Recording - October 2011 - 12

By Lorenz Rychner (interviews) and Toby Gad

The world is getting smaller, information travels faster, and technology is transforming our lives before our eyes... but a great artist performing a great song, captured with great technique, is still at the core of our musical experience. In this issue, we touch base with professionals who are creating great music with the tools at hand, in all corners of the globe, and learn about their successes and their secrets. Do you have what it takes to be a recording artist, producer, band leader, music publisher, record label head, and everything else it takes to go from idea to finished album? Jeremy Cohen shares his experiences in creating incredible albums in a variety of genres, with practical techniques you can put to work immediately. If you’ve never heard of Teoman, odds are you haven’t spent any time in Turkey, where he’s a megastar commanding the best engineers the world can offer... including Michael C. Ross, who is no stranger to our readers, as we’ve reported on many of his world-class sessions over the years. Michael tells us about what it’s like touring live and working on hit records in an exotic location, in a brand new recording studio as well as in a makeshift office-turned-into-studio location, proving that good audio is just that, no matter where and how it is being produced. Blue Coupe’s newest album has all the professional sheen you’d hope for from a major-label release coming out of a high-end studio.... but it was made with no such studio in sight! It was done as a long-distance collaborative hands-on home recording where the artists were in control all the way, with amazing results. The brothers Bouchard of Blue Öyster Cult fame dish the details on how they did it, bringing years of experience to bear. And finally: All the techno-flash in the world won’t make a mediocre song great, and even the toughest recording situations can’t keep a great song from shining through. But what makes a song great? Toby Gad, whose list of credits includes Beyoncé’s Grammy®-winning “If I Were A Boy” and Fergie’s Grammy®-nominated “Big Girls Don’t Cry”, not to mention Colbie Caillat’s Number One single “I Do”, and tracks by Alicia Keys, Brandy, Demi Lovato, Ricky Martin, The Veronicas, and dozens of others, shares his secrets for making a songwriting session pay off. Buckle up... the ride is about to begin!—The Editors

Jeremy Cohen on Doing It All: From the Music to the Business
Violinist Jeremy Cohen combines his performing and recording career with that of a self-made businessman who runs his own label and music publishing company. From Blues and Tango to Jazz and Classical, from studio to print shop, from bookkeeper to bandleader— how does he do it? Jeremy, you have recorded three CDs in your own name and four with the string quartet of which you are the founder and leader, Quartet San Francisco (www.quartetsanfrancisco.com). How much input do you have into the recording process, from choosing the studio to the final mix and mastering?

Neumann KM 184 D and M 150 mics at Skywalker Sound, CA
12
RECORDING OCTOBER 2011

http://www.quartetsanfrancisco.com

Recording - October 2011

Table of Contents for the Digital Edition of Recording - October 2011