Recording - May 2013 - 59

Continued from page 56
tell them I write music for film and television
and they kind of lean over and they go, “Uh…
Of course you do…” [laughter]
I think that keeping emotionally strong was
just a function of the Forum, of seeing the
other people being successful and kind of feeling myself kind of getting-pulled-in-to-bat type
of a thing. And there is the commonality of the
people that have success, and it’s kind of a laidback personality. We try not to get too attached
to the music. We try to take it as information
rather than as some sort of critical type of a
thing. We’ve all seen the people in the Forum
that submit the very first Country song they

here. If you ask my wife, any time I talk about
who I try to model my career after, it’s Dean
Krippaehne, it’s Dave Walton, it’s John Mazzei,
it’s Matt Hirt. And I just feel honored to be on
this panel. Why am I here? [awww…]
So I listened to their music. I would go onto the
Forum into the Forward Section. I wanted to see
what they are posting, and I would analyze it.
Like, why did this get forwarded for that listing?
Or I would see the placements they had. Why did
this piece of music get used? So whether it’s a
Dramedy cue, or an Orchestral cue that Mazz
wrote, or it’s a World Music cue, or a CSI-type
cue that Dave wrote, or a Smooth Jazz piece, or a
foot-stompin’, knee-slappin’, thick-as-molasses
Southern Rock guitar cue that Dean wrote, or

anything that Matt wrote… So I would analyze
those and I would try to figure out, “Why did
this get forwarded?” And I’d take what I could
figure out and try to apply that to my own music.
You know, I didn’t want to emulate them to the
extent that somebody might think I was trying to
write something like Mazz did, or something
that Dean did. I wanted it to be my voice shining
through, “Oh, that’s Barry writing a Dramedy
cue,” or “That’s Barry writing a Southern Rock
cue.” So that’s what I did. I listened to these guys.
Well, good people to emulate, certainly. And now
people emulate you, Barry. Pretty incredible,
huh? Four years, buddy. Four years.
Don’t miss Part 3 in next month’s edition!

“If you want to be successful, you find
people that are doing what you want
to do and do what they do. Pretty
simple.”
—Barry French
ever wrote 15 years ago for a modern Country
listing; they get a “rejection,” then they flame
the Forum and we never see them again.
Right. “Those TAXI screeners have lead ears, and
they are out to get me.”
Dave: That’s right. TAXI screeners are never
morons when they’re forwarding music, only
when they’re returning it.
Barry, when we met a few years ago, you were
doing almost exclusively Heavy Metal at the time,
if I remember correctly. Barry does a great imitation of… Who’s the character? Animal on Sesame
Street? Right in the middle of the video, here is
this guy all choked up about his wife being so supportive, and he starts doing Animal. Come on,
you’ve got to do it for us.
Barry: I don’t have the hair anymore.
[laughter]
It was just awesome. Anyway, I don’t think you
knew anything at the time about film and TV. So
tell the audience what you’re learned about how
to transform yourself and shape your music into
something that worked for film and TV coming
from not that world. How did you transform yourself from being a Heavy Metal guy to a film and
TV guy…who still does Heavy Metal for film and
TV as well?
Barry: I’ve been reading a book recently by
Dani Johnson. In the book, she talks about
how, if you want to be successful, you find people that are doing what you want to do and you
do what they do. Pretty simple. So what I did
was I listened to the music of these four guys
and what they did. I’m being completely honest
59


http://www.vocalbooth.com http://www.vocalbooth.com

Recording - May 2013

Table of Contents for the Digital Edition of Recording - May 2013

Recording - May 2013
Fade In
Contents
Talkback
Fast Forward
Jim Anderson Records Patricia Barber
Lewitt Authentica LCT 940
PreSonus Eris Series High-Definition Studio Monitors
How To Record Great Vocals At Home
Audio-Technica AT5040 Studio Vocal Microphone
Plug-ins To The Rescue—Real-Life Remedies For Vocal Tracks
Moon Professional 3500MP 2-Channel Microphone Preamp
DPA Microphones d:fine Series Headset Microphones
Plug-in Outlet: Toontrack EZmix Pack: Vocal Toolbox
Plug-in Outlet: iZotope Nectar Elements
Blue Spark Digital USB Microphone
Plug-in Outlet: Noveltech Vocal Enhancer (and Character)
Readers' Tapes
Recording Fundamentals. Chapter 17: Sweet Spot Conundrums—Part 4
CAD Audio Acousti-shield 32
Advertiser Index
Fade Out
Recording - May 2013 - Intro
Recording - May 2013 - Recording - May 2013
Recording - May 2013 - Cover2
Recording - May 2013 - 1
Recording - May 2013 - 2
Recording - May 2013 - 3
Recording - May 2013 - Fade In
Recording - May 2013 - 5
Recording - May 2013 - Contents
Recording - May 2013 - 7
Recording - May 2013 - Talkback
Recording - May 2013 - 9
Recording - May 2013 - Fast Forward
Recording - May 2013 - 11
Recording - May 2013 - 12
Recording - May 2013 - 13
Recording - May 2013 - Jim Anderson Records Patricia Barber
Recording - May 2013 - 15
Recording - May 2013 - 16
Recording - May 2013 - 17
Recording - May 2013 - Lewitt Authentica LCT 940
Recording - May 2013 - 19
Recording - May 2013 - PreSonus Eris Series High-Definition Studio Monitors
Recording - May 2013 - 21
Recording - May 2013 - 22
Recording - May 2013 - 23
Recording - May 2013 - How To Record Great Vocals At Home
Recording - May 2013 - 25
Recording - May 2013 - 26
Recording - May 2013 - 27
Recording - May 2013 - 28
Recording - May 2013 - 29
Recording - May 2013 - 30
Recording - May 2013 - 31
Recording - May 2013 - 32
Recording - May 2013 - 33
Recording - May 2013 - Audio-Technica AT5040 Studio Vocal Microphone
Recording - May 2013 - 35
Recording - May 2013 - 36
Recording - May 2013 - 37
Recording - May 2013 - Plug-ins To The Rescue—Real-Life Remedies For Vocal Tracks
Recording - May 2013 - 39
Recording - May 2013 - Moon Professional 3500MP 2-Channel Microphone Preamp
Recording - May 2013 - 41
Recording - May 2013 - DPA Microphones d:fine Series Headset Microphones
Recording - May 2013 - 43
Recording - May 2013 - Plug-in Outlet: Toontrack EZmix Pack: Vocal Toolbox
Recording - May 2013 - 45
Recording - May 2013 - Plug-in Outlet: iZotope Nectar Elements
Recording - May 2013 - 47
Recording - May 2013 - 48
Recording - May 2013 - 49
Recording - May 2013 - Blue Spark Digital USB Microphone
Recording - May 2013 - 51
Recording - May 2013 - Plug-in Outlet: Noveltech Vocal Enhancer (and Character)
Recording - May 2013 - 53
Recording - May 2013 - Readers' Tapes
Recording - May 2013 - 55
Recording - May 2013 - 56
Recording - May 2013 - 57
Recording - May 2013 - 58
Recording - May 2013 - 59
Recording - May 2013 - Recording Fundamentals. Chapter 17: Sweet Spot Conundrums—Part 4
Recording - May 2013 - 61
Recording - May 2013 - 62
Recording - May 2013 - 63
Recording - May 2013 - CAD Audio Acousti-shield 32
Recording - May 2013 - Advertiser Index
Recording - May 2013 - 66
Recording - May 2013 - 67
Recording - May 2013 - 68
Recording - May 2013 - 69
Recording - May 2013 - 70
Recording - May 2013 - 71
Recording - May 2013 - Fade Out
Recording - May 2013 - Cover3
Recording - May 2013 - Cover4
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