOS BY LISA SICILIANO Become a Recording Songwriter! By Eric Ferguson OK, quiz time are you a songwriter, beat-maker, or composer, desiring to share your music with the world? Do you imagine recording yourself, but you have no idea where to start or what to buy? Have you acquired some recording gear, mics, or workstation software, but are intimidated and/or frustrated by the technology and can’t seem to actually make music? If you answered yes to any of these questions, then you are a candidate for one of the most satisfying hobbycareers of the modern world: the recording songwriter. Now is the time to dive in, overcome whatever has stopped you to date, and unleash the creativity within! Why should you become a recording songwriter? Before we discuss the steps to successful self-recording, let’s reaffirm the very reasons why we want to record ourselves. This is an important exercise for amateurs and veterans alike, as all recording songwriters must occasionally face the difficulties associated with working alone. During those times of frustration, it is important to remember the three reasons why we chose to self-record: it is cheaper, it offers unlimited creative license, and it is fun! The price is right: Today’s songwriters come in a variety of colors, from the traditional singer-guitarist to the beatmaking rapper. No matter what form your music takes, self-recording is the most economical solution for capturing musical ideas. Traditional recording methods, such as those involving professional engineers, producers, and studios, are extremely expensive, and therefore add timerelated stress to projects. Recording alone circumvents clock-watching and allows for more experimentation. Sure, traditional approaches are still viable for some projects, but self-recording is by far the more affordable alternative. You call the shots: Hand in hand with the cost of recording is the issue of creative control. While employing outside help definitely has its upsides, namely the sharing of workload and the freshness of new ideas, songwriters must inevitably compromise when working with others. This is especially true when a songwriter records for free or “on spec” with an engineer or producer. As a common practice, engineers of all levels regularly offer their services for freeRECORDING MARCH 2010 or at discount to talented songwriters.While this can be a boon to some artists, many writers discover that they are at the mercy of someone else’s experimentation or creative ideas. Working alone is the only way for a songwriter to stay true to his or her vision. Enjoy the fun: As anyone with any life experience knows, it is not the destination that is important, it is the journey. With this in mind, I reiterate that self-recording is fun, and should not be embarked upon solely as a means to producing a musical product. Recording is an art form separate from music, and is deeply enjoyable on its own merits. You should not become a recording songwriter just because it is cheaper than hiring a professional engineer. You should become a recording songwriter because it will open your life to a new, music-supporting, creative outlet. Choose a DAW The first steps to becoming a recording songwriter involve the acquisition of gear. When purchasing recording equipment, it is imperative that you start slowly. Be patient and research all of your options. The prudent buyer will take the time to identify which item is right for his or her needs. Almost all recording is digital these days, and most songwriters prefer it for its ease and affordability. At the center of the modern recording studio is the DAW, or Digital Audio Workstation. Songwriters purchasing a DAW must first decide if they would be better served by a standalone, all-in-one unit, such as those made by Roland/BOSS, TASCAM, or Fostex, or a software-based solution running on a computer. Both choices have their advantages. Standalone DAWs are often easier to use, but can be limited in features. Computer-based workstations offer more functionality, but might frustrate a techno-phobic artist with limited patience for solving the inevitable glitches. One important difference between standalone and software-based DAWs is that computer workstations tend to be more expensive. If you already own a computer then this may not be an issue, but buying a new computer to use solely as DAW can be quite pricy. If considering a new computer, be sure to weigh the pros and cons of PC vs. Macintosh—an argument we won’t get into here.

Recording - March 2010

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