RECORDING November 2022 - 66
Continued from page 65
worry, because we've already done the vetting, we've
done the legwork to figure out... Aside from libraries
you get introduced to through TAXI, because you know
that they've been vetted and we don't deal with small
potatoes or people who have questionable business
ethics, things like that. We will deal with a small library
that's high quality and gets the job done. It doesn't
have to be a behemoth, but they have got to be really
effective in what they do.
So, on your own, if you're meeting libraries, how do you
know what are the differences between a good one
and a bad one, and what are telltale signs that people
should look for so they avoid the bad ones?
You know, first of all, if you can just go online to a
production library, and you can upload whatever
tracks and however many you want, that's probably
not a high-quality library. We've all got stuff that's
not good that we've done. So, I think that's a first
telltale sign. I would also listen to what they've got
there; do they have quality music? That's another
way you can look. Look at their credits; do they have
some credits with major networks and shows? Now,
anybody can lie, and anybody can put up, " Hey, I've
got all these ABC shows. " But doing all these various
things, do they have good placements in good
shows, and can they point you to that? And also, are
you communicating just with a computer, or can
you actually contact somebody there and they will
talk to you? Now, I've known a couple of what I
would say are very marginal libraries where you
actually can contact a person.
I just saw one recently that says that for $100 a year
you can upload whatever you want to. Just stay away
from it. Can you make a little bit of money with
those things? I guess so. I had just explored that.
There were one or two of them that I won't name,
but I had just explored some years ago. I had
uploaded a couple things to them, and thought,
" Maybe I can make money, " but I didn't. So, I'd
rather work with quality libraries, quality people-
and as you say, the [ones you can meet] though
TAXI. You can vet them through TAXI. Or in addition,
you can go to the PMA, the Production Music
Association, and look at the libraries. Now, their
bars are really high. There are some libraries that I
think are okay, but they won't necessarily work with
you. It's like you don't know that they work with
non-exclusive. But you can generally, if you go there,
you know those are good libraries. Those are quality
libraries.
Here's a question that I'm going to take because I can
answer it in 15 seconds. The question is, " If you record a
song and release it on CD Baby, can you record a new
version for libraries? " No, you can't, because it's still the
same composition. It's a different master but the same
composition. So, there's the answer to that one.
66 RECORDING November 2022
One more thing I want to ask you-broadcast quality.
People are really confused by that term, and frankly
they think that it's all about audio engineering. I contend
that there is more to it; it's about the
appropriate... A lo-fi like an early Bob Dylan song
would be fine lo-fi. You could record it in Garageband
on your Mac laptop using the built-in microphone and
it would be fine. The other extreme would be something
that's done in a multimillion-dollar, gorgeous,
state-of-the-art studio. Talk about broadcast quality,
what it means in your daily life in regard to production
music libraries.
I think it really just means something that's clean. If
it's just a guitar/vocal, is your guitar in tune? Are
you playin' it? Is it groovin' without the BPM [drifting
all over the place]? Are the vocals in tune? Is
there a vibe about it? And is the guitar and vocal
relatively balanced to what you would want to hear?
And then, did you bounce it down to a good WAV
file? Whether you have 18 parts on there or whether
you just have two parts, having them played well,
having them balanced as well as you can balance
them. And having a vibe, creating some mood with
it, does it create a mood? I've produced stuff in the
past that I think is perfect, and I think a lot of engineers
would go, " Man, Dean, that's great! " but I had
perfected it so much that it lost all the vibe.
And there are some libraries that are asking for certain
things, and I've had this before. " We want stuff
that sounds like Frank Sinatra in the 1950s. " Well,
the audio quality then was fundamentally different
than what it is now. So, do I...? The answer is no, I
don't make it sound bad. I still make it sound good,
but maybe I don't put all the glitching on it that I
might put on. So just clean, well-played, balanced
out and have some kind of vibe. That's what I would
say.
And appropriate sounds for what you're doing. Again,
there's a big difference between a Bob Dylan guitar
vocal and a Billie Eilish record. The broadcast quality is
different in each of them.
We've got eight minutes left. Here's a question from
Gloria Covington. " If you've already registered your
music with a PRO and self-publish, can you easily turn
over your publishing to the production music library? "
If you've already registered with the PRO and you've
self-published, so your song is just sitting there,
yeah, you should be able to do that. If it's your own
publishing, you should be able to turn that over.
And here's a question from Andre Stepanian. " After
developing a relationship with a library and they don't
have a submission-request section on their website,
what's the right way to approach them about submitting
more music? "
Once I had libraries, and I did this a lot in my early
days. After they accepted one or two or three songs
or cues, I would always ask if they wanted more,
and if they had any other genres they were looking
for. It was just a quick two-sentence email. In my
early days, I had some neo-soul stuff. That's really
what got me into the business. But I was also flirting
around learning some other genres. I remember
asking a company, " Hey, I do straight-ahead guitarpop
instrumentals. Are you looking for any of that
stuff? " And they said, " Yeah. Send us some stuff. "
Once you have a relationship-don't pester them-
but a two-sentence email just asking them a
question, and then see how they answer. But again,
don't pester them. Don't ever pester anybody,
because you want them out there working for you.
You don't want them answering your every little
question.
And they will like you better if you don't pester them.
And you want them to like you, because if they have to
choose between your music that they're going to send
somebody and somebody else's music, and they know
the other guy is a bit of a pest, they might take that
into account, other things being equal.
We're human.
This question is from Rob: " Do you find that there are
perhaps opportunities for tracks that use obscure
instruments to maybe corner a niche market? Or is
that's useless to go down that road? " So, let's say you
are a Sitar player, for instance. It's fairly obscure. Do
you corner the market?
Yeah, absolutely. I tell people all the time that if they
want to pitch to a library, go to a library and find
out where the holes are, what don't they have? And
yeah, a Sitar piece or a Didgeridoo piece. I have
some Accordion stuff that I did that's like a French
café or Italian café that got in the Kardashian show.
Especially if a library doesn't have... If they've
already got 60 or 70 Sitar pieces, then no. But there
are libraries that are looking to fill up every little corner
of their library. So yeah, obscure, different world
instruments, sometimes you can do well with that.
Those are not the most sought-after things, but
when they need it, that's what they need and nothing
else will do.
Here's a question from Charles Robichaud: " Why would
some music libraries not want to work with new
artists? What's a turnoff? "
I think we want to keep this a G-rated show, so I'll
just say, " Don't be a jerk. " And try to get your quality
in... I think that TAXI is a great vehicle in a lot of
ways, and one of the ways is just because the people
on TAXI's A&R team are gonna generally tell you if
you're in the ballpark or not. You know, is your stuff
ready? Is it not? And if it's not, you can get feedback
through the TAXI Forum (forums.taxi.com); you can
get feedback from other artists and composers. I
know everybody that's been doing this that I know
that has had some success is more willing to share...
You know, I have to be really careful, especially with
my books out there, that sometimes I can spend
five, six, seven hours a week just listening to songs
and answering emails, and saying, " Hey, this is really
good, but, man, I would mix that differently on
that. " So, get the feedback, make sure your stuff is
good and don't be a jerk, just be professional. Send
Continued on page 69
http://forums.taxi.com
RECORDING November 2022
Table of Contents for the Digital Edition of RECORDING November 2022
Fade In
Fast Forward
Focal Sub6, Focal Sub One and Focal Sub12
Neumann NDH 30
A Family of Amphion Monitors Compared
Plugin Outlet: BABY Audio IHNY-2
KRK S10.4 Studio Subwoofer
A Space for Creative Inclinations: An Interview with David Crowder
Plugin Outlet: KIT Plugins Blackbird Mo-Q
Inside the Studio with Mark Hornsby: Paragon Studios 2.0
IK Multimedia iLoud Precision MTM, Precision 5 & Precision 6
Inside the Box with Joe Albano: Virtual Studio Modeling
ddrum NIO Percussion Pad
Yorkville Sound YSM5 Series II
Session Log with Marc Urselli: A Brief History of EastSide Sound
GIK Acoustics Sound Blocks
State of Acoustics 2022
Thermionic Culture The Fat Bustard II
Readers' Tracks
Fade Out: Studio Thoughts from Allen Sides
RECORDING November 2022 - Intro
RECORDING November 2022 - Cover1
RECORDING November 2022 - Cover2
RECORDING November 2022 - 1
RECORDING November 2022 - 2
RECORDING November 2022 - 3
RECORDING November 2022 - Fade In
RECORDING November 2022 - 5
RECORDING November 2022 - 6
RECORDING November 2022 - 7
RECORDING November 2022 - Fast Forward
RECORDING November 2022 - 9
RECORDING November 2022 - Focal Sub6, Focal Sub One and Focal Sub12
RECORDING November 2022 - 11
RECORDING November 2022 - 12
RECORDING November 2022 - 13
RECORDING November 2022 - Neumann NDH 30
RECORDING November 2022 - 15
RECORDING November 2022 - A Family of Amphion Monitors Compared
RECORDING November 2022 - 17
RECORDING November 2022 - 18
RECORDING November 2022 - 19
RECORDING November 2022 - 20
RECORDING November 2022 - 21
RECORDING November 2022 - 22
RECORDING November 2022 - 23
RECORDING November 2022 - Plugin Outlet: BABY Audio IHNY-2
RECORDING November 2022 - 25
RECORDING November 2022 - KRK S10.4 Studio Subwoofer
RECORDING November 2022 - 27
RECORDING November 2022 - A Space for Creative Inclinations: An Interview with David Crowder
RECORDING November 2022 - 29
RECORDING November 2022 - 30
RECORDING November 2022 - 31
RECORDING November 2022 - 32
RECORDING November 2022 - 33
RECORDING November 2022 - 34
RECORDING November 2022 - 35
RECORDING November 2022 - Plugin Outlet: KIT Plugins Blackbird Mo-Q
RECORDING November 2022 - 37
RECORDING November 2022 - Inside the Studio with Mark Hornsby: Paragon Studios 2.0
RECORDING November 2022 - 39
RECORDING November 2022 - 40
RECORDING November 2022 - 41
RECORDING November 2022 - IK Multimedia iLoud Precision MTM, Precision 5 & Precision 6
RECORDING November 2022 - 43
RECORDING November 2022 - 44
RECORDING November 2022 - 45
RECORDING November 2022 - Inside the Box with Joe Albano: Virtual Studio Modeling
RECORDING November 2022 - 47
RECORDING November 2022 - 48
RECORDING November 2022 - 49
RECORDING November 2022 - ddrum NIO Percussion Pad
RECORDING November 2022 - 51
RECORDING November 2022 - Yorkville Sound YSM5 Series II
RECORDING November 2022 - 53
RECORDING November 2022 - Session Log with Marc Urselli: A Brief History of EastSide Sound
RECORDING November 2022 - 55
RECORDING November 2022 - 56
RECORDING November 2022 - 57
RECORDING November 2022 - GIK Acoustics Sound Blocks
RECORDING November 2022 - 59
RECORDING November 2022 - State of Acoustics 2022
RECORDING November 2022 - 61
RECORDING November 2022 - Thermionic Culture The Fat Bustard II
RECORDING November 2022 - 63
RECORDING November 2022 - Readers' Tracks
RECORDING November 2022 - 65
RECORDING November 2022 - 66
RECORDING November 2022 - 67
RECORDING November 2022 - 68
RECORDING November 2022 - 69
RECORDING November 2022 - 70
RECORDING November 2022 - 71
RECORDING November 2022 - Fade Out: Studio Thoughts from Allen Sides
RECORDING November 2022 - Cover3
RECORDING November 2022 - Cover4
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