Recording - May 2012 - 52

Continued from page 51 modern studios… even inexpensive home studios. Good, healthy recording and mix levels will help you avoid “self noise,” which can come from console electronics, outboard gear, and other items in the recording chain. Guitar amps are often another culprit in the “where is that noise coming from” department. Cheesy, “old-school” drum sounds that are obviously from an old, out of date drum machine and are not part of the intended sound, ie., an intentionally retro track or an Indie band track: Drum sounds are a tough one. There are many very modern and contemporary sounding recordings that intentionally use retro, lo-fi drum sounds. It’s pretty obvious when those sounds are not intentional though, and that’s exactly what you want to avoid. I know… I know… you’ve heard drums on big, hit records that sound like they’ve come right out of a Casio, circa 1989. I’ve heard them too, but listen to the context they’re used in! They sound “cool” because they’re a retro element, not an audio accident or a mistake. Your listeners—especially experienced industry professionals—can tell the difference. Vocals that are too loud or too soft: Use common sense. Listen to other similar types of recordings and use them as a guide. By the way, vocals that are too loud may compete with dialog in a scene. Vocals that are harshly EQ’d can also compete with dialog. So will a saxophone, clarinet, or any other instrument that falls in the same general frequency range as the human voice. Vocals that are out of tune or pitchy when they shouldn’t be: Again, there are plenty of “lo-fi” examples you could point to that have vocals that are “pitchy.” If that works as part of the “sound,” and it’s obviously intentional, pitchiness can be considered cool and modern. If it’s not intentional, it’s easy to spot and makes your recording less than Broadcast Quality. Uninspired instrumental or vocal performance: If you think that a weak performance on any aspect of your song or track will get overlooked, think again! A vocal that gives meaning to the lyrics or supports an emotion is what you need. Instruments that are played out of tune when they shouldn’t be: Pretty much the same as vocals being pitchy. Intentional or unintentional, that is the question! Extremely low levels on the overall mix: Do you want your song to sound quiet compared to others? If the listener has to reach for the volume knob, that’s not a good sign. Compare your levels to other recordings!

Extremely high levels on the overall mix: Same as above in reverse. Stiff, obviously MIDI-driven instrument performances that have a lack of “human” feel: There are so many people that know how to use samples and MIDI-driven instruments in a way that sounds so close (in not completely indistinguishable) to “human,” that you need to master those skills as well to be competitive. It can’t be that hard if others are doing it. Invest the time and effort to get it right. Lyrics that are horribly clichéd or just plain bad: You might not think that lyrics are part of the Broadcast Quality equation, but they can be! It’s part of the whole listener experience, and that’s part of what Broadcast Quality is all about. Is your overall song or track good enough that it sounds like it’s ready to be broadcast? Two Heads Are BetterThan One! Broadcast Quality can be perceived so subjectively that I asked Robin Frederick to contribute some tips on the subject from Shortcuts to Songwriting for Film and TV, the only book on the market that explains what the differences are between great songs, and great songs for licensing for Film and TV placements. I think Robin’s book may also be the only book on the market that defines Broadcast Quality in the music licensing context! If you’re trying to license your music for TV shows or movies, and you haven’t read this book yet, check it out on Amazon. http://www.amazon.com/Shortcuts-SongwritingFilm-TV-Recording/dp/0982004028 Full disclosure: I loved the book so much I published it! If you buy it, I’ll make a couple of bucks. If you don’t buy, you could lose thousands of bucks in licensing income! YOU CAN MAKE BROADCAST QUALITY RECORDINGS What does “broadcast quality” mean? A broadcast quality recording is the result of several things, all working together and working well: • Instrumental arrangement and performance • Vocal arrangement and performance • Recording and mixing quality Can I record broadcast quality tracks at home? Let’s start with a reality check. Can broadcast quality recordings be made in a home studio? The answer is an emphatic YES! That’s the “reality” part. Now, here comes the “check” part. If you have never recorded anything before and you want to end up with something that sounds like a slick Pop/Rock radio hit, then the answer is no, that’s not going to happen right

away. However, if you want to record an unplugged version of your song—just guitar and vocal—that’s something you can do at home with a little knowledge and some basic equipment. The following Shortcuts will help get the most from a home studio, demo service, or commercial studio and use available resources to strengthen your recordings. How good does my recording have to be? The short answer is: It needs to be as good as other songs in a similar style that have been used in film and TV. Why? Because that’s your competition. Listen to songs that have been used successfully in commercially released movies and TV shows. You’ll find a list in the book Shortcuts to Songwriting for Film & TV. These can give you a good idea of the type of arrangement and the quality of the performance and recording needed in a wide range of styles. You’ll be surprised at how simple some of these recordings are. Can I perform my own song? The film and TV market emphasizes emotion over perfection, so if you’ve got a voice that’s expressive, connects with listeners, and you record it well, then you should be fine. But if a vocal performance is not emotionally convincing or in the wrong style for the song, if your rhythm guitar performance is wandering around the beat, or the drums and bass sound stiff, you’ll end up with a weak track. You can keep your arrangement simple but make sure that what is on there is performed well and with feeling. Where can I hear broadcast quality recordings? Listen to the songs that are used in today’s TV commercials, TV series and films. You’ll hear simple productions, like “We’re Going to Be Friends” by The White Stripes, Adele’s “Someone to Love,” “Powerful Stuff” by Sean Hayes, and “Simply Human by Morgan Taylor Reid. There are other productions that are slightly more involved but still inexpensive to record at home (or in a studio with a well-rehearsed small combo), such as Ingrid Michaelson’s “Keep Breathing,” or “I Don’t Want to Know” by The Breakups. Listen for the kinds of songs you think you could handle, then study how they’re arranged and recorded. Don’t let the phrase “broadcast quality” slow you down! MAKE A BROADCAST QUALITY RECORDINGWITH A SIMPLE ARRANGEMENT In the world of film and television music, less can definitely be more. Often a simple, barebones arrangement can be as effective as a full band recording with layers of electric guitars and synthesizers. A single instrument, such as acoustic guitar or keyboard, plus a vocal may be all you need. Adding a bass to anchor the bottom keeps the arrangement Continued on page 55

http://www.amazon.com/Shortcuts-Songwriting-Film-TV-Recording/dp/0982004028 http://www.amazon.com/Shortcuts-Songwriting-Film-TV-Recording/dp/0982004028

Recording - May 2012

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